Learning & Engagement Grants For Essex Museums

colchester-alison-stockmarr

Essex Museum Development is offering grants of up to £500 to support the delivery of learning and community engagement using collections.

The grants aim to support local museums to:

  1. Develop relationships with local education providers including schools, colleges and home education groups
  2. Develop new learning and engagement resources
  3. Develop an adult learning offer
  4. Deliver activities which will reach new audiences
  5. Make their venue more accessible for disabled audiences

The funding scheme is open to any Accredited museum (or museum registered as Working Towards Accreditation) within the Essex or Southend-on-Sea local authority boundaries. Please note that to apply you must have attended at least two of the following training days:

It is important to read the guidance document before applying. It contains some suggestions as to what the grant can be used for, but this is not an exhaustive list. Please do get in contact if you wish to discuss your ideas.

To apply, complete this application form and return it to amy.cotterill@essex.gov.uk by 5pm on Tuesday 23rd January 2018

Learning and Engagement application guidance 2018

Click here to download the application form

 

Rising Tide: Navigating the Future of Cultural Learning

Royal Opera House Bridge Annual Conference 2017

Chatham Historic Dockyard, 29.06.2017

I’m lucky enough in this role to attend training pretty often and I often see inspirational people discuss the importance of the work of the heritage sector and hear incredible case studies. I won’t write about all of them, but I did want to share what I learnt at Rising tide: Navigating the Future of Cultural Learning, the annual conference of Royal Opera House Bridge. This conference interrogated the role of cultural education, from dance to museums and opera to archives.

We’re all busy people, so I’ll try and keep this blog short and I haven’t included all the sessions. If you’d like to chat about anything below, just get in touch. The Royal Opera House Bridge will be publishing resources from the day, so check out their website for more details.

Why Tomorrow’s Children Need a 21st Century Enlightenment (Matthew Taylor, Chief Executive, Royal Society for the encouragement of Arts, Manufactures and Commerce)

Matthew kicked off the conference by taking us back to the 1700s and the Age of Enlightenment. He described the three key ideas that shaped the Enlightenment:

  1. Autonomy – we are the authors of our own future and not in a chain of control that was preordained and we must simply accept our fate in life.
  2. Universalism – all humans deserve dignity.
  3. Humanism – purpose of all human endeavour is to liberate and enrich human life.

These ideas have become narrowed over time. Autonomy doesn’t just mean a free market, universalism isn’t just a metric of social justice and humanism isn’t controlled through the economy. We must revisit these values to bring them up to date:

  1. True autonomy requires self-awareness and self-discipline… not through shopping.
  2. Universalism is about empathy and engaging with those whose beliefs and ideas are different to ours.
  3. We need to identify what a good life is to understand humanism. What are we working towards?

Engagement in the creation and enjoyment of culture helps us understand these ideas.

So what is the role of cultural education? Cultural education makes three assertions:

  1. Citizens have a right to access their own, their countries’ and the world’s culture.
  2. Cultural education supports young people to develop positive ways of shaping society (and we need a robust way of measuring this impact that will appeal to budget holders).
  3. Cultural education has a role in preparing us for our future.

We are starting to move into a late material culture, with more people stating that self-expression is more important than what they own. People are coming of age in a sluggish economy and don’t expect to own more and better things than their parents. It should be our ambition to ensure that everyone has ‘good’ work with scope for development and a sense of purpose. If we shift into this new kind of economy, cultural education will be more important than ever.

To Lift All Ships (Sir Kevan Collins, Chief Executive, Education Endowment Foundation)

Sir Kevan challenged the conference with a series of provocations, but made the assertion that when people want to challenge the world, they turn to culture.

  1. Are we creating a boring and irrelevant education for children?
  2. Should we be concerned that creative subjects are becoming sidelined into extra-curricular activities for the middle-classes? For many people the educational system seems broken and there isn’t time to focus on anything but ‘core subjects’. Is this true, or is this argument to trick us into giving schools to other people to run?
  3. Is the word ‘culture’ being appropriated by people who see education as either skills for knowledge. Through setting culture as ‘knowledge’ are they able to decide what counts as culture?
  4. How can a child spend 13 years in education and fail? Huge numbers of children are failing to get a level 2 (e.g. GCSE) qualification.
  5. As the education offered to children narrows, how do we demonstrate the contribution that culture makes?

Most job growth in Britain and the world doesn’t require just one subject but needs people with broader life skills, for example relationship development, empathy and creative problem solving. A strong cultural education builds these kind of skills and supports the core subjects.

We must implement a scientific approach to measure the impact of cultural education, disseminate what we’ve learnt from projects and mobilise good projects nationally.

Empathy Lab (Miranda McKearney, social entrepreneur and co-founder of Empathy Lab and Sarah Mears, Library Manager for Essex and co-founder of Empathy Lab)

Miranda and Sarah argued that in an increasingly diverse world children must be able to thrive in diverse environments. Empathy and social skills are being squeezed out of education and these are vital to children’s attainment at school and preparation for their futures.

Research has shown that children must see and experience empathy to develop these skills. Socio-emotional skills cannot be a bolt-on but can be embedded in a child’s wider education. The Empathy Lab is trialling developing empathy skills through reading, which is at the core of educational programming in schools.

Empathy can be divided into psychological and physiological:

  1. Psychological Empathy:
    1. Cognitive – understanding that someone is upset
    2. Affective – feeling upset when someone is sad
    3. Empathetic concern – wanting to help someone in need
  2. Physiological Empathy:
    1. Endocrine system
    2. Mirror-neurons

If you’re interested in reading more about the scientific side of Empathy, check out the Empathy Lab’s website for resources.

Academics are starting to understand the relationship between reading and developing empathy. Just as the brain responds to words for smells, touches, etc as if you were smelling and touching something, your brain responds to stories as if was the real world. This means that the way we feel empathy for characters in stories, wires our brain to feel the same sensitivity for real people. This means that children can learn empathy from reading.

The Empathy Lab is trialling different approaches in schools, asking children to read books, look at how the characters felt and naming those feelings and then asking them to build this into actions. For example a group of children read a story about refugees, explored how it would feel to be a child refugee and then wrote letters to child refugees and politician. The children involved moved forward with literacy, family involvement and classroom relationships.

The Empathy Lab are looking to extend this work to museums, so watch this space.

Farewell For Now

Today is my last day as Museum Development Officer for Essex… Until I return from maternity leave in November.

 

In the meantime, I’m leaving you in very capable hands. Eleanor Root is joining Essex County Council as my maternity cover on secondment from Colchester and Ipswich Museums.

 

In addition to leading on projects like Snapping the Stiletto, Eleanor will be your main contact for all things museumy in Essex, will continue to send out the e-newsletter and keep this website up-to-date. She’ll also be taking over the @EssexMDO Twitter account (although if you spot any tweets with AC at the end, it’s because I couldn’t quite give up my social media addiction).

 

Coming up over the next few months, the Stiletto project will be getting underway, there’s an opportunity to get involved in a new volunteering project and from next week we’ll be hosting a series of weekly blog posts from social media expert Louise Winters on how museums of any size can make the most of these free platforms.

 

Thank you to everyone who has been in touch over the last few weeks to wish me luck, and for all your support over the past three and a half years.

 

See you all again in the Autumn.

 

Amy Cotterill.

SHARE Volunteer Awards 2017: Don’t Forget to Nominate!

Volunteers at Rayleigh Mill

Volunteers at Rayleigh Windmill, who won the Museums + Heritage Volunteer Award in 2014

**STOP PRESS**

The deadline for nominations has been extended until 1st May

 

Forget the Oscars, the BAFTAs and the BRIT Awards, the glitziest night of the year is the annual SHARE Volunteer Awards. These awards are museums’ opportunity to say “thank you” to the people who give their time, energy and passion to collections and visitors out of love for what they do. There is also a category for Volunteer Managers, who could either be volunteers themselves or paid members of staff supporting volunteers within their museum.

 

Essex museums have previously done quite well at these awards. Last year, Dick Waylen at the Museum of Power was Highly Commended in the Bringing Innovation category, Jacquie McGregor Hall at Chelmsford Museum was Highly Commended in the Learning Volunteer category and the team at Maldon Museum received the Judges Special Award.

 

You can nominate teams as well as individuals and there are eight categories:

 

  • Working Together
  • Outstanding Young Volunteer
  • Volunteer Management
  • Unsung Heroes
  • Learning Volunteer
  • Front of House Volunteer
  • Trustee Board Award
  • Collections Champion

 

Given how many passionate and dedicated volunteers we have in the county, it would be great to see a lot of nominations from Essex, especially from museums which are entire volunteer-run as these have been under-represented in the past. Who in your museum always goes the “extra-mile”? Has the work of an individual or group made a significant impact on what happens at your museum? Have your trustees worked hard to provide the wider team through a recent rough patch? This is your chance to show your appreciation.

Information about the awards, the different categories and how to make nominations can be found on the SHARE Museums East website.

The nomination form does ask for images, but please don’t let a lack of photos stop you from putting in an application.

 

The deadline for nominations is Monday 1st May (extended from 21st April). The ceremony itself will be on Thursday 8th June at the Museum of East Anglian Life in Stowmarket.

Does Your Museum Need A Firearms License?

 

The Home Office is currently consulting with the public about the cost of firearms licenses.

“It is proposed the fee for a museum firearms licence will be £1,440, and the licence will be valid for five years. The current fee for a museum licence is £200. The renewal fee is to be revised to £1,240, with fees for alterations to valid licences to be changed to between £110 and £780.”
Obviously this would be a huge increase (over 600%) and could hit museums very hard, but does your museum need a license?

 

Given the large number of military-themed museums in Essex and the social history collections which may contain guns, I have taken advice on this matter from William Brown, National Security Advisor at the Arts Council.

 

You need a firearms license if your collection contains live firearms, although there is an exception for historic firearms. However, no definition is in place as to what constitutes a “historic firearm”. The decision is made at the discretion of your local police.

 

If the guns in your collection have been deactivated, you do not need a firearms license.

 

Your museum is eligible for a firearms license if:

  • It has as its purpose, or one of its purposes, “the preservation for the public benefit of a collection of historic, artistic or scientific interest which includes or is to include firearms”
  • It is maintained wholly or mainly out of money provided by Parliament or a local authority
  • It is Accredited by the Arts Council (nb. This means fully Accredited and not “Working Towards” Accreditation)

 

If you wish to contribute to the consultation regarding the increase in costs for museum firearms licenses (by over 600%), you can do so here.

 

The Home Office Guidance on Firearms Licensing Law can be found here.

 

The Firearms Security Handbook, which includes guidance on museum storage and display of weapons and ammunition, can be found here.

Please do get in touch with me if you have any questions.

Learning & Engagement Grants For Essex Museums

colchester-alison-stockmarr

Essex Museum Development is offering grants of up to £500 to support the delivery of learning and community engagement using collections.

 

The grants aim to support local museums to:

  1. Develop relationships with local education providers including schools, colleges and home education groups
  2. Develop new learning and engagement resources
  3. Develop an adult learning offer
  4. Deliver activities which will reach new audiences
  5. Make their venue more accessible for disabled audiences

 

The funding scheme is open to any Accredited museum (or museum registered as Working Towards Accreditation) within the Essex or Southend-on-Sea local authority boundaries.

 

It is important to read the guidance document before applying. It contains some suggestions as to what the grant can be used for, but this is not an exhaustive list. Please do get in contact if you wish to discuss your ideas.

 

To apply, complete this application form and return it to amy.cotterill@essex.gov.uk by 5pm on Tuesday 28th February 2017

Guidance Document: learning-and-engagement-application-guidance-2017

Application Form: learning-and-engagement-application-form-2017

 

Snapping The Stiletto: Re-Examining Essex Collections

 

Image courtesy of Essex Police Museum

Image courtesy of Essex Police Museum

The Essex County Council Museum Development has secured a grant of £95, 445 from the Esmée Fairbairn Collections Fund for a two year project working with museums across the county.

 

2018 is the Centenary of the of the Representation of the People Act 1918 which gave the first British women the vote, the 90th anniversary of the Equal Franchise Act 1928 which gave all women the vote and the 50th anniversary of the Dagenham Ford Worker’s Strike. These important national and local anniversaries are serving as a catalyst to explore, record and celebrate the diverse and inspirational stories of Essex women.

For the purposes of this project, we are working with partners from across “historic Essex” including those areas which are now unitary authorities or part of London, thus enabling us to tell interpret both existing collections and the stories discovered through our research as part of the wider story.

We will research and record how Essex women’s lives have changed during the last century and celebrate the stories of individual and groups of women in the county, for example Suffrage campaigners and Dagenham strikers but also women whose stories aren’t yet well known. This may include but not be limited to women who were involved in World War II, gained qualifications at a time when most women were unable to access further education, who entered male dominated professions including the services, those who moved to Essex from around the world and made a home for themselves by overcoming language and cultural differences and those who have raised families during a time of changing expectations for their gender. By highlighting women’s contributions, we will add another layer of understanding to elements of history that the public are possibly more familiar with, for example WWII, and change their perceptions of what took place. Also, through telling the stories of inspiring Essex women, we hope to weaken the negative “Essex Girl” stereotype.

 

Image courtesy of Southend Museums

Image courtesy of Southend Museums

 

 

The project is part of an overarching strand of work called “Snapping the Stiletto: 100 Years of Change”. We will be shortly be submitting further funding applications for oral history and other work, so there are still plenty of opportunities for heritage organisations and other groups to get involved. We will also be recruiting a large number of volunteers during 2017.

 

For more information, to sign up for project updates or to learn how you can get involved in the project, email amy.cotterill@essex.gov.uk

 

 

 

Our museum partners for “Revisiting Essex Collections” are:

  • Braintree Museums
  • Brightlingsea Museum
  • Chelmsford Museum
  • Colchester and Ipswich Museums
  • The Combined Military Services Museum
  • Epping Forest District Museum
  • Essex Fire Museum
  • Essex Police Museum
  • The Museum of Power
  • Redbridge Museum, Ilford
  • Southend Museums Service