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

 

 

 

Announcing Essex 2020

power

“Essex 2020” will be a year-long and county-wide celebration of Science, Technology, Engineering, Arts and Maths. It’s a collaboration between Essex County Council, Chelmsford City Council and Anglia Ruskin University. The team are in the early stages of project planning and given the wonderful collections and sites we have in the county, they are very keen for museums and heritage organisations to play a central role. Even if you aren’t a “science museum”, there will be items in your collection made through the application of science – even the processes involved in making paints and pigments count.

 

It is really important that Essex 2020 has a lasting legacy in the county and that long-term benefits for museums are built in to the plans and funding applications. Therefore we are inviting trustees and senior managers to a briefing meeting and discussion on Tuesday 12th February at the Museum of Power at Langford, with a  10:30 for 11am start and followed by lunch and an opportunity to network.

 

The team will share their ideas so far and ask for your input as to how museums can benefit from and contribute to the project. This is a very early, idea-scoping meeting but possibilities include training, events, residencies, youth programmes… anything and everything!

 

 

This is purely a scoping meeting. My colleagues will be giving an overview of the project and then we will have activities and debates to generate and share ideas. You will not be asked to commit to anything on the day. It is also not the only opportunity to get involved.

 

If you would like to come along, please RSVP by 5th February by emailing amy.cotterill@essex.gov.uk.

Museums Essex AGM

Friday 1st February 2019, ESCALA, University of Essex Colchester Campus, 10 for 10:30

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The Museums Essex AGM 2019 will take place on Friday 1st February and is being hosted by Essex Collection of Art from Latin America (ESCALA) at the University of Essex Wivenhoe Campus.

The AGM will have a “10 for 10:30” start and will include a briefing by me on current funding opportunities for museums and an opportunity for organisations to swap leaflets.

In the afternoon, Sarah Demelo, Curator of ESCALA and the University Art Collections (pictured), will talk about her work and provide a tour of their current exhibition, which celebrates 25 years of the collection.

Lunch is being provided by ESCALA, so please can you confirm by 25th January by emailing amy.cotterill@essex.gov.uk if you will be attending and if you have any dietary requirements?

Papers for the AGM will be circulated as soon as possible. Our location on campus will depend on the number of people attending the meeting, so I will circulate information about that and where to park etc after 25th January.

If you are interested in standing for the Museums Essex committee or would like more information about what it entails, please email Robert Rose at robert.rose@bdmt.org.uk

If you are not currently on the Museums Essex mailing list and would like to be added, please the email amy.cotterill@essex.gov.uk

If your museum or heritage site is not currently a member of Museums Essex and would like to join or learn more, visit their website.

 

Dates for future meetings are:

Friday 3rd May

Friday 6th September

Friday 7th December

 

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.

Museums News – 3rd October 2018

Dear All,

There are still spaces on the free “Donation to Disposal” seminar being run by Collections Trust on 12th October at Rayleigh Weir Fire Station. The day will be a thorough look at the new SPECTRUM 5 guidelines and will be really useful to anyone working with collections or responsible for Accreditation. More information is available here.

On 23rd October, I have organised a free “Hidden Histories” study day at the British Museum. The day will include an “Uncomfortable Art Tour” with Alice Proctor, looking at the colonial past of the British Museum’s collections. In the afternoon, we will have free entry to the museum’s “I Object” exhibition, which looks at the history of dissent. For more information, click here.

There is also an oral history training day on 27th November at Essex Record Office in Chelmsford.

To book on any of these, email me at amy.cotterill@essex.gov.uk with your museum name and a contact telephone number.

Best wishes,

Amy

What is a “Hidden History”?

person with body painting

Photo by Sharon McCutcheon on Pexels.com

SHARE Museums East have just launched a new grant scheme to support museums to interpret and share “hidden histories”, but what does it mean and why should you care?

Hidden histories are stories which are typically not told by museums. This could be because past curators haven’t collected relevant objects, or they have but museums lack the knowledge (or interest)to properly interpret them.

Often hidden histories are those belonging to minorities, such as people with disabilities, religious groups and BAME (Black and Minority Ethnic) communities.

As homosexuality was illegal until the 1960s and continued to be deemed socially unacceptable for some time afterwards, LGBTQIA (Lesbian, Gay, Bisexual, Transgender, Queer/Questioning, Intersex, Asexual) stories are often under-represented.

However, “hidden” does not necessarily mean minority. Women are fifty percent of the population, but their stories are often not well recorded or shared. In many museums, women are only represented in the domestic galleries, or in relation to their husbands/fathers/sons. Collections are also often focussed on the wealthy or middle classes. Employers of the working class are well represented but the stories of the individuals are often sketchy or overlooked entirely.

Of course, I speak in generalities and there are many excellent examples of the above in museums but they are the exemption, not the rule.

 

How has this happened and why is this a problem? How would it benefit your museum to do more work highlighting these stories?

Many collections have come together through the work of a few private collectors and/or curators. They therefore reflect their particular interests, prejudices and opportunities. More recently, we have tended to rely on objects being offered to us rather than actively seeking to fill gaps. There is also frequently an awkwardness in tackling experiences outside of our own.

However, the world is changing. People no longer visit museums because it is considered “a good thing to do”. By tackling more diverse stories, museums are relevant to more people. They can increase not only their audiences, but their volunteers, donors and supporters, making them more resilient.

 

This is the first in a series of blogs around hidden histories, but I would like to draw your attention to a study day I have organised at the British Museum on 23rd October. This day will look at two different examples of hidden history interpretation.