How we funded the event
We are sharing our application and budget information so that it can help others to budget for and fund events motivated by similar politics.
We submitted a funding application to the Centre for Critical Heritage Studies at UCL, seeking funding through their small grants scheme. We were able to do this because one of us was a PhD student at UCL during the application stage.
To help others apply for similar grants, here is the text we used in our application:
“The proposed project is a day long symposium exploring intersections of DIY cultural production (DIY music venues and autonomous spaces; zine making; blogging; podcasting) and archives/heritage practices. Recent collaboration between heritage organisations, zine makers and DIY cultures includes the acquisition of significant countercultural collections by libraries and museums (for examples, the Riot Grrrl Collection by Fales Library) and the establishment of community-led initiatives including the Manchester Digital Music Archive, Salford Zine Library, Queer Zine Archive Project and Birmingham Music Archive. The mobilisation of these networks and communities to capture and collect the heritage of DIY cultures highlights an ongoing need for what Jenna Brager and Jami Sailor refer to as “an intervention by underground cultural producers in the academic project of archiving and “academising” the subcultural practices in which we participate” (Sailor, 2010: p. 1). This also aligns with the aims of the Association of Critical Heritage Studies’ manifesto, which calls for practitioners and researchers to “critically engage with the proposition that heritage studies needs to be rebuilt from the ground up, which requires the ‘ruthless criticism of everything existing’” (Association of Critical Heritage Studies, 2012: online).
This interdisciplinary event will draw together researchers, cultural producers and practitioners to collectively explore the politics, practices and methodologies underpinning these projects. Collectively we will explore the following key questions:
• What methods do DIY cultural producers and organiser utilise to document and record their collective histories?
• How are archives of DIY cultures created, managed, preserved, described and accessed?
• What does a DIY model of archival practice look like?
• How can DIY communities be supported to document and archive their own histories?
We believe that a symposium is an appropriate way to develop critical heritage studies in the area of DIY cultures because of the potential capacity to build multidisciplinary networks, increase knowledge exchange and debate between practitioners, researchers and communities, and to centre communities often marginalised by traditional heritage practice. Each of these has been identified as priorities by the Association of Critical Heritage Studies.
The symposium supports and contributes to a number of the Centre for Critical Heritage’s research clusters. These include Embracing the Archive, which the symposium contributes to via a focus on community-led and collaborative archival methodologies as well as and archival interventions by marginalised groups. By exploring the often personal and affective motivations for undertaking DIY and countercultural archiving projects, we also connect
this work to the centre’s heritage and wellbeing cluster. Finally, by focusing on cultural production undertaken by grassroots communities and the relationship between current (and future) cultures and heritage the symposium directly engages with the themes of the making global heritage futures strand of the centre. We seek funding from CCHS for this project because this event is rooted in the commitments to ethical, socially just and diverse
heritage research to which the centre is also committed. As a group of interdisciplinary researchers and community members, we believe this is an appropriate grant to apply for because of the centre’s commitment to fostering cross-disciplinary collaborations and longer term research collaborations.
The funding will be used to run a day long symposium exploring the issues mentioned above. The target audience is a combination of academic researchers, DIY cultural producers and organisers, historians, archivists, community members and information professionals to maximise meaningful knowledge transfer and ongoing networks. The selected venue will be a public library space in London We wish to hold this symposium outside of university spaces in order to maximise accessibility to participants from outside the academy and from within DIY communities, hence the choice of a public library or archive space. As such we have allocated a substantial amount of the proposed requested
grant to support travel bursaries for those working outside of institutionally funded contexts. By doing so, we seek to minimise attendance costs to those who might otherwise be excluded from academic spaces and, as such, discussions about the way in which DIY cultures are historicised and archived. The event will include a mix of session formats including academic panels, workshops, personal reflections, professional case studies and creative sessions led by facilitators.”
Finally we provided a draft timetable to give an indication of potential speakers or subjects that would be covered in the event. This is not reproduced here as it was different to what we programmed for the final event.
We were awarded £2,000 for the event from the CCHS and raised a further £425 through donations via eventbrite.
Following the onset of the pandemic, we requested to use our funding to pay speakers, live captioners and one member of the collective to do admin work as our initial budget covered costs associated with an in person event.
We spent our budget as follows:
|Admin staff support in the lead up to the event||£920|
|Live captioning support||625|
We were left with a surplus of £100 which is carried over to fund any other events run by the collective.