Culture
Queering the Museum
In this episode of Small Town Queer, hosts Erica Taylor and Emma Shield engage with community historian Tee Cozy to discuss the importance of queering museums, galleries, libraries, and archives. They...
Queering the Museum
Culture •
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Interactive Transcript
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You are listening to the Small Town Queer Podcast produced by Tweed Regional Museum in Northern
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New South Wales, Australia.
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Follow us as we uncover and explore Tweed's rich queer history from the early 1900s to
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the present.
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The museum has collaborated with LGBTQIA plus community members to collect, share and
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preserve the histories of Tweed's many and varied queer voices.
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We wish to recognise the generations of local Aboriginal people of the Bungalung Nation
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who are the traditional owners and custodians of the land on which we are recording this
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podcast today.
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I'm Erica Taylor and I'm a curator at Small Town Queer and I'm here today at Wee
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EW.
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Emma Shield and I am a project coordinator for Small Town Queer.
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And today on the podcast we're talking to Tee Cozy, community historian about queering
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museums, galleries, libraries and archives.
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I think we'll cover them all.
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The glamour sector.
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The glamour sector.
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We're lucky to have such a good acronym aren't we?
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I thought we'd start by talking about how a Small Town Queer came about.
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It was probably 18 months ago.
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The museum got questioned as to what it held in its collection that told LGBTQIA plus
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people of stories in the Tweed and it was very, very little, almost nothing.
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I think we hold one oral history and one photograph of a self-identified gay man.
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And that was it and for a collection that's over 18,000 objects and over 50,000 photographs.
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It didn't represent those stories that we know are out there in the community.
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So off we went, we were lucky enough to get government funding from Create New South Wales
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to help us with the project.
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And Emma Shield came on board as co-curator and we started our journey.
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We did and part of that journey very early on was meeting Tee Cozy.
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And I don't know if you recall how this came about but you actually contacted me because
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I had seen an Australian gay and lesbian archive post on Facebook about the Northern Rivers Men's Network.
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I think it was a magazine or a newsletter.
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So I reached out to Nick Henderson, the archivist of Algarh, who put me in contact with you.
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And then I got this wonderful email from you and all the work that you've already been doing in this space,
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which is really not a surprise.
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We actually touched upon this in a podcast.
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I just recorded with Tee Cozy about how the community has already been working in this space
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to collect their stories in their voice.
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Yeah, I think that's been, you know, as we know, historically,
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people have been not represented in museums and collecting institutions.
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So it has been left to the community to collect their industry, which you've done,
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you know, in and just taking such a big role, such an important role,
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particularly in this small town collecting all of that history around these more
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of the Northern Rivers generally.
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So yes, it was a great place to start.
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I think finding you.
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We're very lucky to meet you.
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Well, it was very exciting for me too.
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I had coincidentally before I had connection with the good folk of the Tweed Regional Museum.
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There's annual homosexual history conference every year in a different capital city.
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And I'd been going for the last 10 years and presenting papers and particularly about the work
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I've been doing in Northern Rivers and Queer History.
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And there was a particular person, Claire, who's a librarian in Melbourne,
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who is only Australian, there's been Gay Archives Committee.
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She said, look, I'm putting together a panel at the next conference in Melbourne
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that's called glamorizing the glam sector.
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So looking at how queer is the girl, is libraries archives and museum sector.
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So I said, oh, okay, I want to be a research.
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So I ran around to the local historical societies, the libraries, the galleries.
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I didn't come to the Tweed Regional Museum, actually.
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But anyway, I interviewed people at those various places to find out,
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were they aware that there was a queer community, had they engaged with the community,
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had they told their stories or invited their artists to be involved.
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And the story mostly was, if somebody personally in one of those organizations had a connection
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with the queer community, they may have been involved, but mostly they're not.
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And I mean, the example of one of the local historical societies,
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which mostly has information about the pioneer story really.
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So I went up there, chatted to the woman on duty that had some connection
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with the queer community through friends.
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And she said to me, but we don't have anything in our collection about your people.
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And I mean, that word your people is an interesting sort of term.
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But she said, just recently, one of our members' volunteers is Gay
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and he's been putting together a file on the Tropical Fruit,
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which is a major queer organisation in the Northern Rivers, about what they're up to.
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So they began, they just began.
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But there was no policy, no awareness.
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No.
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And I think when I correct me with my wrong,
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when you first did connect with us physically and you came here,
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you did question particularly as we're funded by Council,
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about what policies existed in Council and in the museum,
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as one of the very first things.
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Yeah, I think I remember looking on the website, actually after I talked to him,
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saying, did the Council in general have a diversity inclusion policy
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and did the museum particularly,
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or when I looked at the regional art gallery as well,
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and I couldn't find anything really.
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No, I think you have to question, even in those policies,
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exist.
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I mean, policies are only worth, you know, if they're followed and used and embraced.
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Yeah.
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And that's part of the project we went on to.
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I mean, the whole project wasn't just about collecting the history of the area.
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Or acquiring objects.
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No.
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No, or acquiring new things for the collection.
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It was about really critically looking at the museum and our practices
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and our collection systems and our policies and making sure
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that everything was inclusive.
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And we were representing the diverse people, you know, the history that was here.
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So I just thought it was a really, it was the first thing you picked up on.
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And we went on to really embrace that, even just those questions,
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to really look and reflect about all of those things in our own organisation.
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I mean, if we propose to have to represent the diversity and showcase the diversity
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with an our collection and really critique it, what kind of organisation are we?
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You know, are we an inclusive workspace?
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Are we well aware of the best practices to interpret and manage a collection
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that includes queer stories and objects?
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And what is our relationship like with the local community?
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I think we valued all of those objectives as an important part of this project.
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So beginning to build up a relationship.
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Absolutely.
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And I think that building trust is already part of the curation process.
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Erica, but I think it's particularly important when you're dealing with groups
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that are marginalised or have been traditionally excluded.
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And it's tricky, as you've said before, because you don't, you know,
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you may have awareness of who's in the LGBTI community in the area,
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but until they come to you, you can't really approach them directly
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unless you have a personal contact.
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And say, okay, I know you're a LGBTIQ.
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We'd love to hear your stories.
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So that makes it quite a tricky thing.
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But, you know, what you've done here is create an exhibition online,
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and the public see around it.
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So hopefully that will draw people in.
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And we really couldn't have done that without the collaboration of people like yourself.
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And the queer community trusting us, giving us great advice,
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sharing their networks as well as their stories and some of their objects with us.
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And that's really how word got out about this project.
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Because it was very important to ask that the people that would participate were open
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with their identity.
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We didn't want to put anyone at risk or compromise anyone's safety.
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And we also really wanted to showcase the great achievement and leadership
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that already exists within this very diverse community of ours.
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And I think we found, especially with Emma's research on the historical themes
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and the long form articles that are on the website.
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Half of that, you never would have found without these relationships
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that we built, that you built Emma and that led you down the rabbit hole
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to further information and further leaves to put all the research together.
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I don't think it could have been done without that foundation of building the relationship.
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I don't think it might have just been someone saying to us,
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oh we heard there was this restaurant down the road that used to have a gay friendly night once a month
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and then Ian sent me some articles from Campaign Magazine.
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And then from there I was able to through our local networks say,
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do you know this person, yep this person used to work there and then through them we actually
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made contact with the owners and heard the real story behind that particular venue or that event,
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the human face, the human story.
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To the story was out there, but it was not being shared in some way.
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Really centering the voices of the queer community.
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They were telling us their stories.
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We weren't necessarily just reading articles and trying to put the pieces together.
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In some cases we had to do that because it was last century or the century before,
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but in most cases we were able to thankfully through the queer community network find the people
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who mostly were very willing to tell their stories.
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And I remember coming first to visit you and I noticed a booklet called Caravans and Commune
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which was an exhibition that you had some years back and I thought myself well that's great,
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you know this museum has embraced alternative hippie culture that is part of this region.
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But there's one story missing there and that's about quite a unique and unusual hippie alternative
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counter culture organisation which was the Mandala which in the tweed and quite a unique
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story around the gay commune. There wasn't in there at all.
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And the very charismatic owner of that kind of idea was very public person and did a lot of
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outreach into the community as a director and producer. You got follies with part of his work
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theatre stuff that he did. It was a shame that story was instead of that publication but it goes
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to show that things are missed and it's all dependent on the bias of the museum professional
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putting it together and resources too. It was very important that we had funding for this project
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because there's lots of projects that need to be done but we do need government support funding.
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One of the best reference books we found and we read was Queering the Museum by
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Nikki Sullivan and Craig Middleton which was only put out last year 2019. It's called Queering the
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Museum and it's about projects they have done and the idea of Queering the Museum or looking at
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these emcee galleries for a Queer lens. But I mean there's so much more. It also brought in my
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curatorial practice to all kinds of lenses in the work we do. But from that we brought in the project
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not just to looking about the history and finding it and writing the research. But also
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performing what's termed as Queering the Museum which is this idea that we're looking at our
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practices and our collections. And as I said earlier we did we looked, we did survey of the collection
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using all kinds of search terms and things and we didn't find and it just about anything.
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But yet we know this queer story is there because statistics say some of those people in the 50,000
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photographs are going to be LGBT. And so we put on what's turned like a Queer lens to look at our
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collection again but through a Queer lens. Go to this more time Queer website. Erick has written
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this fantastic article about this whole process. So Emma and I I trolled the collection once again.
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And we chose these certain photographs and objects that we thought if they had no provenance
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why can't they tell a queer story as well as they have told a heterosexual story. And two of those
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photographs are from the 1940s. I think it's post-war. One of them is a woman in trousers. They're
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black and white photographs. A woman in trousers holding a heavy horse's lead and the other one is a
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juxty caravan. Very attractive juxty caravan. And on the back of the photographs is a reason
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that this woman and another woman had traveled from Sydney by themselves in the caravan and
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stopped in tweed heads to seek some medical attention for the horse. And they liked it so much
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they stayed for five years. And I think it's easy to assume they were friends. But really they're just
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they were you know there's just as much chance they were together as a couple a romantic couple
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living here all those years ago. And those photographs are evidence of that with that that
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queer lens. And I mean we found lots of other really great photographs that are up on the website.
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There's a lot that show men and women dressing in their opposite gender. You know it could be
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seen as a dress up event or having a fun party and having a laugh. But with a queer lens does it
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tell a different story? Is it a is it gender play? Is it individuals experimenting with their gender?
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I think it's also an important part of that clear taking that queer lens is to extend that
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to members of the queer community. So one of Eric's great ideas was to invite members of the queer
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community that we've been collaborating with on this project to have a look at some of the objects
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that we've selected and interpret those objects or make a comment. And Tikozi we asked you to do that.
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I think it was for the same photo that Eric has just described.
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That's right. I mean you asked me to have a look at your objects that you picked out that stood
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out with your queer lens. And you know that one of the two women in the caravan really jumped out.
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And as you said, who knows there's a lot of the pressure to not name somebody as queer because
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that could be dangerous. It could upset somebody. It could be seen as a slur even.
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Whereas from my perspective as a queer man as a gay man, I think wow isn't that amazing.
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It's possibly a couple of lesbians wandering around outside together in a relationship
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and being quite public about it. And so there we are. We're not invisible. There's a little bit of our
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story. I don't see it as a slur. I just see it as another expression and sexuality and gender identity.
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And you don't even necessarily have to put a label on it. I mean it's a queering is very much a
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process as opposed to going around and stamping objects or something. Queer confirmed.
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So and you know that photo when we interviewed a local lesbian couple before Erica had
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even finished showing the story they were like oh yeah they're dogs. Of course. Of course they are.
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That's their immediate assumption. But within a lot of institutions there's this heteronolative
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presumption. The centering of the heteronolative story first and sometimes only stopping there.
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So there's another object that we queered which was a siph which is an agricultural tool used
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to chop the heads off weeds and things like that and a lot of people would be familiar with that
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as the object of the Grim Reaper holds. And certainly when I looked at that the image or saw
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those sites within our collection I immediately thought of the Grim Reaper in the AIDS ads,
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the Australian government aids ads in early 80s, mid 80s and what a terrifying image that was now
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for a lot of people they might look at that and just say oh yeah that's just an agricultural tool
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or but maybe for a lot of other people it immediately takes them to that. I see represents death
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and AIDS and scary virus at the time and a very scary ad campaign. These are two really good examples
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for people who might not be familiar with the process of querying our museum or a collection or a
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library is to seek feedback from the community invite the community to also evaluate and critique
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the objects and stories but yeah re-imagine those those events and those stories. And particularly
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museums were so three-dimensional focus because we've got showcases and we need objects and
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how can we do a show on LGBT, QIA people we have nothing you know that we can find but we can very
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easily display a site like that which is can be found in every regional museum. And you can tell
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that that story of the AIDS campaign and use that as a visual aid and that's a particularly great
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one of just being able to re-look at your collection to reinterpret objects in a different way
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to tell these stories where you might not have anything to help you do that you know at the beginning.
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The idea is not limited to this is an object that was once owned by someone who identifies as
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LGBTQI pass or you know that it could be an object that was owned by anybody but the symbolism
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yep or the the history attached to maybe that object being used in a different context is is
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also important to tell. So it's probably a good time to well to talk about so the one thing you
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want to do was was start collecting focus collecting on the new objects that can help tell these
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stories. So and already we've had some wonderful donations to the museum. We had a great the first
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novel from local author Jordan Clayton Lewis which Black Horse Park which came out in 2019 and he
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donated a copy of that which will go into our collection. We've had vinyl records from queer
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performers in the tweed. Great t-shirts that were worn during the marriage equality campaign
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we've just had wonderful pink taffeta sequined dress donated by Mitchell Hull his local drag queen
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and so we're really saying to build the collection now um you know and we will ongoing
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and that's been a really great part of project to watch like the collection grow in that direction as
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well. If anyone's are sitting and they do have some objects they think might be great. Please
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can touch and we're also interested in people's stories as well too. We within the Small Tank
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Clear website there are a lot of people's individual stories some wonderful people that have
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contributed stories and objects to the collection but we're also want to continue this project it
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really is just the start of actively seeking stories and histories of LGBTQIA plus people. So there
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is a link on our website where you can actually upload your story and image which will go into the
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collection archive alternatively you can contact us through the through the museum's website.
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And can you do that tell that story anonymously if you choose? You can you can um we
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we're in the case of going through the website you do have to give a name but if people are concerned
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about their safety or being public they can contact myself or Erica and we can we can talk to them.
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It is difficult though we do prefer to people um talk about themselves and
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what well I mean this is a good question Erica why is it important that when people contribute
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to a museum with their story or or their objects why is it important to be mindful that you do
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have a public profile? Yes I guess we do have one. You know we're a public institution so our
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collections and our archives are available for anyone to view and to use we clicked on
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behalf of the community of the tweed and so those stories and objects should be able to be viewed
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and read by anyone. I mean it doesn't it doesn't we won't reject a story. No and we wouldn't
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never ask someone. No we never ask a lot. Yep and there might be important stories that do need
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the protection of anonymity um but yeah it adds to what we call provenance and authenticity of
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the story they're trying to tell so it's a grey kind of area but and then sort of highlights the
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issue of the fact that queer stories have been invisible so long there are still people who don't
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feel comfortable to tell their stories and out themselves at the moment and that's where all
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histories are really valuable because people can do an oral history and say look we want some
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gone and that's available to anybody but of course it's not available now. Yeah we do have oral
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histories that are embargoed that tool or date or a date after death that's always an option
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and it does also talk you know collecting all these the objects and stories we did have to have
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a critical look at what systems we use to collect and catalog all of this information. Yeah it must
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be a new thing in a way I mean are they cataloged categories that had cover the queer stories.
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Yeah well I mean looking at our database system which is one that's used worldwide it's a very big
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one there's no there's no possible way to report a person's pronoun which is obviously a problem
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or sexual orientation which you know you traditionally might not record someone's sexual orientation
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but when it becomes part of the significance of why you are acquiring something you need to have
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the option to do that so you know if your data collection methods aren't even a safe place to
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collect someone's data then you've got a problem so we're currently working through changing that
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and giving those options within the collection management system which is quite a huge thing to do
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and the ones that's done will be available to museums worldwide who use the same system.
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And we've we've changed a few other little controls in our system that we could
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that allow us to you know record someone's gender beyond binary
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and so we looked at all those things and changed what we could and put in steps in place to
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to change the rest of it. We've also created a special classification
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called a queer collection and so objects acquired can be tagged with that so it makes them
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more findable way future researchers which is really really happy and then also overall we're
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putting in steps to change our whole collection policy to really focus on the historic things and
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contemporary things that intersect with LGBT queer people and stories well as well as a whole
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um spectrum of other kind of minority and traditional pressed groups of people um and it's not
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easy to change a collection policy it has to go all the way up to accounts or meeting and be ratified
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by council and we'll get that done early next year so that's that's been really good as well
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and then I think all of that you know this is all part of clearing the museum and it's even to take
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a look at our forms the museums forms and surveys I mean as you know you both know it's just that
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simple thing is someone able to identify themselves how they would like to one on your general day
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paperwork right when is it relevant when is it not relevant is it even relevant not everyone
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is comfortable with the word queer gender and sexuality don't always intersect so it is a
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reimagining that needs to happen a lot of different levels of public institutions and government
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a lot of it is beyond the scope of this project but I think by us re- and critiquing our internal
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systems within the museum and revisiting the collection management processes and the policies
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well I feel like we've set uh council on somewhat of a path they're definitely interested because
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they've had to read yeah about the exhibition they've had to read about the the what the new
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collection policy in order to ratify it and that's involved introducing volunteers and co-workers
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to new language terminology I mean there must be a period of practice that don't even give an
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option for gender and male and female for ourselves we also had to unlearn a lot of things there's
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a lot of education involved which is why the queer in the museum is a great book to refer to
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and we were fortunate enough to have training provided by ACON so all the staff undertook awareness
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training which is a wonderful program I'd recommend to our volunteers as well we can have volunteers
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we know there are people in management council that are also looking to potentially take that
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training as well so that's training about LVGTI community that's right that's right it's it's
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awareness training so it does it introduces you to individual people's stories they're you know
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the different categories of identification um even just basic common sense and courtesy when
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the asian with people and describing them in documents and that's what I think I mean is any other
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small museums of listening to this podcast like there's such a host of simple basic nits that aren't
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that hard to do um you know the forms and surveys and language are one acon trainings so affordable
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and online accessible to everyone and we also did the acon welcome here project which is a simple
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online form and then the acon will provide you with visuals because for your building that says
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everyone's welcome here because we know from our training that it can be something that simple
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as a rainbow sticker that can make it would you be tear people feel welcome in a place
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but that back to the you know council does have a um access and diversity
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policy but like how these projects intersects this kind of says to council hey let's just not have
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a policy let's actually do seven diverse and do projects that are and so hopefully that's what
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they take from them I think I hope so I mean this project we've worked I mean in you're one of our
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main collaborators but there's somewhere between 25 and 30 people from the LGBTQI community that
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have worked with us on this project everything from providing us feedback about their impression
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of the museum prior to being involved in the project to the experience of working with us to
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looking at our objects querying our collection and sharing their stories trusting us to be
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the carriage of their stories online but also to be handled and managed correctly and respectfully
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within the collection. At the Melbourne homosexual history conference a couple of years ago
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that was this forum where a number of people, myself a community historian and regional areas and
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people from capital city museums and state libraries and people from archives and they
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talked about how their institution or their organization or their space was querying itself was
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aware of how querying was was glamorising reviews that and glamorising itself to be much more
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inclusive and aware of their collection methods and their displays and their cataloging and
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everything to help them become more in touch with the stories and the lives of LGBTQ people.
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So it was a very interesting forum really and there was a lot of positive stories and
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lots and lots of organisations that I remember seemed to be on that path whether it was the
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immigration museum in satellite or the state of the Melbourne city library for instance having
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exhibitions about catarbonation and in terms of the area I mean I checked some of the organisations
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and galleries and spaces in the Northern Rivers and and and they list and found that there were
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a number of exhibitions and activities such as me putting on an exhibition at the Southern Cross
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Library there and etc and there was more where they actually had I realised when I talked to them
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they had already had two exhibitions one featured a famous local drag queen more both and they had
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also done another exhibition about an artist who was not specifically just queer but that was part
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of the story which may have not been recognised in the past that's right that's right they
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don't win talking to them they didn't really have a policy to make sure that they included
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a diverse stories in their exhibition space but in fact they have sort of helped them in a way to
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make it more a project in the future and I guess a lot of the representatives of those institutions
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must have been listening at that glamourising presentation of forum because it seems quite a
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pivotal moment because now we're seeing a lot of Australian both city and regional public and
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cultural institutions doing queer things queer representative exhibitions are all history projects
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so they're like yeah I mean I'm aware that for instance the I think I'm not sure if it's a gallery
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or museum or both in Wagawa they did an exhibition a couple of years ago on that queer
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museum I think that was a museum I mean a reverend
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yeah so I just read recently that the West Shown Museum in Perth
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has just announced that they have a full project to queer themselves and to offer more information
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and more stories and engage more with the LGBTIQ community
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and that's I think a really key word is engage is to not just take the stories and package them
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and display them you really have to include the community and have the community's voices very much
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in the centre and heard as part of that exhibition otherwise you can very much run the risk of
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ignoring an important part of someone's life or their identity and I think that's where it's you
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the small in our small town we are like regional places and museums we have such a different
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relationship with our local community like it's more intimate people can walk through our door
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and we see them whereas in a big you know I've worked in big national museums where you know
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see the public as a curator you might go years without seeing any member of the public at all so
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that's what we really tried to dig into an our project was the small town difference
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and it's digital too which I think is innovative probably came at the right time given that we are
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going through COVID but it also meant that we got quite immediate feedback from the community
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which I was very much sweating about I also want to be honest because I thought if we don't get
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that you know I talked about the community as this model is but really if if people with
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and important organisations within the LGBTQI community don't receive the exhibition well I was
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very worried about the feedback has been really positive because I would hope it's a project of
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the community about the community but also of the community yeah with the community and it also
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being online can reach a much broader audience than just a bit more and a lot of the people that
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have given me feedback I've also said things like I thought I was really the only lesbian or I was
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the only gay in the village they really did say that to me and repeat that that to me and was really
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happy to know that there was a history but also that there is a lot of people within the community
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doing great things trying to organise social activities as well as advocate and that less sort of
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not feeling so isolated which is obviously a thing that always come off in a small town or regional
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themed exhibition so that's been great for you back to here that people are proud of where they
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come from or where they've chosen to live or they have a greater sense of pride but also maybe
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feel a little less isolated than they might have and it's been great being you know particularly
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digital making it's made us so easy to pivot and react to feedback I mean I know on the first
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day or so someone in the community noticed something with said that wasn't quite correct and
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we're able to just with you know we're listening it just really really should we should be really
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transparent and say what that was so in the about section of our website we sort of state the
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objectives and one of them is to recognise self-determined identities genders respect that use that
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and then we go on to say by using preferred pronouns and a wonderful member of the community contacted
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us immediately and said it's pronouns it's not a choice it's not preferred to say pronouns and
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said that and the nicest respectful polite way and we like of course of course but neither of us are
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trans not that that's an excuse but we you know we're ignorant of that and we fixed it immediately
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well I don't think we're ignorant I think we knew we knew that our problem was you know the telling
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thing is we've written that about section at the start of the project that's true it's a good point
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it's kind of like proof you know it was our learning journey that whole situation it was still
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there for the start but we you know evolved and grown by the end of it but it does show you know we
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we feel like we're so open to listening to feedback and criticism and and all of those things and
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you know I think all museums should be really it's not be afraid of it at all and it's fantastic
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that you can respond immediately absolutely and you know we do we should have we do have a very
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a great director Judy Keane who's who's been our director through the project and it has involved
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actually the whole team yeah in education and and learning and we've thrown things around the
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office and we've debated the smallest things for days and it's really been a whole team
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team effort and it was always about making it right and respectful we were never questioning
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people's identities or the authenticity of who that was met you know we're so beyond that now
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really it's about making sure that those categories those descriptors the language that we use
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is correct respectful all of those things but also something that hopefully the future 50 years
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down in the line people can be searching our archive and it's not going to be so hard to find
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these stories because as Erica pointed out within our collection it was very difficult
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and then to go outside of the collection and use things like Trove we had to use a lot of
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awful words that we used to explain or people were pathologised or legal language you know
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really awful yeah exactly and you would have to use those kind of words in order to find the
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stories of LGBTQI-placed people and that's our commitment I think to you know the whole
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tweed community going forward is to let's not this can't happen again we can't just do this
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project in a separate way it's it's really integrated museum collection and practices that's
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going to ensure it doesn't happen again well thank you so much Anne T. D'Aesie Gray for your
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contribution um we couldn't have done it without you you already created these spaces these groups
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you're making this history long before Erica and I even imagined this project uh you've already
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been doing the work as we've already pointed out in a podcast that we did with you earlier that I
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would encourage this is to go and listen to uh people like yourself within the community have already
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been collecting stories and creating archives and we're really grateful to you and the Australian
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ganglars being an archive for opening up your collections and archives and stories and lending us
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your expertise and sharing your networks with us because it's made for the richer of a project
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and you were there you saw a lot of these stories you were there you could do the story and we
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really appreciate involvement in this project and we um certainly look forward to continuing working
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with you and members of the community that have been involved in small town for you
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oh well nothing you know your project isn't hopefully an inspiration to other museums particularly
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regional museums that's what we were saying yeah we hope to just if we all just have this
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cool approach to queer history then the ideas that one day it all joins up and in the small
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regions and it's found
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thank you for listening to the Small Town Queer podcast to hear more Small Town Queer stories
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subscribe to the series and like share and review this episode and check out the Small Town Queer
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playlist on Spotify curated by museum staff and project participants for more information about
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Small Town Queer visit museum.queed.newsouthwhales.gov.au forward slash small hyphen town hyphen queer
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Tweed Regional Museum is supported by the New South Wales Government through create funding
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New South Wales this project would not have been possible without the support and collaboration of
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the people of Tweed who have generously shared their lived experiences archives and objects with
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this project.