In the Lighting Technology working group, we have several subjects and collections to research. Two members of the group are researching old Strand technology, and particularly the Strand Galaxy Nova lighting console. In this article, we give some interim results from our research. Written by Bastiaan Schoof.
On 4 April 2026, Bastiaan Schoof visited Controllux in the Netherlands. This is a company that is the Dutch distributor of ADB, Robe and a lot of other lighting brands. This company also used to be distributor for Strand for a very long time in the NL, Belgium and Luxembourg. And for a very short time, they were also the European distributor for Strand and Quartzcolor, between Genlite selling Strand and Philips buying it. Parts of Strand in Europe didn’t have an owner at that time, so Controlluxstepped in to help Strand out, becoming the owner of Strand in Europe for a short period of time.
At this time Enrico Daamen, one of the two bosses of Controllux and associate partner from Canon II, acquired a lot of material from Strand Germany, mainly because the German branch closed. This material included a lot of documentation fromStrand and other sources. All the inventory of the German Strand distributor went to the Netherlands in that time, in addition to the documentation and material Enrico already had because of his Benelux dealership.
Strand Galaxy at Controllux on the wall
After the German office ceased, Enrico stored most of this material in the Netherlands, and that is the reason we asked him to be an associate partner. He also has a small private collection of Strand and Quartzcolor equipment next to the equipment and documentation that is stored in his company.
When Chris van Goethem (BE) and Bastiaan Schoof (NL) visited Enrico in September 2025 to ask him if he wanted to join Canon II as associate partner, he also showed his private collection to us, including the documentation. This confirmed that he has a lot of interesting material for our research.
Strand Galaxy from Rose Bruford Collega at Plasa London
For the lighting technology working group from Canon, we were looking into information about the Strand Galaxy console. Bastiaan Schoof joined Nick Hunt (Rose Bruford, UK) in his research of this important lighting control, where a lot of control concepts were first made widely available that are still being used today. This was the reason to visit Enrico again and look into his documentation of Strand.
He showed a lot of paper files, in boxes and in drawers – but before he showed that, he first showed what he still had left from the Galaxy hardware. The operating part is hanging in the warehouse on the wall. He said he threw away the computers that came with it, “too bulky”. But, he still has the infra-red remote control for the Galaxy. That equipment looked brand new and never used. The remote consists of two receivers and a sender. Next to that, he also has a separate Galaxy floppy drive to save the shows. It has an M->D (Memory to Disc) and a D->M button. Nick recalls that after a long day’s (or night’s) programming, it was easy to confuse the two buttons, and great care was needed to avoid over-writing the Galaxy’s memory with the contents of an old disk.
After that he showed some of the Galaxy documentation from a filing cabinet. He had files with a lot of manuals (operator’s handbook, user’s handbook), and other documentation of all the Galaxy versions. There were a lot of technical drawings as well, mostly showing in detail the dimensions of the different consoles.
He even showed a kind of written manual from someone in Dutch about how to start and save shows, how to soft patch and “auto mod”. Next to English version, he also had some manuals in German (Systemkurzbeschreibung).
Also, there were some documents with information about where all the Galaxy consoles were installed. One list was called: Galaxy Installation Reference list” and it is from March 1983. Another list that also said “Company Confidential” showed it is from December 1986. That document also gives the number of channels for every console in that list.
I took photos of a lot of the manuals, papers and lists – documentation that tells a lot about the Galaxy, Galaxy 2, Galaxy 3 and Galaxy Nova. We definitely have to go back to see some of that in more detail.
We found a user in Nijmegen through the mention of a Galaxy 3 console in an article we found on our Canonbase repository from the Strand magazine Lights! In 1992. There was a photo of this user, and we were able to track him down and make contact all these years later. Enrico later showed the original quotation for the installation of the console in the photo. Often, historical research is about making connections that begin to tell the story of the past.
We also found the Circus Theatre in the Netherlands bought two Galaxy consoles:
Enrico also showed me some boxes labelled ADB Archive, but they also included many photos of Siemens lighting equipment (boards, dimmers, cables, cable runs, and so on) and photos from theatres, stages, neon signs, documents aboutBühnentechnische Tagung in 1977… It consists of about 24 large folders of photos.
Enrico said he had no relationship with Siemens, so he gave me the five boxes and I took them home. Mostly, the photos are from German theatres from Bremen, München, Salzburg, Berlin, Aachen, Krefeld, Köln, Baden Baden, Karlsruhe, Wupertal, Frankfurt, Darmstadt and so on. But also from Manilla, Madrid, Venice, Utrecht, Vienna, Graz, Helsinki, Copenhagen, Prague, etc. – too many to name them all here.
All photos are interesting, some are with the technicians, some also with the stage and a set on it (Aida in Cape Town) and some of models of a newly built theatre in Essen, as well as some photos from where Siemens installed neon tubes on the front of a theatre.
This archive looks like something that needs separate research. The first conclusion is that at that time this manufacturer delivered a system custom made to the fit control room where it was meant for. Also, the manufacturer appears to beresponsible for all the cable runs and installation of it. This looks like something to dive deeper into – there is always something new to explore!
Most photos are of really good quality, looking like they were made by professional photographers. It is a lot of work to digitalize, but it is worth it. We have asked the Allard Pierson Institute to ask for their advice on digitizing such images.
Some rough photos of the material can be found here – these are not the finished digital archive, but they give an impression: https://photos.app.goo.gl/nGuw3Kbrs7f76yq17
Work Package 5 – also referred to as the ‘data group’ – is a group of people who focus on the development and use of Canonbase. Canonbase is the database of the project, that maps and visualises the history of technical theatre in a new and innovative way; it is the main engine behind the CANON II project.
The database currently contains sources, historical events, people, theatres, equipment, manufacturers, methods and collections, and links them to each other and to other existing information sources.
By the end of Canon II, the data group’s main goal is to have an updated and tested data structure in Canonbase. By doing so, contributors can document lighting design, set design and lighting technology in the database, while also linking them to related lighting/setdesigners, productions, theatres etc.
Along with a new structure, the data group will develop new help pages, guidelines, tools and training materials or update existing ones to ensure users are well supported when contributing to the database. Finally, the data group will also work on elaborating queries, layouts, end-user tools and visualizations within Canonbase.
The further development of the Canonbase structure is based on the input from the other Work Packages. They define what kind of information they want to capture in the database and the data group translates this into a new structure. This results in new items, properties and value lists in Canonbase. During and between meetings, the new proposed structure is discussed and further worked on. Simultaneously the data group checks the existing structure and improves it where needed.
Over the past few months, the data group been working on developing a new structure for documenting scenography and lighting design in the database. As a result, new items, properties and value lists related to these fields have been created. So far, the main focus of the new structure has been on the relationship between a design and its designer, the production and other designs.
While updating and expanding the structure of Canonbase, the data group creates new help pages and guidelines on how to put things in the database and update existing ones. For example, the structure on documenting people (designers, architects, authors, etc.) was completely checked, this resulted in an updated help page on how to document people in Canonbase.
New help pages for documenting designs and productions were created (and are still being further developed).
Picture: Structure_brainstorm: a snippet from the online brainstorm board of the data group, where we try to pin down the new elements (items, properties and value lists) in the Canonbase structure.
Picture: Canon_image_ID: a snippet of the Canonbase page on the Taras Shevchenko Ukraine National Opera in Kiev (Q34041). The images showed are stored in the new repository and added to the page of the item via the property ‘Canon image ID’
Since the start of CANON II, the data group has been working on a new repository. Previously, images, videos, documents etc. were stored directly in Canonbase. However, due to some limitations, a decision was made to move them to a separate repository in WordPress. This new repository allows for larger amounts of storage and ensures that Canonbase continues to run smoothly (which could previously be a problem). After testing and writing guidelines, Chris van Goethem introduced the repository during the online project meeting in March. Now, the other project team members started uploading documents to the repository.
Picture: Canonbase_current_view: the current view of the Canonbase website of the National Theatre in Prague (Q12648).
Picture: Canonbase_new_view: a first look of a draft version for the new view of the website for the same item, the National Theatre in Prague (Q12648).
Finally, the data group has been working on a new block-based view of the Canonbase website. This redesigned structure aims to make the platform more visually attractive and significantly easier to read, especially for users who are less familiar with the Wikidata-structure on which Canonbase is built. In this new layout, related information is grouped into clear, coherent blocks. This allows to structure the diverse information in a more user-friendly way.
In the near future, the data group will continue to work on the new structure for documenting lighting design, set design, historical stock sets and lighting technology in Canonbase. Meanwhile, project team members from the other Work Packages will start testing theparts of the new structure that are already created in Canonbase. Aside from this, the data group is continuously improving the help pages, cleaning up the database, etc.
The members of the data group are Chris Van Goethem (RITCS, Belgium), Nick Hunt (Rose Bruford College, UK), Ondrej Svoboda (Czech Cultural Institute, Czech Republic), Jan Purkert (Czech Republic) and Emma Reynders (EhB, Belgium).
It is with great sadness and sorrow that we announce the sudden passing of lighting designer Anders Larsson.
For many of us, Anders was more than a colleague – he was a friend, a driving force, and a natural focal point. Since the very beginning, he carried the vision of strengthening the role of the lighting designer in Sweden, and his dedication continues to shape everything we do today.
As a teacher at Stockholm University of the Arts, he taught stage technologies and technical production. He also was an expert on the history of stage technologies and techniques. He met new generations of students with curiosity, insight, and warmth. His ability to be present and personal, without being private, inspired immediate trust and respect in those around him.
Anders was the president of the Swedish Association of Lighting Designers (SLF) since it was founded in 1992 until his death. He was also an important link between Sweden and the international community through our global network and collaborations with organizations such as STTF, OISTAT, Canon I and Canon II.
Anders was the head of the lighting design workgroup for Canon II and we will truly miss his experience, knowledge and dedication to the art and craft of lighting.
Equally important was his drive to bring people together around light itself – through conversations, museum visits, lectures, and shared journeys. His life was marked by a deep commitment to his work and to all of us who had the privilege of knowing him. His absence leaves a profound void, and we have lost a dear friend and colleague.
Our thoughts are with his family, friends and with all those whose lives he touched.
Report on the CANON II lecture at CUE by Isabel Nielen from the Netherlands.
On Wednesday 14 January at CUE 2026, Bastiaan Schoof (NL) and Chris van Goethem (BE) gave a lecture on CANON II: preserving the heritage of lighting designers, set designers and theatre technology.
How can a company or designer preserve their legacy digitally in a sustainable way? Why should we keep records? And how do you store them so that they remain accessible in the future?
During the lecture, it emerged that CANON II had grown out of an earlier international project, namely CANON – THE HISTORY OF THEATRE TECHNOLOGY. The aim was to raise awareness and understanding of the history of theatre technology in Europe.
If the history of theatre technology is not documented and preserved, a great deal of knowledge and experience will be lost. Because technology is constantly evolving and the people who still have experience with old techniques are literally dying out. How, then, can one understand the historical context or the lighting designs of theatre productions if one does not know how the technology worked at that time? Furthermore, many technical collections are in private ownership; it is important that a place is established, such as an open database, to ensure these collections are not lost and can be made available for study and research.
The CANON I outputs included 100 ‘stories’ of the most significant practices, technologies, individuals, places, artefacts and buildings from the history of theatre technology.
The CANON I results can be found on the website. And on the CANON I database
What is CANON II about?
CANON II is a three-year Erasmus+ project funded by the E
uropean Union. It investigates how we can preserve lighting and set designs, along with the associated technology, for the future. The CANON II research project focuses on lighting design, lighting equipment and set design. Four case studies will be examinedand developed for each topic. The existing Canon database will be updated, expanded and made more accessible to the public. At the same time, we are developing guidelines on how to document these elements, so that the Canon database can continue to grow even after this project has ended.
Who is involved?
The project is supported by the following project partners:
Erasmus University College Brussels, Belgium
Berlin University of Applied Sciences, Germany
Rose Bruford College of Theatre and Performance, United Kingdom
Svensk Teaterteknisk Förening, Sweden
Institut Umeni Divadelni Ustav, Czech Republic
Stichting Instituut Lichtontwerpen, Netherlands
In addition, there are many associated partners involved across the various countries
You can’t put light in a box!
How exactly to document lighting design is the subject of this research. Light is quite elusive and, regardless of the technical implementation, it is more than just the number of lights or a percentage. Light creates atmosphere and emotion; to understand a realised lighting design, you need context regarding the location, the space and the direction. In practice, it appears that lighting designers do little or no archiving for the future. Digital files are no longer usable or readable after a few years. Archives are private or scattered and not organised according to our field. Furthermore, archives are not always accessible. It is much easier to archive documents and objects than lighting designs and stage sets. Often, the press photos of a production are close-ups that do not give a good impression of the entire stage set.
As an example, Bastiaan showed two photos of the lighting design by Henk van der Geest for ‘Le Figaro’ – one a publicity photo taken from the wings, where no audience member saw the production from, and the other the audience’s view. A good press photo often captures details of a performance, whereas for a picture of the lighting design, it’s better to see the whole stage.
Why are we doing this, and for whom?
We are undertaking this project because it is important to document and catalogue developments in the theatre sector. Not only the technical aspects, but also the creative side of the field. Many contemporary developments stem from the past. History teaches us about the present and provides perspective and context for the future.
For example: why were so many theatres destroyed by fire (around that time)? It was due to the rise of gas lighting! New technology brings about change.
The database will be made public and can be used by professionals, students, teachers, collectors and other archives. The aim is to make it easier to find information and link it to other archives and information sources. In doing so, it is important to look beyond national borders.
Archiving makes room for new insights
Chris showed an image of a lighting design from the Allard Pierson Museum’s archive. In it, the design is laid out entirely like a musical score. It was the lighting script for *Poppetgom* by Scarabee. That’s another way to do it!
A fine example of a lighting design that you wouldn’t immediately expect to see presented in this way.
What exactly are we going to do?
Please let people in the field know about this research project!
At the end of the talk, a public appeal was made regarding the Stichter table. Chris found the light table in an archive but doesn’t know how it works. The audience was asked if anyone had ever worked on this table or knew someone who had? And it turned out that among those present, there were about four people who had worked with a Stichter table in the past!
The lecture ended with an appeal to anyone who might still have historical or recent theatre materials stored away in an attic or shed somewhere: please feel free to get in touch!
Chris van Goethem – chris.van.goethem@ehb.be
Bastiaan Schoof – bastiaan.schoof@ahk.nl
Cue 2026 is the leading theatre technology trade fair in the Netherlands. On the exhibition floor, you’ll find everything related to theatre technology in the fields of lighting, sound and stage design. There is also a program of talks lezingen programma.
