After 30 months, the Europeana Food and Drink project is ending, but its impact should last some time longer: Following our new content providers campaign, we are proud to present one of the special new contributor, the Natonal Historical Museum in Athens.
We asked PostScriptum from Greece, partner and work package lead of the project, how this collaboration came about and how the National Historical Museum will contribute to Europeana Food and Drink.
How did you get in contact with the National Historical Museum?
PostScriptum (PS) maintains a long lasting cooperation with the Historical and Ethnological Society of Greece, owner of the National Historical Museum in Athens and of its department, the Lazaros Koundouriotis Historic Mansion on the island of Hydra. PS implemented the project “National Historical Museum. Virtual Exhibitions and Educational Applications for Modern Greek History” under the NSRF and the Operational Programme Digital Convergence, which lasted from November 2013 to May 2015. With the implementation of this project, the National Historical Museum was rendered capable of opening its collections to the public through the use of digital media. Collections were digitized, documented and uploaded to the well-known collection management system MuseumPlus, and then re-used for the production of various educational applications (virtual exhibitions, virtual tours, educational apps etc), available through the also upgraded internet site of the museum (www.nhmuseum.gr) and through the online Google Play Store and Apple App Store. The general aim of the project was to signal and put on track the new “digital openness” policy of the museum.
Following this successful collaboration, PostScriptum got in contact with the National Historical Museum in the context of the New Content Providers Campaign that was running. We thought it’s a cultural organization ready and mature to contribute to a project such as Europeana Food and Drink. The project was an opportunity for the Museum to expand the horizons of its collections under a different perspective, increase their impact, promote the collections at a European and international level and make them available for re-use by other services.
Could you tell us more about the museum and their content highlights?
The Historical and Ethnological Society of Greece is a private, non-profit trustee foundation, dealing with modern Greek history. Being the oldest such institution in Greece (founded 1882), it is recognised by the State as of National Interest, and is housed in the Old Parliament Building, a historic landmark of Athens.
The National Historical Museum contains precious collections, such as Flags, Arms and Armour, Portraits and landscape Paintings, Costumes and Personal Possessions of historic persons. It also contains an important ethnographic department, as well as Archives of Historic Documents and Photo-archives of primary importance. Its Permanent display centers around the ideological revival leading to the Greek War of Independence of 1821, the war itself and the efforts all through the 19th and early 20th c. for political development and territorial expansion of the Modern Greek State. Temporary exhibitions deal with numbers of other issues, related to alternative aspects of the same periods (social and cultural issues etc), with other periods of time, up to today, or with commemorative anniversaries of highlight events. The museum also publishes an array of scientific and popularising editions on historical subjects, and organises cultural and scientific events and meetings.
What kind of content will the National Historical Museum provide to Europeana?
The National Historical Museum has proposed to provide documented images of objects from its collections and of archival material. The aim is to highlight an aspect of the private life of historic persons, of habits and customs of their time, of political decisions relating to the production and consumption of comestibles, of the arts as applied on utensils of cooking and eating, and of their political implications.
Examples of such objects would be:
Decrees and official announcements on the cultivation of specific products
Pictures relating to the production of food and drink in traditional rural society
Furniture and food and drink utensils owned and used by historic persons
Romantic porcelain decorated with Greek subjects, created for the support of the Greek Independence movement.
Works of art depicting aspects of daily life relating to food and drink, or even related still life paintings.
Initially, the NHM is able to rapidly provide at least 50 items from this non-exhaustive list, with the understanding that the number may rise according to availability following research in the museum’s documentation system.
We are looking forward to see the these food and drink related images on Europeana, complementing near to 70,000 images which have been already made available through Europeana Food and Drink.
By Vasia Pierrou, PostScriptum and Angelika Leitner, Austrian National Library
This document is intended to be a guide to creating a book using digital cultural heritage resources sourced from Europeana or other digital cultural heritage platforms. It is based on the experiences of the Europeana Food and Drink consortium partners, who created a book about the history and heritage of local London pubs, using a collection of pub photographs from the 20th Century that are available through Europeana.eu.
Before starting out to create a book using digital cultural heritage resources, the most important thing to be aware of is that it will take some time. The creation of the London Local Pubs: Past and Present book, on which these guidelines are based, took a year from its initial concept to the final publication. However, the relationships necessary for this project had been established before and had to be maintained after publication, so the entire process took closer to two years.
Phase 1 – Developing the concept
To develop the fundamental concept of the book, there are three things that need to be considered, namely audience, collection and theme. These segments are equally important and need to connect to each other in a logical way, therefore they need to be developed at the same time. This triad forms the backbone of your book and should be referred to throughout your development process.
Collection: Identify an interesting collection (in our case, through Europeana), making sure that you can use it commercially and that you have access to high quality material. You can also use one of your own collections.
Theme: In parallel, think of a good theme or idea for your book that can be illustrated using the material you can find in your chosen collection. Think about why it would be interesting and how it is different from previously published books.
Audience: Think about the audience for this publication. Who are you trying to reach? Who would be interested in this book? It is important to identify a specific type of audience, rather than the ‘general public’, as this will inform much of your marketing strategy. If necessary, create an ‘audience profile’ that will help you to visualise what type of people you are reaching out to. Research networks of people in your locality that are connected to your audience and make notes about how to contact them and what their interests are — this will help you a lot later on in the process.
Phase 2 – Finding a publisher
Once the above three factors are firmly in place, the next steps are related to finding a publisher that would be interested in publishing your book.
Step 1: A comparative review of other books What other books have been published in the last few years that are related to the theme you have chosen? Who has published them? What is the audience for these books? How much are they being sold for? What is their ranking on websites like Amazon.com? What is the design of these books? What is their tone of voice?
Step 2: Shortlist publishers If you are going with traditional publishing, make a list of publishers that are likely to publish your book and that you want to pitch to. Keep an eye on the type and calibre of books that they usually publish and see if your book idea fits in with that. Make notes of how you can approach these publishers with a pitch, e.g. a certain email address or phone number.
Step 3: Pitch to publishers Pitch to the shortlisted publishers using a short and well-designed pitch deck that explains the basic idea of the book, showcases the content you want to use, gives a rough idea of your timeline and explains what effort you will put into marketing the book.
If you have access to a designer, you can perhaps mock up some pages of the book as you have them in mind.
Expect about a 1 in 10 chance of a publisher being interested in publishing your book, so make sure to approach as many relevant publishers as possible.
Step 4: Discuss with publisher Once your pitch has been accepted by a publisher, discuss the below points with them before signing a contract with them.
Contribution. It might be that the publisher asks for a monetary contribution towards the cost of publishing. Consider whether this fits into your operations and whether you think this request is reasonable compared to what services the publisher is providing.
A workable delivery schedule. If you are writing and sourcing content yourself, make sure to leave yourself enough time to do this. If you are outsourcing this work, provide clear briefs to the people you are working with and set up regular check-in times.
Royalties. What is the publisher offering in terms of royalties? Can you accept these royalties or would it interfere with any grant funding? Decide how the royalties will be distributed.
Frequency of reporting. Agree with the publisher on the frequency of reports on the sales of your book, perhaps based on what you need from any funders. Quarterly reports are common.
Author copies. As author of the book (or at least the organisation signing the contract with the publisher) you are entitled to a number of author copies. How many you can expect depends on the print run. Author copies are useful for giving away to reviewers and to those that have helped you create the book.
Sales channels. Which sales channels does the publisher have and where can you expect to see the book being sold once it has been published?
Marketing. What is the publisher’s common practice when it comes to marketing? Will they use their networks to promote your book?
Phase 3 – Sourcing content and creating partnerships
Once you have finalised the contract with the publisher, you can start sourcing content in earnest, as well as reaching out to the networks that you have identified in the first phase and get them involved.
Make sure to clearly attribute any content you use in the book to Europeana or any other source it stems from. Double check to make sure you are allowed to use all content for commercial purposes. The publisher will expect you to have cleared the rights of all material that you deliver to them.
Reach out in earnest to individuals and networks who would be interested in your book. A soon-to-be-published book is a great trigger for engagement. Ask questions about the subject, ask them if they have material related to it that could be used in the book. Gauge if there is interest in doing some crowdsourcing events. They are a great way of getting people invested in buying the book once it has been published.
When doing crowdsourcing events to collect some stories, memories and material from your audience (there is a helpful guide to doing crowdsourcing events in pubs here, which can serve as inspiration), make sure all your participants sign release forms so you can use their material in your publication. Keep a record of their contact details so you can invite them to later events.
Ask some members of your intended audience to review your draft publication and give you feedback.
Phase 4 – Marketing and book launch
Once you have submitted your final manuscript to the publisher and while the book is getting printed, which can take a few months, start thinking about the marketing you want to do around the book. There are a few suggestions below:
Landing page. Set up a landing page to function as the main source of information about your book. Make sure to get a snappy short link and use a website building tool to make it look professional. Set up website analytics so you can collect visits, views and click-throughs. Provide information about the book’s launch date, where it can be bought, what the story behind it was (this is also a good space to mention any funders), where people can explore Europeana collections in more detail, hyperlinks to your own website etc.
Press release. Write a press release for your book so you have it ready to send out when the book is published. Focus on the story and theme behind the book, rather than the fact that ‘a book has just been published’. It should be interesting and easy to read.
Networks. Utilise your networks to the fullest. Ask your contacts whether they know anyone in television, radio or newspaper journalism that they can introduce you to. Again, focus on the story behind the book rather than the book itself here.
Social media. Send out teasers on social media, with sneak peeks of the book when it is due to be launched. Perhaps organise a contest for your online audience, which offers a chance of winning the book. Keep using your social media channels to promote the book once it has been launched. As for the landing page, ensure that you have appropriate ways of measuring the engagement you get your social media channels.
Involve friends, online users, colleagues, etc. to spread the word about the book online and offline. Direct marketing and word of mouth communication are often key elements to push sales and promoting a book effectively.
You can now also start planning your book launch. Check with the publisher what their common practice is.
Invite all contributors to the book to your launch. Also invite prominent figures from the networks that you identified earlier.
Try to host the event in a venue that has some connection to your book, either through the theme or through the audience.
Ask a prominent person from the audience to give a speech.
Provide some complimentary food and drink for your audience.
Have copies of your book on hand to sell or to give away.
Organise a photographer for the night and use your social media channels to share the launch with a wider audience afterwards.
Hopefully these guidelines will have given you some insight into how to develop effectively and market a book based on digital cultural heritage resources. For more information about the Europeana Food and Drink project and the London Local Pubs: Past and Present book on which these guidelines are based, visit www.foodanddrinkeurope.eu and www.londonlocalpubs.com
Europeana Food and Drink Plenary Meeting Budapest, 6th-7th June, 2016
For the fourth and final Plenary Meeting, all partners of Europeana Food and Drink gathered in the heart of Europe, in Budapest. The Hungarian Museum of Trade and Tourism (MKVM), culture sector partner within the project and also the only dedicated museum of travel and tourism in the world, welcomed participants with warm Hungarian hospitality and of course, culinary heritage and culture.
In the morning of 6th of June, representatives of the Project Management Board assembled to discuss final steps within the project and set the main focus for the two days: As the project officially terminates end of June 2016, a recap, lessons learned and ideas to maximise the legacy of the project, but also organisational matters were part of the agenda.
More than 45 representatives of all partner institutions discussed key achievements, experiences but also any open tasks for the finalization and reporting of the project. It was emphasized how personal relationships and advocacy as well as the community are important factors for bringing forward a project such as Europeana Food and Drink.
As a special guest, we were happy to welcome external collaborators from Greece: Maria Triantafyllou, Director of the National Interprofessional Organisation of Vine and Wine (EDOAO) and Filippos Mazarakis-Ainian from the National Historical Museum of Greece shared their experiences working together with Europeana Food and Drink.
Surrounding these two days of meeting, partners learned about the Hungarian food culture, both in theory and practice: The food and drink related exhibitions of MKVM and a great local dinner, topped by an evening boat trip on the Danube set the tone for a fruitful and positive meeting.
Thanks a lot to The Hungarian Museum of Trade and Tourism and Collections Trust, coordinator of the project, for hosting and organizing the final All Partners Meeting in Budapest.
Mid of April 2016, students from eight European countries and USA saw a very special challenge: Translating a passage of the famous epic poem “Metamorphoses”, with the theme of food and nutrition.
Parcite, mortales, dapibus temerare nefandis corpora! sunt fruges, sunt deducentia ramos pondere poma suo tumidaeque in vitibus uvae, sunt herbae dulces, sunt quae mitescere flamma mollirique queant; nec vobis lacteus umor eripitur, nec mella thymi redolentia florem
“No, mortals,” he would say, “Do not permit pollution of your bodies with such food, for there are grain and good fruits which bear down the branches by their weight, and ripened grapes upon the vines, and herbs—those sweet by nature and those which will grow tender and mellow with a fire, and flowing milk is not denied, nor honey, redolent of blossoming thyme.
Within the framework of the “Certamen Ovidianum Sulmonense”, the international annual contest for the best translation of Ovid’s literary works, ICCU organised an event dedicated to Europeana Food and Drink. The Central Institute for the Union Catalogue of Italian Libraries and for Bibliographic Information in Italy is one of the Culture Sector Partners within the project.
On Friday 15th April, 70 students arrived in Sulmona, Italy. They were challenged in the translation of a passage of the famous poem “Metamorphoses” by P. Ovidius Naso.
Art, History and Food Heritage through Sulmona
The day after, Saturday 16th April, the students participated in the initiative “Ovidie Quo Vadis” organised by ICCU in cooperation with the Archeoclub of Sulmona. The aim of this initiative was to make known the rich artistic and historical heritage of Sulmona together with the local food and drink products of Valle Peligna. The participants used the app “CityQuest” developed by PACKED Expertisecentrum Digitaal Erfgoed Vzw within ATHENA plus European project. This fun activity allowed the participants to explore the attractions of this area in few time together with the local food. The local secondary school “Liceo Classico Ovidio”, the Archeoclub of Sulmona, and the Rotary club of Sulmona will maintain and distribute “Ovidie Quo Vadis” to the tourists in the next city events.
Each participant of the initiative received a bag containing postcards and bookmarks of the Europeana Food and Drink project and local food specialties(pasta, sweets, creams, garlic, honey) and also olive oil soap provided by the local consortium of producers and dealers “Italia Autentica”. This end demonstrates how it is possible to join history, literature, art and wine and food heritage.
Stay tuned for the winning translation, which will be posted on our blog soon!
Now that Europeana Sounds, Europeana Food and Drink’s sister project dedicated to sounds, has aggregated over 300,000 sounds and nearly 200,000 audio-related objects, many different topics are covered – not just music but politics, culture, languages and wildlife. If you have a search for different types of food on Europeana Sounds, you certainly won’t be disappointed by the diverse material which comes up. Europeana Food and Drink is proud to share this guest post by our partner Europeana Sounds with you – because food can certainly be enjoyed in many different ways!
If Europeana Sounds be the food of love…
By Tom Miles, The British Library, Europeana Sounds. With images via Europeana Food and Drink
To celebrate the Easter period, we posted a blog about eggs in general and, in particular, Easter eggs. This blog post will be casting the net a little wider and will take a look at other foodstuffs. Let’s start by looking forward to “The old Sunday dinner”, a song from the Irish Traditional Music Archive.
For a taste of the more upmarket, the chef Michel Bourdin talks about turbot, quail eggs, crab bisque and more when he worked at the Connaught Hotel. And the Dungeness fisherman Mark Richardson talks about terms used for fish and shellfish across the fishing industry in the United Kingdom. Some names are the same throughout, but some change from region to region.
But, why take our word for it? Find out more for yourself! Just to get you started, we have nearly 200 references to breakfast… 60 references to supper… 440 references to dinner… 265 references to coffee… and, finally, 677 references to tea… including everyone’s favourite food-based melody, “Tea for Two” – from Bing Crosby, Lester Young, Fats Waller and others.
If you find any more interesting food-related sounds, please do let us know!
All these recordings are shared through Europeana Sounds, ground-breaking project supported by the European Commission. Launched beginning of 2014, Europeana Sounds aims at offering a much needed gateway to Europe’s sound and music heritage, ranging from music and radio programmes to spoken word, environment, and sound effects recordings.
The Royal Museum for Central Africa (RMCA) visited Historypin in London beginning of May to learn more about crowdsourcing and to discuss ways of engaging people with their priceless collection of food and drink related photographs taken in colonial Africa. This workshop was organised as part of the community engagement work in the Europeana Food and Drink project.
The RMCA is a respected cultural institution from Belgium, collecting material relating to Central Africa and providing a platform for current debate about Africa. Historypin is a website where communities and organisations can contribute their local and regional history.
Tell us what you see
Dieter and Joke from the RMCA met up with Lise from Historypin to talk about how they could showcase their great photographic collection to their audiences, as well as how they could use Historypin’s crowdsourcing tools to generate engagement and annotations.
As a result of the workshop, the RMCA will upload around 350 of their photographs from the Europeana Food and Drink content base to Historypin.org and ask their audiences to comment on the photo and describe the people, scenes and activities in it. These comments can then be pulled back to Europeana, as well as to RMCA’s own content management system, through Historypin’s API.
As Dieter said: “I would recommend uploading your collections to Historypin to everyone. It is a very easy way to get your collections out there where they can be seen. Being able to get your content enriched by your audiences on a nice looking platform is great, especially if you can then pull back these enrichments to your own database.”
The RMCA and Historypin will launch their crowdsourcing campaign in June 2016.
As the final instalment of our blog series about the London Local Pubs: Past and Present ebook, we interview Adrian Tierney-Jones, well-known British pub and beer writer and the author of the book and ebook. We picked his brain about pubs and why he likes writing about them, and asked him about his research for this particular book, which ended up differing a little from his usual process.
What did you like best about working on this book?
I loved finding out about pubs that I’ve never heard of. It gave me a sudden interest to seek them out. For example, I’d be keen to visit the Railway Tavern in the East End, the one with the early morning opening hours for the railway workers.
As I’ve written many books about pubs in London, I think I know them all. I also used to live in London and know many pubs personally. However, this book has opened up a whole new layer of them for me to engage with. It is always great to discover and rediscover pubs.
What did you think about the story-gathering process and did it help with your research?
The story-gathering process was really great. Historypin’s Community Officers would go and set up a community archiving session in one of the pubs, where they invited landlords, regulars and locals to come and share their memories and experiences of the pub. In some pubs, they even collected photographs and drawings. They would then send me the audio files and their transcriptions, as well as the materials they had collected.
For me, this was very helpful. It takes a lot of time to do research and sometimes professional writers just don’t have the luxury to do this in-depth work. Having a team that goes out and talks to the people in the pubs is very useful.
What advice would you give people who also want to write books about pubs?
Listen to people. Pubs aren’t just the buildings they occupy or the beer they serve, but they are made up of people, past and present. When you write about a pub, you need to evoke the atmosphere of the pub and make the reader feel that they are part of this mini-universe by engaging all their senses. But not just the reader needs to feel a connection to the pub, you do too. A public house is a public home, so be a part of it.
London Local Pubs: Past and Present is an ebook developed as part of the Europeana Food and Drink project, taking the reader on a journey through the history of London’s pubs, told through never-before-seen archival photographs and the stories and memories from their landlords and regulars. You can find more information about it and buy a copy of it at www.londonlocalpubs.com
Today we shine the spotlight on the London Local Pubs: Past and Present ebook, one of the Europeana Food and Drink products. The portable format of this publication makes it the perfect companion for visiting London to enjoy the traditional British pubs, or for discovering them from the comfort of your own home. It is available for purchase here.
The ebook tells the stories of 52 pubs in and around London through stunning historical photographs and memories shared by pub landlords and regulars. It includes a map and address details for each pub, so it is easy to visit and experience them for yourself.
In the ebook, each historical image contains a link to Europeana.eu, where you can find more information about the photograph. There is also a link to Historypin.org for every pub, so you can contribute your own pictures and memories to the growing archive of stories there.
London Local Pubs: Past and Present is written by Adrian Tierney-Jones, a pub and beer writer from the United Kingdom. He has drawn together all stories and anecdotes about each pub into rich, evocative descriptions, such as the one about the Newman Arms below.
“Here we are in Fitzrovia with Dylan Thomas cadging a drink and offering some words on a scrap of paper as payment. Or maybe it’s George Orwell, silent in the corner, mulling over his pint, observing and seeing all (he used the Newman Arms as a model for the proles’ pub in 1984; it also appeared in Keep The Aspidistra Flying). Other picaresque characters, whose novels, poems and paintings failed to move further than the table, have also come and gone through the doors of the Newman Arms since the 1940s, when this close-knit grid of streets first developed its racy, bohemian reputation.”
If you want to explore the pubs in a different way, why not visit museums.eu/trails and follow one of the pub trails there? All 3414 photographs from the Charrington collection, which form the basis of the ebook, are also available to browse on Europeana.eu here.
This blogpost is the first in a series in the development of the London Local Pubs: Past and Present ebook. The next installment, written by Enrico Turrin of FEP, gives some insight into ebooks and the reuse of digital cultural heritage through the eyes of ‘traditional’ publishing.
The London Local Pubs: Past and Present ebook has been published by Halsgrove Publishing as part of the Europeana Food and Drink project, with assistance from the National Brewery Heritage Trust, Historypin, Federation of European Publishers, Fratelli Alinari, Topfoto and Keepthinking.
The event aimed at bringing together representatives from the world of culture, wine, tourism, media and creative industries in order to exchange, learn and use content related to food and drink and to create dialogue on prospects and potential partnerships that may arise on the occasion of the Europeana Food and Drink (EFD) project.
Cultural Heritage of Wine and the Attica Wine Trail
Mr. Kostas Konstantinidis, Managing Director of PostScriptum, welcomed the guests and set the context of the discussion. Mr. Markos Bolaris, Deputy Minister of Agriculture, delivered salutation and underlined the importance of initiatives such as the EFD project regarding the development of the economy and of synergies’ climate. Mrs Maria Triantafyllou, Director of the National Interprofessional Organisation of Vine and Wine (EDOAO) spoke for the benefits of such attempts of the wine industry.
Mr. Nikolaos Simos from NTUA presented Europeana and the NTUA participation in EFD project and PostScriptum and Mrs Alexandra Nikiforidou, presented the scope, the achievements and the impact of the project.
PostScriptum and Mrs. Vasia Pierrou introduced visitors of the evening to the Attica Wine Trailwhich was created with material uploaded to Europeana in the context of EFD project. The applicaton was implemented with the contribution of wineries of Attica and the support of EDOAO.
Europeana, Clio Muse and Big Olive
The presentation closed with the speeches of Mr. John Nikolopoulos from Clio Muse, winner at 1st Open Innovation Challenge of EFD, and Mr. John Zaras from Big Olive, who were referred to successful examples of cultural content exploitation. Mr. Nikolopoulos talked about the experience of Clio Muse in the contest and the business exhibits interface designed from various museums in Europe through the Europeana network with stories about food and drink, for which the app was awarded. Mr. John Zaras talked about the food and drink trails that Big Olive implements in the physical space and their connection with the cultural content and the EFD project.
The presentations were followed by a tour in the Wine Museum and of course food accompanied by fine wine, sponsorship of Domaine Lazaridis. Participants had the opportunity to learn further about the project, to know each other better and to discuss ideas for possible future collaborations and synergies.