Whose Archive is it Anyway?

An archive is a collection of historical records or an actual place that they are located in. Archives contain documents which have been collected over a longitudinal period of time. These primary documents are then stored and used to showcase the function and or story of a particular person or organisation. Archives are used to allow us to gain a more in depth understanding of the historical factors at a particular moment in time, and act as a repertoire allowing us to reflect on the history of that specific place and time. Records stored within an archive is varied, from diaries, legal documents, financial documents to photographs and film. An archive can act as repositories of cultural memories of the past, as we are able to store reliable documents, which are memories of the past, which when we reflect on the documents will clearly show cultural memories. Although they are reliable, imagery is highly subjective which can lead to misinterpretation of the objects stored within an achive. Archival memory can be considered a social construct as they can show power of relationships in that society at that particular time in history.

Photography can perform as a double role within an archive as it visually showcases the person or organisation. Photographs can be used for both scientific purposes (images which are precise and detailed photographs of industrial events and processes. These photos can be used for monitoring industrial processes and allows us to view and analyse the change in the process. Within an archive this scientific purpose is useful as it allows us to see how a process or industrial event has changed from an archival image compared to a recent image of the same thing, allowing us to visually see a clear change) and artistic purposes (images which allows us to visually see the historic and cultural elements of the time and place at which the photograph was taken at. These photographs can almost tell stories which gives us insight into what life is like in that image and allows the imagination of the viewer to explore and interpret the photograph in a unique way.) which showcases the double role, of scientific and artistic purpose, which photographs have within a photo archive.

David Bate’s text explains how museums often use archives and collections of artefacts in order to display and present a particular cultural and or historical moment in time. Museums creates historical narratives of culture and can act as a repository of memories.

At the beginning of the text it talked about the ‘British Museum’ in London and how they only employed the first photographer, Roger Fenton, in 1854. Fenton captured images of the museum’s interior showcasing the artefacts, the reason behind this was to showcase what these artefacts looked like in the Victorian era, showing change and the historical values of the museum. The text says “The pictures themselves create an atmospheric space, with a kind of silence around the artefacts, a stillness of the historical museum.” This implies that the objects are said to have an “aura”, suggested by Walter Benjamin, which created a historical distance, outlining the importance of the historical factors in relation to the object. Fenton’s arhived images are still famous and are featured in museums to showcase the artefacts.

Another key artist mentioned within the text is Tracey Moffatt, who painted the series ‘Something More’ in 1989. In this series the paintings present a “fictionalised biographical account of a young Aboriginal woman’s desire to leave her rural life in the city.” In these images the background holds blurred figures in the background which are starring at the woman located in the foreground, the difference in appearance of the people helps to showcase the story and cultural factors within the paintings. Needless to say, the majority of the stories end in violence and or death. It is said that Moffatt’s early work within the series where based on personal memories, which makes her work a personal archive of personal memories presenting historical factors of her past.

Example of Moffatt’s Painting

Another key artist mentioned is Susan Hiller, who created hundreds of postcards of waves crashing onto the coasts around Britain, each postcards is presented differently through the experimentation of tinting, black and white and painting them. The postcards are then arranged into a grid format, showcasing an archival of “how a culture sees itself”. It is said that all the images work well together creating a lyrical display, as our eyes go round the frame following the waves crashing. Although the piece can be tranquil, the natural force of the sea begins to suggest a different viewpoint of force and power, which creates a link yo an emotional threat by a hostile person or idea. These methods and attitudes makes Hiller’s work an anthropologist or cultural archivist.

Susan Hiller’s photography

In a recent documentary on the BBC, Dr Gil Pasternak researched the photographic history of what family photographs say about Britain’s post-war social history. Within this they looked at issues concerning social class, gender and cultural background which affect the production, use and perceived meaning of a family portrait. They also looked at how the internet is changing the way photo archives are stored and used. Family Narratives where mainly shown through photo albums which showcased how precious some of the stories and memories where to the family. An important phrase told by Dr Gil read “These examples demonstrate how the development in photographic technology combined with local social history influenced the types of photographs they were able to capture, and therefore also the stories they were able to tell about themselves, their family and friends, their beliefs, interests, aspirations, and life in the UK more broadly.” They also said “In the era of smart technologies, family photographs no longer merely function as memories of the past, but they instead become active participants in the formation of our present experiences and in shaping the dynamics of family life.” This quote summaries the conclusions of the research and how modern day is shaping society and photography.

With the world constantly changing, and the future looking to be solely reliant on technology, it begins to suggest how archives will change and adapt to meet the requirements of the future. Many people share there images through social media, from facebook to instagram, which creates an online storage/archive of that person’s past, which allows others to reflect on their past and presents that person’s narrative in life. Images are much easier to store this way and are more cost effective, compared to printing them out, and accessible to everyone making this an ideal way for people to achieve their past. A limitation to using modern technology to create archives is the issues of loosing images, or if a social media sight was to shut down, due to this it can lead to an incomplete of completely lost photo archive, making material harder to find and less reliable.

To conclude, an archive is a key tool for contemporary photographers. They provide historical/cultural narratives which gives us insight in what life was like at that time and place. The documents stored within an archive varies but all still help to present a specific memory and provides useful insight. Archival material can enrich my personal study as the material will gives me insight into historical and cultural elements of the second world war, which enables me to think more carefully about what I am capturing and allows meaning to be presented within the images. Moreover, the narrative of the images tells the story of the war and the different aspects which will allow me to explore the story and the different aspects, which will provide a more well rounded project. In addition, archival material will be useful when I want to explore the memories of others in order to present their stories and will provide useful historical facts and stimulus’ to help develop my idea and knowledge of the war. In Jersey we have an archive called “Societe Jersiaise” which is a photographic archive containing roughly 80,000 images dating from the 1840s to present day. Due to the resources available to me should lead to an in-depth research into Jersey’s Second World War. In addition, a photographic achieve is a valuable source for contemporary photographers because of the idea “the best art understands a history to anticipate a future.” It also allows photographers to look at interpreting history in a new way to reveal a subjective narrative.

Jonathan Andrew

Jonathan Andrew is originally from Manchester in the UK but now lives and works in the city of Amsterdam for over 20 years. He is an award winning location photographer with many years of experience. In his career he has worked for National Geographic and other Dutch magazines.

Next to his assignments he likes to pursue personal projects and travels to places like the Faroe Islands, Sweden and Scotland to work on his landscape photography. He is currently photographing ruined WW2 defences as part of an on going personal project.

Among the subjects of photographs by Jonathan Andrew there are the bunkers of the Atlantic Wall and the line of fortifications that Adolf Hitler had built along the shores of the Atlantic.

It was the haunting geometry of abandoned military bunkers that interested Jonathan Andrew. 

“At first I found attractive the geometry and shape of these structures (…) It was as if they were still on guard, and no one had told him that the war was over” –  Jonathan Andrew

Scattered throughout the Dutch landscape, he was fascinated by their shapes born out of functionality. After photographing a few of them he started searching for others during his free time.

These photographs were all taken at dusk, or just after sunset, because according to the photographer, the light of day would have flattened the photos. 

“By lighting them with a flash I could really pick out the shape and 3D forms of the structures,”

“After shooting the first four bunkers with this technique, I realised that the lighting seemed to fit the subject matter very well, almost as if they are lit by a large searchlight. It seems to add to the already haunting atmosphere that the structures have.”

Exploring Adobe Light room (Editing in Light room)

What is Adobe Lightroom? – Adobe Lightroom is a software developed by Adobe Systems for Windows, MacBooks, ISO etc. It is used for photo manipulation and organization, as well as it allowing importing, saving, viewing, tagging, editing and sharing numbers of digital images.

In order to get a larger understanding of Adobe Lightroom i have decided to carry out an experiment where i make small edits to images which is going to help me get used to the software.

When exploring Adobe Light room i decided to use my previous bunker images which have been taken as part of my world war project. The first step included importing the images from the media drive into light room which was successfully done.

To import my images i created a collection set called ‘ Bunker Archaeology’ i then transferred my images from the media drive into this folder which allowed me to be able to access the images. I then pressed the ‘import’ button which is shown below (bottom left hand side).

step one

After this step i then pressed the media button, into the year 12 button, jasmine latimer, year 13, occupation of jersey, bunker archaeology, 10/06/19. After this my images were then imported. (shown below)

step two

I then flagged my images of the best outcomes in order to explore and edit the best images. However, i decided to thin the images more so by singling them by ratings and colour coding them.

step three (flagging images)
step three (flagged images)
step three (rating images)
step three (how to colour rate your images)

step three (how to colour rate your images)
step three ( coloured images chosen and rated yellow and green)

After this step i then started to edit my images using light room. This started with pressing the ‘develop’ button which took me to the editing page. I then set the white balance to ‘auto’ as shown below in order to set a bases to the editing stage. This was then followed with other small edits.

pressing the develop button
where to select the ‘auto’ button
image after using ‘auto’ white balance and doing other small edits

This editing step was then repeated with my other colour coded images. (results shown on next blog post)

The WW2 Occupation of Jersey

During the Second World War the Occupation of the Channel Islands lasted five years. After the German forces took St Malo on 22 June, and France surrendered, Jersey was in range of enemy guns, and when Britain decided that defending the islands was impracticable, and compulsory evacuation was ruled out, it was up to people to make their own decisions. About 10,000 decided to evacuate to the British mainland, leaving about 40,000 in Jersey when the occupying force arrived on 1 July. The island was demilitarized, with British troops withdrawn, the island’s lieutenant-governor recalled and the Island Militia stood down, although the unit volunteered as one to go to England to join the main home forces.

Life under occupation – The German Occupation of Jersey began one week after the British government had demilitarized the island fearing for the safety of civilians should there be any conflict. The code name for this was “Operation Green Arrow” and the initial German Air Force reconnaissance flights mistake civilian farming lorries for troop carriers. On the 28th of June , the German Air Force, not knowing of the demilitarization, bomb and machine gun multiple sites on the island. The attacks killed ten people and wound many more. A few days later on the 1 of July 1940 General Richthofen, The Commander of the German Air Forces in Normandy, dropped an ultimatum from the air demanding the immediate surrender of the island. White flags and crosses were placed in prominent positions, as stipulated by the Germans, and later that day Jersey was occupied by air-borne troops under the command of Hauptmann Gussek.

Food shortages – Shopping hours were reduced as goods became scarce. Food shortages on Jersey were finally relieved by the arrival of the Red Cross ship SS Vega, bringing food parcels to Jersey. Before then, substitutes had been used to replace everyday foods, with seawater replacing salt, for instance, and a mixture of parsnip and sugar beet replacing tea. During the autumn of 1944, fuel supplies were almost gone, leaving no gas, occasional electricity, and very little road fuel. Medical supplies were almost non-existent; and most people were without fuel. A Red Cross relief ship, the S S Vega, arrived in Jersey on 30 December with food parcels, and cases of salt, soap and medical supplies. The visits of the Red Cross ship S S Vega proved a lifeline to the starving islanders.

Jersey with no defenses- Hitler ordered the conversion of Jersey into an impregnable fortress. Thousands of slave workers from countries like Russia, Spain, France, Poland, and Algeria built hundreds of bunkers, anti-tank walls, railway systems, as well as many tunnel complexes. In late 1943 the Tunnel Complex Ho8 (now known as the Jersey War Tunnels) in St. Lawrence was converted from an artillery workshop and barracks to an emergency casualty clearing station able to cope with up to 500 patients.. All of the fortifications built around the island were part of Hitler’s “Atlantic Wall”. Today, traces of Jersey’s defenses and wartime occupations can be discovered across the island, especially in St. Ouen’s Bay.

Victoria on the horizon- By 7 May 1945, the German army had surrendered and the end of the war in Europe was announced. During the week leading up to 6 May islanders had been hearing reports of Hitler’s fall in Berlin by way of their hidden radios. In spite of the fact that the island was still officially under occupation, rumors began circulating of an imminent end to the war in Europe. In June 1944, the Normandy landings marked the initiation of ‘Operation Overlord’, the invasion of northwest Europe by the Allied forces. By 7 May 1945, the Germany army had surrendered and the end of the war in Europe was announced. During the week leading up to 6 May islanders had been hearing reports of Hitler’s fall in Berlin by way of their hidden radios. In spite of the fact that the island was still officially under occupation, rumors began circulating of an imminent end to the war in Europe.  Culminating on the 8 May, the Allied military powers had been busy coordinating the necessary steps, behind the scenes, to recover the Channel Islands from their occupation. On 3 May a British Military operation ‘Nestegg’, with the objective of liberating the Channel Islands, was set in motion when a coordinated group of British Army units, collectively known as ‘Force 135’, were called to ‘Stand To’. 

Churchill’s speech- At 3.00pm Winston Churchill crackled onto the airwaves to give, perhaps, the most famous speech of his career. The Prime Minister’s words announced the end to the war in Europe and the “unconditional surrender of all German land, sea and air forces in Europe”. When, amidst great cheers across the island, he uttered the words, “our dear Channel Islands are also to be freed today”. Island-wide flags and decorations sprang up. From a balcony overlooking the Royal Square, Bailiff Coutanche gave an impassioned address and proceed with an emotional rendition of the national anthem. Possessions, forbidden under the occupation, miraculously reappeared, adding to the celebrations. Parties continued throughout the rest of the day and long after the King’s speech at 9.00pm, with several bonfire and firework displays taking place.

liberation day – At 7.15am on 9 May, on the quarter deck of HMS Bulldog, Second-in-Command for Guernsey General Siegfried Heine signed the Instrument of Surrender on behalf of the German Command of the Channel Islands, effecting their capitulation. On completion of this, General Heine was then ordered to “immediately cause all German flags and ensigns now flying in the Channel Islands to be lowered”.  At Midday an overjoyed Bailiff Coutanche accompanied a German delegation led by the island Commander, General Major Rudolf Wulf, aboard HMS Beagle anchored in St. Aubin’s bay, where the separate surrender of Jersey was to take place. Arriving at the same time in St. Helier’s harbour was a small naval inspection party sent to report on the health of the islanders, who were promptly overwhelmed by an enthusiastic crowd delighted at seeing their first liberators landing on Jersey soil.

Societe Jersiaise, Who’s Archive is it Anyway?

Archives act as a place for the preservation of significant historical and cultural artifacts. The Photographic Archive of the Société Jersiaise contains over 100,000 images dating from the mid-1840s to the present day. Archives however are not just physical, they can be a digital store of documents, texts and photographs. these can be public or private. The jersey archive also contains historical artists to help people for contextual reference when inquiring about a certain photo or book that has gained attention. 
Digital copies of historical photographs, documents, and audio recordings are the best way to both share and preserve historical items. Handling and displaying the original items cause wear and degradation. However, the items cannot be shared if they are protected from all degradation. Good digital copies allow unlimited sharing while also preserving the original items. Archives significantly improve the way in which historical artifacts and photos can be preserved. Photos are handled in a way which means very little damage is done to them therefore meaning that their quality is retained. They are intended on being used for various different purposes for decades to come. “The goal of Preservation Programs is to ensure that the records of our government will be appropriately preserved so they will be available for use.”
The ultimate purpose of preserving photos and creating archives is to share it with others. Future generations are able to look back at these archives and access information about their ancestors and gain insight about various historical events. Image collections deepen understanding of specific objects of art and the careers of individual artists as they also provide the means for a comparative approach to the study of artists’ works, national schools and period styles. Photo archives build their collections and gather documentation for the works of art they record through purchases, gifts and photography campaigns. Information about ownership, condition, attribution, and subject identification is recorded at the time of acquisition and is frequently updated.
IPhotography acts as a double role in the sense that it provides visual imagery and narrative of real events in history. It taps into the area of photography called Narrative photography. Narrative photography is the idea that photographs can be used to tell a story. Allen Feldman stated that “the event is not what happens. The event is that which can be narrated”. Because photography captures single discreet moments, and narrative as described by Jerome Bruner is irreducibly temporal, it might seem photography cannot actually represent narrative structure. We are able to look back at this narrative and reconstruct the past with the use of photo archives and facilities such as the Société Jersiaise.
The development of digital technology has provided archives and institutions with the opportunity to expand the accessibility of photographs beyond the walls of their homes. Although digital images are not substitutes for the originals, institutions are slowly acknowledging that they do provide an entry, an introduction, to the images. That introduction may be all a researcher needs.Digitizing photographs has also been the catalyst for some institutions to put their physical collections into deep storage, where they are no longer readily accessible, or to inaccessible or even destroy them. This raises urgent questions about the value of the original photographs as artifacts or evidence in their own right.On a much more positive note, digitization also offers the potential to conduct research that could never be done before. For instance, image recognition/matching software is being developed that would allow users to identify particular visual characteristics in a photograph and then search for and retrieve photographs of other works that share those characteristics. Having a physical representation of an image is what I strive for in my own personal archive. The sensation of handling a real life object instead of a digitized version is evidence of our connection to traditional forms of photography and media in general.
I will aim to incorporate the use of archives in my own personal study as I believe this will not only enrich my work but also provide a sense of legitimacy to it. Société Jersiaise focuses on the photographic preservation of the island which I believe is key to allowing us to remember about the tragic times of the occupation and WW2. I will be sourcing images from
Société Jersiaise, who provide digital copies of their archives at a small fee and using these as inspiration for my own personal photography or incorporating them in techniques such as photo collages.

In conclusion the trip to the archives has taught me a lot about the importance of treasuring the islands history and having facilities such as
Société Jersiaise. It has changed my perception of photo archives in the sense that I now understand the amount of work and sheer man power it takes to effectively preserve photographs for decades to come. It has also made me gain great respect for the foundation as they are preserving the islands history for millennia to come through photographic evidence. It is a painstaking and delicate job working with images that are hundreds of years old. It was a worth while experience which has taught me a lot not only about the evolution of photography in Jersey and the various artists who worked and resided here but also about the real life events during the occupation and the types of photos which were captured at the times.

Noémie Goudal

Noémie Goudal is a French artist who lives and works between Paris and London. In 2010 she graduated from the Royal College of Art and since then she has worked on many series. 

In the Observatoires series, produced in 2013-2014, she shows many science fictional architectures in quiet landscapes. Her work is an encounter between realistic documentary images and dreamy illusions. Her work is inspired by images of German artists Bernd et Hilla Becher, whose interest is focused on industrial buildings and objective black and white photographs.

She has used methods that blend traditional photographic techniques with physical manipulation. What look like large, geometric structures set in barren landscapes are in fact two dimensional facades constructed from paper, which Goudal has photographed to appear ancient yet futuristic. The buildings are photographs of small scale architectural models that have been blown up, printed on paper, mounted on card and then set in the landscape. Though the images have a grainy, documentary feel to them, their content is an illusion. The paper constructions have fold lines and in some images, even the tape that holds the buildings together is visible. 

whose archive is it anyway? essay

Archives are used to store peoples memories and preserve them so that the past is not forgotten. Archival organisations preserve archives and pieces of history for the public to use and look at the past.Archives contain primary source documents that have accumulated over the course of an individual or organization’s lifetime, and are kept to show the function of that person or organization. It is also a place where people can go to gather firsthand facts, data, and evidence from letters, reports, notes, memos, photographs, and other primary sources. they also keep records of many forms including correspondence, diaries , financial and legal documents, photographs and film.

All around the world there are many archives and museums documenting photos and certain objects relating to certain periods of time, which are put together in sections of the museums where they can be acknowledged altogether. Further into the future archives can be used as resources to answer questions about our past, and they may also be used to set legal claims.

Researching and exploring the ideas of archives has allowed me to gain information which will be useful with my personal studies. It also allowed me to have further understanding of Occupation in Jersey and helped show me what life was like during this time. Visiting Société Jersiaise has broadened my knowledge and has allowed me to see photos which were created during the occupation which I have never seen and wouldn’t have seen without the visit.

Within photography archiving is important as it holds two roles for photographers. First, it is a good idea for a photographer to keep an archive of all of their images. This is so that they can organise their images based on different projects. On the contrary, it can be particularly helpful in demonstrating how they have progressed and developed their images.

Intro to Occupation in Jersey/ WW2

Introduction

The German occupation of the Channel Islands lasted for most of the Second World War, from 30 June 1940 until their liberation on 9 May 1945. The Bailiwick of Jersey and Bailiwick of Guernseyare two British Crown dependencies in the English Channel, near the coast of Normandy. The Channel Islands were the only part of the British Isles to be occupied by the Wehrmacht (German Armed Forces) during the war.


Anticipating a swift victory over Britain, the occupiers experimented by using a very gentle approach that set the theme for the next five years. The island authorities adopted a similar attitude, giving rise to accusations of collaboration. However, as time progressed the situation grew gradually worse, ending in near starvation for both occupied and occupiers during the winter of 1944–45.

Before the Occupation

Between 3 September 1939, when the United Kingdom declared war against Germany, and 9 May 1940, little changed in the Channel Islands. Conscription did not exist, but a number of people traveled to Britain to join up as volunteers. The horticulture and tourist trades continued as normal; the British government relaxed restrictions on travel between the UK and the Channel Islands in March 1940, enabling tourists from the UK to take morale-boosting holidays in traditional island resorts.[1] On 10 May 1940, Germany attacked the Netherlands, Belgium, and Luxembourg by air and land and the war stepped closer. The Battle of France was reaching its climax on Empire Day, 24 May, when King George VI addressed his subjects by radio, saying, “The decisive struggle is now upon us … Let no one be mistaken; it is not mere territorial conquest that our enemies are seeking. It is the overthrow, complete and final, of this Empire and of everything for which it stands, and after that the conquest of the world. And if their will prevails they will bring to its accomplishment all the hatred and cruelty which they have already displayed.

Evacuation

The realization of the necessity of civilian evacuation from the Channel Islands came very late. With no planning and secrecy being maintained, communications between the island governments and the UK took place in an atmosphere of confusion and misinterpretation. Opinion was divided and chaos ensued with different policies adopted by the different islands. The British government concluded its best policy was to make available as many ships as possible so that islanders had the option to leave if they wanted to.

Emergency Government

The British Home Office instructed the Lieutenant Governors that in the eventuality of the recall of the representatives of the Crown, the Bailiffs should take over their responsibilities, and that the Bailiffs and Crown Officers should remain at their posts. The Lieutenant Governor of Jersey discussed with the Bailiff of Jersey the matter of being required to carry on administration under German orders. The Bailiff considered that this would be contrary to his oath of allegiance, but he was instructed otherwise

Invasion

The Germans did not realise that the islands had been demilitarised (news of the demilitarisation had been suppressed until 30 June 1940),[ and they approached them with caution. Reconnaissance flights were inconclusive. On 28 June 1940, they sent a squadron of bombers over the islands and bombed the harbours of Guernsey and Jersey. In St. Peter Port, the main town of Guernsey, some lorries lined up to load tomatoes for export to England were mistaken by the reconnaissance flights for troop carriers. A similar attack occurred in Jersey where nine died. In total, 44 islanders were killed in the raids. The BBC broadcast a belated message that the islands had been declared “open towns” and later in the day reported the German bombing of the island.

Occupation

The German forces quickly consolidated their positions. They brought in infantry, established communications and anti-aircraft defenses, established an air service with occupied mainland France, and rounded up British servicemen on leave. and the Germans occupied the island of Jersey for 5 years

Image result for occupation of jersey

Liberation

Liberation of the German-occupied Channel Islands Plaque in the Royal Square, St Helier: On 8 May 1945 from the balcony above Alexander Moncrieff Coutanche, Bailiff of Jersey, announced that the island was to be liberated after five years of German military occupation. On 10 May 1985, Her Royal Highness the Duchess of Kent unveiled this plaque to commemorate the Liberation.Although plans had been drawn up and proposed in 1943 by Vice Admiral Lord Louis Mountbatten for Operation Constellation, a military reconquest of the islands, these plans were never carried out. The Channel Islands were liberated after the German surrender.On 8 May 1945 at 10:00 the islanders were informed by the German authorities that the war was over. Churchill made a radio broadcast at 15:00 during which he announced that Hostilities will end officially at one minute after midnight tonight, but in the interests of saving lives the “Cease fire” began yesterday to be sounded all along the front, and our dear Channel Islands are also to be freed today.

HMS Beagle, which had set out at the same time from Plymouth, performed a similar role in liberating Jersey. Two naval officers, Surgeon Lieutenant Ronald McDonald and Sub Lieutenant R. Milne, were met by the harbor master who escorted them to his office where they hoisted the Union Flag, before also raising it on the flagstaff of the Pomme D’Or Hotel. It appears that the first place liberated in Jersey may have been the British General Post Office Jersey repeater station. Mr Warder, a GPO lineman, had been stranded in the island during the occupation. He did not wait for the island to be liberated and went to the repeater station where he informed the German officer in charge that he was taking over the building on behalf of the British Post Office.

Sark was liberated on 10 May 1945, and the German troops in Alderney surrendered on 16 May 1945. The German prisoners of war were removed from Alderney by 20 May 1945, and its population started to return in December 1945, after clearing up had been carried out by German troops under British military supervision.[c

Aftermath

10 May 1945: The restoration of British administration is proclaimed

The main Liberation forces arrived in the islands on 12 May 1945. A Royal Proclamation read out by Brigadier Alfred Snow in both Guernsey and Jersey vested the authority of military government in him. The British Government had planned for the relief and restoration of order in the islands. Food, clothing, pots, pans and household necessities had been stockpiled so as to supply islanders immediately. It was decided that to minimize financial disruption Reichsmarks would continue in circulation until they could be exchanged for sterling.