Partnership Opportunity – “Stiletto 2”

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Rosina Sky (far right) and Suffragettes in Southend – image courtesy of Peggy Ditton

 

We are into the final 6 months of Snapping the Stiletto. Hopefully, you’ll agree that the project has uncovered some fascinating stories, thanks to the work of the project volunteers, the partner museums and the wonderful Pippa.

 

As you are aware, we were limited by the funding to only looking at existing collections. While this did provide a large quantity of material, there were some noticeable gaps in collections:

 

– museums generally have little material post the 1960s

– working class women

– BAME women

– LGBTQ+ women

 

Given the success of the project in engaging the general public, we are interested in maintaining the momentum and following up with a second project, actively collecting to fill those gaps. 2020 is the 50th anniversary of the Equal Pay Act 1970, so we want to use that as a catalyst to explore equality more generally. We would also want to link in with the Essex 2020 Year of Science and Creativity, particularly through exploring women in engineering.

 

Would your museum be interested in being involved?

 

The proposed project should fit with your local authority’s priorities around learning, communities and wellbeing. It also meets the Arts Council’s “Creative Case for Diversity”, which may be useful to you in future funding applications and to include within your Accreditation return.

 

This second project will run for 18 months from early 2020, with a full-time project manager and part-time learning officer and are looking at an overall budget of about £200 000. This means that although it is a shorter project than the first, there will be much more staff time and resources available. We would be applying the National Lottery Heritage Fund, so the project is open to non-Accredited museums.

 

I know that several of you are already seeking to engage with/collect from BAME and LGBTQ+ communities. This project is an opportunity to increase your capacity and resources to do so. Through the project network and steering group meetings, there will be opportunities to learn from and share practice with colleagues from other museums.

 

Commitment-wise, you would have to agree to:

 

– working with us to actively collect artefacts, ephemera and oral histories and taking them into your collection (this would be based on your collections policy and  organisational capacity)

–  supporting volunteers to research the objects and working with us to make them accessible via a display in your museum and through other mediums. Volunteers can be currently involved with your organisation or project volunteers but each museum will be expected to engage with, and support, volunteers on site

– supporting us to deliver two festivals at the University of Essex (like the one we ran in March) by giving talks and/or having a stall

– co-hosting with us at least one community event over the course of the project

– co-deliver with us projects with at least one school and one youth organisation, including participating in Takeover Day and Teen Twitter Takeover. The budget is still in draft form, but there should be about £4000 available per museum to facilitate this (please note you will be fully supported in doing this by the project team)

– co-deliver with us a targeted community engagement craftivism project, building relationships which will facilitate collecting. As above, the budget is still in draft form, but there should be about £2000 available per museum to facilitate this (and you would be fully supported by the Project Manager)

– attend a minimum of 4 steering group meetings (to be held quarterly, expenses to be reimbursed)

– participate in project evaluation

 

Our expectations of your input will be related to the size and staffing structure of your museum but once signed up you would need to be certain that you can deliver what you have agreed to. We will be building expenses into the project budget.

 

Museums who register interest will be asked to input into a NLHF application and help shape the project outcomes and outputs. Our intention is very much that the benefits will be far greater than the effort we are asking from you.  For example with Snapping the Stiletto, we have managed to engage over 200 volunteers who have delivered what we calculate to be over £28 000 worth of time across the project to date. We would also be able to use it to help you recruit new long term volunteers and even diversify your trustee base (if applicable).

 

We are in the early stages of project development, but aiming to submit our application by 20th August, so things will be moving briskly as we develop the bid.

 

If you do decide that you are interested, please let me know the name/role of the person at your museum who will be leading on this confirm that the senior team/trustees of the museum are, in principle, happy with this (they will need final sign off on the partnership agreement) by 26th July. I am happy to book phone calls during the next couple of weeks if you’d like to talk further before making a bid to take part.

 

We are capping the number of museums at 6 so it may not be possible to include all those interested as we will need to ensure a good geographic mix as well as a range of museums.

 

For more information or to get involved, please get in touch.

MuseumNext: 3 Bursaries for Essex Museums

Nina Simon and Amy Cotterill

Amy Cotterill (right) with Nina Simon,  Executive Director of the Santa Cruz Museum of Art & History at MuseumsNext 2018

Last summer, I had a life-changing experience. I went to the MuseumNext Conference in London.

 

It was unlike any museum conference I had ever been to before. The speakers and delegates came from museums around the world and the projects and work they were speaking about were awe-inspiring. These were not big, nationally-funded museums. Many of them were comparable to the museums with have here in Essex, with few or no paid staff, shrinking grants from local government but with a lot of creativity and enthusiasm. They were experimenting with how they reached out to audiences and interpreted their collections and the results were exciting and inspirational. Have a look at their website, where videos of many of their speakers are available.

 

Having had my mind blown, I am absolutely thrilled that their European conference will be in London for the second year running on 3rd to 5th June. All the details are available here. b

I am offering three free tickets to museum staff or volunteers from Accredited museums in Essex. If you are successful, you have to commit to attending for all three days and to writing at least two blog posts about your experiences. You can be at any point in your museum career and be from any department, but you must have worked/volunteered at an eligible Essex museum for at least a year. It must also be signed off by either your manager, Chair or another trustee (if you are the Chair).

Funding guidance

Application form

To apply, complete the form and return it to me at amy.cotterill@essex.gov.uk  by midnight on Sunday 12th May 2019.

“You Are Not Your Visitors!”

SHARE’s Kathy Moore talks about their Visitor Insight East (VIE) scheme (with thanks to Christina Lister whose introductory notes she has adapted)

chart close up data desk

Photo by Lukas on Pexels.com

If you want to know who your visitors are and what they think and experience, you need to ask them. Understanding and reporting on who your visitors are is also an accreditation requirement and requirement of many funding streams. There are several national schemed available for gathering visitor data e.g.  Audience Finder (AF) run by The Audience Agency. SHARE has developed a scheme which we feel is appropriate for smaller museums with lower numbers of visitors and staff/volunteers: Visitor Insight East (VIE). SHARE would like to support several small clusters of museums to start using VIE over the next few years.

VIE is a project to help you to undertake, analyse and implement visitor research. More information will be available for those museums interested in taking part, but here is a taste.

Participating museums will receive:

  • A self-completion visitor survey for your visitors (paper copies and/or an online version);
  • A link to an online survey for data to be inputted;
  • A report with your data;
  • A report which contextualises your data next to that of the other participating museums;
  • training (details tbc):

Museums will need to:

  • Proactively ensure that visitors complete the surveys;
  • Input the completed surveys into an online survey;

 

If you are interested in signing up to VIE, or want to know more, email Kathy at kathryn.moore@norfolk.gov.uk

 

 

 

Tempo Time Credits: a new community currency in Essex

I recently met with Caroline Murray from Tempo to hear about their scheme, which is just starting to be rolled-out in Essex. They are working locally to support socially excluded people back in to work, building up their skills and confidence through volunteering. She is looking for partners who want to reach out to broader audiences.

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Spending Tempo volunteering credits

Tempo is a national charity that runs the world’s largest community currency. They work with community groups and businesses to engage residents, especially socially isolated people, encouraging them to give their time to their community and access new opportunities that supports their health and wellbeing.

 

The way Time Credits work is for every hour someone gives in volunteering, they ‘earn’ 1 Time Credit note which can then be ‘spent’ on 1 hours’ worth of activity such as going for a swim, going to the theatre or visiting a historical attraction such as the Tower of London! Tempo have over 500 partner venues nationally where people can access new activities, experiences and learn new skills. See here for examples of where Time Credits can currently be spent.

 

Tempo is building partnerships with local services and businesses across Essex who are interested in getting involved in Time Credits, offering opportunities for people to spend Time Credits with them. Time Credits helps them reach new audiences, promote their services, and generate great stories about enabling access for local people and communities who might not usually visit them. Here is a short report about the value spend partners get out of being involved with Time Credits.

 

For more information about Tempo Time Credits, please get in touch with Caroline Murray on carolinemurray@wearetempo.org or 07480754929

Hidden Histories: Display It Like You Stole It

Continuing our series of posts about hidden histories, Eleanor Root from Colchester and Ipswich Museums (and former MDO maternity cover!) shares her thoughts on our recent study day at the British Museum.

 

On Tuesday 23rd October, a group of us journeyed into London to take part in The Exhibitionist’s (AKA Alice Procter) Uncomfortable Art Tour of the British Museum.

Alice Procter, found of Uncomfortable Art Tours, believes that we’ve failed to come to terms with our colonial past and we need to resist triumphant nostalgia and challenge traditional narratives. We need to look through whitewashed labels to see a history of violence, imperialism and genocide committed by British people.

Alice gives tours around several national galleries, but the 90-minute tour at the British Museum focuses on unpicking their founding myths through exploring a series objects and their murky provenance.

We start off in a gallery that explores the beginnings of the British Museum, their collectors and early acquisitions. We discussed how objects collected through colonial expeditions (e.g. missionaries, government officials, explorers) often tell a story of violence even when it’s not expected. For example, Christian missionaries removed children from their families (an act of genocide). Even ‘good’ collectors, who collected through trade, used coercion as they were in a position of authority and power over local people. This manner of collecting is known as ‘salvage ethnography’, meaning the removal of objects from communities as you erase their culture.

The tour wound around displays of Pacific, North American and African cultures, stopping at particularly contentious objects. Alice emphasises the need for need a greater focus on the makers and users of the objects, not the collector, if we are going to begin to address stories of colonialism. In addition, if we ignore the brutal provenance of the object, we deny our history.

Our audiences want to trust us, and we should honour this trust with honesty.

The tour was challenging, emotional and thought-provoking. For me, the key messages were:

  1. We must be cautious when displaying objects from other cultures in case we go against their cultural protocols as this perpetuates the violence committed against the communities from which the objects were taken. For example, displaying an important object close to the floor, could be abusive of the object.
  2. We need to create space for a multiplicity of voices – we can’t speak for all the people our collections represent without resorting to (and perpetuating) stereotypes.
  3. It’s important to talk about individual stories, rather than generalising. This is humanising and especially important for objects that have difficult or violent stories. The objects can become memorials and allow people to have an emotional response.
  4. We need to consider our institutional architecture, for example many African collections are in basement galleries with dark colours and low lighting whereas many Ancient Greek displays are in bright, light galleries.

At the end of the tour, Alice hands out ‘Display It Like You Stole It’ badges and postcards for participants who might want to leave some feedback…

dear+art+gallery+2

Visit Alice’s website to find out more.

Hidden Histories: Oral History Interviews

Continuing our series on Hidden Histories in museums, oral history interviews are a great way to fill gaps in your collection and to bring stories to life for audiences, both in your museum and at home.

black smartphone and headphones on a desk

Photo by Kaboompics .com on Pexels.com

As previously discussed, histories of certain groups and communities are often “hidden” because we don’t have the objects in our collection to represent them or because curators lack the specialist knowledge to interpret them.

By conducting interviews with members of these communities, you not only broaden your collection to include new stories and be more representative, you can ask questions which help you to better understand the physical objects already in your collection.

There are lots of ways museums can use oral history recordings. You can include them in exhibitions, either through a fixed unit or a portable player. Essex Record Office’s recent “You Are Hear” project saw special benches being placed around the county played recordings to the people listening to them.

You use clips of recordings on your website. Websites like Soundcloud, you can share clips from your your recordings and embed them into your website or blog, enabling you to share them around the world.

However, it isn’t as simple as simply sitting down with a your interviewee and asking questions. You need to make sure you have their permission to record the interview, to keep it and to share it.  You need to know that the equipment you have is up to the job. You should have a plan about what you want to ask, know how to ask open questions and what to do if the subject becomes upset during the course of the interview.

If you haven’t previously had oral history training, or would like a refresher, I have organised a training day with Sarah-Joy Maddeaux, Sound Archivist at Essex Record Office on 27th November. Click here for more information.

Don’t forget that SHARE’s Hidden History grant scheme is now open for applications. The deadline is 28th January, 2019. There is also a Hidden Histories Study Day at the British Museum on 23rd October 2018.

Hidden Histories: We Are Colchester

Today’s blog post continues out theme of Hidden Histories and is written by Ben Paites from Colchester and Ipswich Museums.

We are Colchester 5Colchester Museums have recently been looking to engage with a wider range of audiences through a series of projects held predominantly at Hollytrees Museum. “We Are Colchester”, an exhibition running from July 2018 to January 2019, has been the launchpad for this work.

The concept of the exhibition began in 2017 when it had been suggested that we have an LGBTQ+ exhibition in Hollytrees Museum, as this is an audience that is currently underrepresented within our collections. I held a focus group in April 2017, where I invited representatives from a wide range of organisations to come and give their thoughts on this idea. It was unanimously agreed that an LGBTQ+ exhibition might not be suitable for Colchester, as there would be the potential for alienating the very audience we were trying to attract. The fear of visitors to such an exhibition having to “out” themselves was quite problematic for some attendees. However, the concept of identity more broadly was a much more favourable topic.

“We Are Colchester” therefore looks at an individual’s identity as expressed through a single object. We have items loaned to us by members of the public, as well as objects from the museums’ collections. The exhibition explores a wide range of characteristics, such as gender, race, religion and profession. Encouraging visitors to add their own stories to the exhibition, there is an engagement wall where visitors are able to add a label expressing their own identity.

Following on from this project, we are hoping to turn our attention to the permanent displays in Hollytrees by inviting individuals from various communities within Colchester to explore our galleries and see whether they feel they are reflected in the museum. We will then work with them to see if we are able to reinterpret objects, rewrite labels or even actively collect new items to be part of the museums’ collections.   As it is Black History Month, we are currently recruiting individuals with an interest in Black and African History to get in touch and to be part of this project. We will be doing the same in February 2019 for LGBT history month, with the hope of engaging more audiences in future.