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                  <text>This collection gathered pace after the donation of a file of press cuttings and commentary around the Strangeways Prison Rebellion of April 1990 and has since been supplemented by copies of Taking Liberties, Inside Information and other newsletters, books and pamphlets. It is to be hoped that this collection can serve in bringing to light a lesser known area of activism that centres upon the repressive conditions inside prisons and prisoner resistance to these. Thanks to 56a Duplicates Committee and Mike Edinburgh.</text>
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                  <text>A collection of magazines and pamphlets. These include materials from the 1960s through to the 1990s, and range from communist and anarchist materials, to pamphlets from the left of the Labour Party. Of particular interest in this collection are Welsh materials. This includes a number of pamphlets and poetry chapbooks, and four issues of the magazine ‘Rebecca’, which covered many issues in Welsh radical politics in the mid-1970s. The collection also contains a run of ‘Unioneyes’, the news-sheet of Cardiff Trades Union Council, which Alex edited from the mid-1980s through to the early 1990s. This gives a unique and in depth view of rank and file struggles in the later years of the Thatcher administration, and in the wake of the crushing of the Miners’ Strike</text>
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                  <text>These materials, dubbed ‘dissenting ephemera’, were delivered to Mayday Rooms as a contextual backdrop to the October 2014 reunion of East London Big Flame. The close connections this group had to the Women’s Liberation Movement is reflected in the documents, discussion papers, flyers and magazines (Red Rag, Spare Rib) collected here.</text>
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                  <text>These materials, dubbed ‘dissenting ephemera’, were delivered to Mayday Rooms as a contextual backdrop to the October 2014 reunion of East London Big Flame. The close connections this group had to the Women’s Liberation Movement is reflected in the documents, discussion papers, flyers and magazines (Red Rag, Spare Rib) collected here.</text>
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                  <text>Named after a play by Liverpudlian writer, Jim Allen, Big Flame started out in the early 70s as a rank and file newspaper that gradually developed into a revolutionary socialist feminist organisation. It continued to issue a monthly paper and in each edition the following ‘Basic Points’ were reiterated (1) building a political practice based on the mass of the working class, not merely its representative layers (2) combatting reformism (3) ‘the social factory’ (4) class first, party second (5) for the autonomy of each specifically oppressed sector (6) a non-sectarian and non-authoritarian political method. Big Flame groups were soon established in London, Birmingham, Leeds and Manchester and close links were made with Italian struggles and ideas in the shape of Lotta Continua. Big Flame is, furthermore, notable for its internationalist perspective and for the key role it played in supporting the ‘autonomous movements’ of women, black and gay people. The materials held at MayDay Rooms include copies of the Big Flame newspaper spanning the 70s and a box file of contemporaneous internal documents. We are grateful to Martin Yarnit for depositing these with us.</text>
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                  <text>These materials, dubbed ‘dissenting ephemera’, were delivered to Mayday Rooms as a contextual backdrop to the October 2014 reunion of East London Big Flame. The close connections this group had to the Women’s Liberation Movement is reflected in the documents, discussion papers, flyers and magazines (Red Rag, Spare Rib) collected here.</text>
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                  <text>In 1973, behind a shopfront at 113 Roman Road, London E1, four young filmmakers – Joanna Davis, Mary Pat Leece, Ronald Peck and Wilf Thust – set up a cinema and production studio with the aim of introducing “films and filmmaking to those who had previously been excluded from the whole practice”. In the context of a polarised and politically charged Bethnal Green of the 1970s, many local children and young adults found at Four Corners – and in Wilf Thust’s workshops in particular – a sanctuary where they could explore forms of self-representation and develop vocabularies of commonality, resistance and dissent. These sentiments are shared by MayDay Rooms and since late 2013, Wilf has ‘reopened the account’ – together with some of those involved in the 1970’s workshops and many others – making collaborative use of his film output, notebooks, and photographs. This process, which takes the form of screenings, meetings and workshops, will continue over the next few years.</text>
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                  <text>Pamphlets have been in existence for as long as the printing press and are often associated with sedition and the distribution of censored and hard to get hold of material. With access to publishing more or less subject to monetary and professional control, the pamphlet has long been a means of subtly appropriating the means of publishing production and bringing ideas into circulation at a low cost. In these post internet times, MayDay Rooms is honouring this form through a growing collection of left libertarian pamphlets donated from many sources as well as by encouraging new publications through its Riso printer.</text>
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&#13;
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                  <text>The Midnight Notes collective, which marked a coming together of various radical strands of US left politics, began publishing its journal in 1979. The strands that comprised it could be said to have been influenced by the late 60s protest movements that included anti-colonial struggles, Italian autonomist Marxism and the Women’s Liberation Movement. A retrospective text from 2009, entitled ‘High Entropy Workers Unite!’, describes the project as having been “an anomaly in the United States Left” that had at its inception a concern to “theorise social struggles and class composition”. Internationalist in outlook it maintained a class perspective as it charted the changing crises of capitalism, changes that are reflected in the themed issues of its journal: the anti-nuclear movement, the work/energy crisis, technological revolution, globalisation, the new enclosures. A full set of these journals as well as associated pamphlets, correspondence and ephemera covering the period 1979 to 2009 were kindly donated by George Caffentzis.</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Typescript</text>
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            <name>Creator</name>
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                <text>Anon</text>
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            <description>Date of creation of the resource.</description>
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                <text>2015-03-17</text>
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            <name>Date Submitted</name>
            <description>Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal).</description>
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                <text>2013-01-26</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>unpublished</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>MN/GC/1#17</text>
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            <description>A name given to the resource</description>
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                <text>Work, More Work and Yet More Work (Draft)</text>
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              <name>Title</name>
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                  <text>In the late spring of 1969 four members of the teaching staff in the Sculpture Department at St. Martins School of Art in London began work on a project for students who would be entering the new three-year degree programme in the autumn. Their unique pedagogic experiment, which came to be known as the ‘A’ Course, was an extraordinary and inventive teaching programme that had a significant impact on what was taking place in British art education at the time. Because of its highly unorthodox nature the ‘A’ Course was widely known and largely misunderstood; it would not be unfair to say it was notorious. As part of a process of re-activating the past and involving original participants, MayDay Rooms has been in contact with former ‘A’ Course tutors/staff Garth Evans, Gareth Jones and Peter Kardia and students who have kindly participated, donated and loaned material. This ongoing ‘A’ Course Collection also opens onto other, less well known avenues taken by ‘A’ Course students in the 1970s including the Manydeed Group and the Poster Film Collective.&#13;
&#13;
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              <text>Peter Venn (Anthony Davies)</text>
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          <name>Location</name>
          <description>The location of the interview</description>
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              <text>Archive Storage Room</text>
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              <text>RL</text>
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              <text> * Folder, Instructions, Photographs
* "...also associated with 'table' sculpture..." as noted by Peter Venn    8/23/2014
</text>
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          <name>UID</name>
          <description>Unique ID</description>
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              <text>1298</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Miscellaneous</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Unknown</text>
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            <name>Date Accepted</name>
            <description>Date of acceptance of the resource. Examples of resources to which a Date Accepted may be relevant are a thesis (accepted by a university department) or an article (accepted by a journal).</description>
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                <text>2015-03-18</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1973-06-29</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>AC//1#16</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Work/Exhibition space project</text>
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