On Monday 8 October we celebrate #MuseumHour‘s 200th edition. It also marks the community’s 4th birthday. Twitter timelines on Monday evenings in the UK and all sorts of other time zones across the world have never been quite the same.
When Sophie Ballinger and I started up #MuseumHour this is what we had in mind. Amazingly, there has been no mission creep. It is still the same, just bigger.
It’s a very simple enterprise, light weight but high energy and without any constrictions of institutionalism or stakeholder expectation. It’s free and for all-comers.
Two years ago we were marking our 100th #MuseumHour. Then, we had two co-organisers, had 46 guest hosts and ~130K impressions per month. Today we have three co-organisers, have had 102 guest hosts (some serial guests) and we get ~ 313.1K impressions per month. A few weeks ago we passed the 10,000 follower milestone.
And we don’t even bother with a blue tick.
We are not funded or supported by any organisation. It’s as independent as you can get. Even if you are not a Twitter-user, you can access all the chat from the website. Unlike Facebook, Twitter is not (yet) a walled garden.
The we is important. My view as a co-organiser is to let the community lead its direction. I have no desire to manage the community or shape the various themes and subjects that get suggested to us. The result is that people seem to really feel like they are part of something, and they are as equally part of it as the next follower.
It’s because of this attitude–shared by co-organisers Katy Jackson and Kate Groome–that the most engaged-with tweet over the last 6 months was about museum toilets.
And that’s all I’m interested in saying about analytics and statistics. The popularity of #MuseumHour and the organic way it has grown has meant it has attracted the attention of more people and organisations wishing to use the platform to gain a new audience. This is great, but we don’t provide analytics or statistics to guest hosts as this is about taking part first, promotion and profile-raising will come automatically if you do that well.
It’s nice to hear that #MuseumHour is now a regularly recommended part of someone’s study or volunteer work, and many pledge to take part as part of their AMA (CPD award organised by the Museums Association).
The one area of change that I am particularly keen on supporting is the growth in interest outside the UK. Over the last year and a bit we have had #MuseumHour hosted in Estonia, Croatia, Sweden and New Zealand (twice). Maybe #MuseumHour could use a different language as well as English some time?
Happy 4th Birthday, #MuseumHour! Here is every person and topic that has made it happen so far.
The phrase “increasing diversity” occurs regularly in discussions about culture but what do we mean? What does diversity look like? Is diversity in the context of equality the same as diversity in the context of inclusion?
Diversity is on every major cultural agenda. I have been taking a keen interest in how diversity is represented and expressed by museums and other heritage institutions as I have been a long-time advocate and producer of community-focused programming as a mainstream rather than fringe strategy for survival.
Achieving resilience in your museum or cultural organisation has to have at its heart a commitment to diversify audiences. The reason is that if you want your organisation to survive, and be loved, your communities and communities of interest (not just the obvious stakeholders) need to understand why you are important to them.
At the Museums Association conference 2015, Sir Peter Luff, the Chair of the Heritage Lottery Fund gave a stirring keynote speech where skills, diversity and young people were firmly and unequivocally put on the agenda and HLF is changing its funding schemes to reflect these priorities.
Arts Council England is also centralising diversity in its agenda, particularly to support the Creative Case for ‘diverse-led’ arts and culture. The emphasis is also on diversifying the range of people and organisations which apply for arts funding from them, and to ensure that at least 75% of its funding is invested outside London. ACE’s Chair Sir Peter Bazalgette said that arts and cultural organisations must reflect the diverse communities they serve. A report by the Museum Consultancy presents research findings on the state of diversity in the museum workforce.
The much-vaunted UK Government’s Culture White Paper, published in March, “sets out the government’s ambition and strategy for the cultural sectors.” The paper jars heavily with the austerity-led narrative that dominates the cultural sector at the moment. There is a sense that the White Paper was born from a Whitehall Office out of touch with the reality of people’s joys and woes as producers and consumers of arts, heritage and culture. Nevertheless, diversity is mentioned 18 times in its 72 pages.
Diversity has also been much debated in discussions on #museumhour.
The UK Parliament’s Countries of Culture enquiry is ongoing and no doubt several of the oral and written submissions will express concern about a lack of diversity in funded art and culture.
I am less familiar with the culture and diversity landscapes in Wales, Scotland and Northern Ireland, and internationally, but I look forward to doing a bit of asking around and reporting back.
The phrase “increasing diversity” occurs regularly in discussions about culture but what do we mean? What does diversity look like? Is diversity in the context of equality the same as diversity in the context of inclusion? How does workforce diversity differ from audience diversity?
On 16 March I attended the Museums Association’s Diversity: A State of the Nation Debate in my capacity as the Regional Representative for the South West. At this point, I’d like to extend my thanks to the MA for sponsoring my travel from deepest Cornwall to London enabling me to attend.
This event took place not long after the MA’s Big Debate on Diversity at the annual conference in Birmingham in November 2015 which I also attended. This was followed by an informal and therapeutic meeting of the Museum Detox network, a very loose group of museum professionals from BAME (Black and Minority Ethnic) backgrounds.
I find these debates deeply stimulating as they make me question my own understanding and beliefs about people and their identities, and in particular how complex self-indentifying is, and how poorly we express and understand it.
However, there were also some concerning features apparent and unacknowledged at both these debates and indeed in the majority of discussion about diversity and what diversity looks like.
What’s missing from the debate. Who is missing? Where do they take place?
Big City types
Both Birmingham and London debates took place in corporate boxes. This is not a slur, just an observation as I believe that place is a fundamental, if unarticulated, component in understanding diversity.
The main proponents of the debates were also from London or large urban metropolitan areas whose perspectives on their own communities are shaped by the people and places they live and work in everyday. Sharon Heal, Director of the MA, spoke fondly of her everyday diversity where she lives in Bethnal Green.
When they think about diversity in museums, for example, do museums from large swathes of the UK that are politically and economically defined as rural, figure in their minds: the South West of Britain, the Highlands of Scotland, most of Northern Ireland, or North Wales?
Beyond the Protected Characteristics
The diversity themes that dominate discourse are around equality and social justice for those participating and working in museums, culture, arts and heritage that concern discrimination and systemic inequality against nine protected characteristics:
marriage and civil partnership
pregnancy and maternity
religion or belief
Of these race, disability and sex and to a lesser extent religion, were of most interest to those participating in the Museums Association debates. Put crudely, there are more women than men in the museum workforce but few women occupy leadership and governance roles; disability remains poorly represented and catered for, more so a problem for those with hidden disabilities; working and participating in museums remains unattractive to those from Black and Minority Ethnic backgrounds.
Geographic exclusion, Cornwall and the South West
During the several round-table discussions, we talked about other major factors that present barriers to diversifying the workforce, audiences and programmes.
A top consideration at my table was geography and geographic discrimination or exclusion.
I live and work in the far west of Cornwall. It took me over 5 hours and an overnight stay to be able to take part in both Birmingham and London debates. Cornwall is politically and economically part of the South West even though culturally and perhaps socially too Cornwall and the Cornish are distinct from its South West neighbours on many levels, evidenced by international recognition of its indigenous language, Kernewek, UK Government-ratified National Minority Status and through the devolution of (some) powers to its unitary authority. Note that Nationality is not currently a protected characteristic under Equality legislation but is included, with colour and citizenship underrace.
Even beyond Cornwall, the Isles of Scilly, with nearly 2500 inhabitants can feel that the UK mainland is a world away. For much of the year you can only fly there (if the weather is right).
I live and work in a highly fragmented region with hundreds of mainly small urban centres and large numbers of rural (isolated) places that are all defined in the context of London and other major metropolitan areas. Large parts of our region are unable to regularly participate in and access the big issues of our time (perhaps with the exception of Bristol), whether that’s diversity, austerity or other matters high on political agendas.
Consequently voices from the region, and especially Cornwall, tend to get muffled or ignored or simply deemed too far and too remote and not plentiful enough to engage with. Within this situation, what hope do minority people have in finding a voice?
Class psychology and professionalisation
The other theme of discrimination and diversity we discussed was class. I felt this was not particularly well-articulated by anyone. I am uncomfortable with the idea that low economic productivity directly leads to low participation in arts and culture. And football tickets are so expensive.
After all, many, many museum and arts jobs are amongst the lowest paid and least stable in terms of security and benefits of all professions. One of our table cited the professionalisation of our sector as a serious factor in the lack of class diversity, e.g. job competitions requiring sometimes not one but two degrees.
I think there’s a separate debate to be had about that as I do not agree that professional qualifications which give people the know-how to take care of our collections and make them accessible to our audiences is blanketly a bad thing. But at the same time not all museum jobs need a degree to do them. And, there still remain fewer jobs than there are people who want them–as I said it’s a related but separate issue.
Perhaps more broadly, class is a psychological barrier that encompasses upbringing, education, comprehension and articulation–do some sectors of UK society lack the social and cultural language to participate in culture? What can museums do about that, especially when they talk about the “hard to reach?”
More cultural organisations are aware of their obligations to serve diverse audiences but the same institutions are still not doing anything strategic about it. Diversity is addressed in short-term ‘nice to have’ community engagement projects but not addressed in organisational governance, mainstream programming or the workforce.
How do we develop long-term programmes and activities that are more attractive to those not currently engaged (however you want to define that)? What about those not engaged that face practical barriers to participation such as the “Time-poor dreamers” representing in 2010, approximately 4% of the adult population, a higher than average proportion from Black and minority ethnic backgrounds and most under the age of 44.
There was a sense from the room that diversity, as imperfect as expressions of it are, is now more mainstream than 15 years ago. More cultural organisations are aware of their obligations to serve diverse audiences but the same institutions are still not doing anything strategic about it. Diversity is addressed in short-term ‘nice to have’ community engagement projects but not addressed in organisational governance, mainstream programming or the workforce.
Democracy and power
Other features from my table’s discussion that I felt strongly about was democracy and power. I was surprised no one brought up these fundamental features of social and cultural demography that we all take for granted. This led to a debate about the usefulness of techniques used in peace and reconciliation in post-conflict zones such as deep listening and developmental evaluation.
We didn’t get a chance to discuss these in detail but I think the principle of mutual education through listening is a fundamental challenge in our sector, as evidenced in the Tintagel Controversy.
We need to keep debates about diversity going, both formally and informally. They need to take place in more diverse places and more diverse people need to be invited to take part in them. I am only seeing the usual suspects time and again.
Diversity doesn’t look like anything. It’s a philosophy and a commitment to trusting the idea that embracing difference is a good thing that will lead to better-governed and more accessible and successful institutions and activities.
#museumhour is (yet another) new UK-based museum movement which took 24 hours to set up by Sophie Ballinger (@sospot) and me (@tehm).
Sophie had a while back posed the question of whether a #museumhour existed in Twitterverse and received the sound of tumbleweed in return.
I was travelling back to Cornwall from London after a meeting of Museums Association Regional Reps in which there was much discussion about the best forums for museum people to get together online to exchange news and views, particularly to debate the Museum Association’s new agenda Museums Change Lives (I almost wrote Loves).
Place-based Twitter hours have been well-established across the country, from #CornwallHour to #ScotlandHour as have profession-based ones such as #legalhour.
Searching for the existence of a #museumhour Tehmina found Sophie via Eureka! Museum’s twitter feed and after a few tweets exchanged after working hours during commutes and baby feeds we claimed the hour every Monday 7-8pm. Sophie set up a Twitter account @museumhour to help field the exchange of tweets and an automatic retweet of its accompanying hashtag #museumhour
As long as people used the hashtag #museumhour or replied to @museumhour participants can follow tweets easily.
After some initial campaigning in between our day jobs Monday 6 October, 7pm arrived. We had about 57 followers at the beginning and by the end of the evening this grew to over 100.
We had no idea what would happen. We didn’t want to control proceedings by forcing a topic but to encourage people to share #onecoolthing about their museum or their favourite museum.
Although a UK-based social meet we had willing tweeters from Virginia, USA to South Australia. And those working in museums were joined with museophiles.
Astonishingly 99 people sent 349 tweets during the first #museumhour
Tweets ranged from Brighton Museums’ football table in their World Stories gallery, Kids in Museums’ Youth Panel meeting at Geffrye Museum, the launch of iBeacons at Roman Caerleon, the famous cat mummy of Derby Museums (it is essential to include cats in all Twitter conversations–Ed), Lowewood Museum’s community project and exhibition on World War 1 display, finding out Sir Walter Scott used to be a Sheriff and his courtroom museum is there to be visited in Selkirk, a museum geek’s Elk, two major development projects at Surgeons Hall Museum and Epping Forest District Museum, and news from the Welsh Museum Festival. And more.
As another academic year turns, so do I. This time, to emerge from the provinces and from behind my charters and museum objects, and join in London’s medieval scene. This evening’s first seminar of the European History 1150-1500 series was a discussion led by David Carpenter and Miri Rubin entitled What Makes a Medieval Topic Important? A very keenly attended seminar, we all squeezed in anticipation into the modest Low Countries Room at the Institute of Historical Research, Senate House, in Bloomsbury.
Prof. Miri Rubin began with the most deft and breathless exposé of intellectual movements that have had great impacts on medieval history writing. From the Annales School establishment of social and economic histories of the longue durée to the Marxian approaches of late Prof. Rodney Hilton and the history of peasantry, to radical gender historians of North America, historians of ethnicity, identity and the mandala of fields and sub-fields which have resulted from these, we were reminded that it was this question, what is important? that has been asked over and over by historians who have wanted to change our thinking of the past, and by extension, of us today. All of this was gold-threaded with the idea that historians in the last century began to want to know more about European ‘peoples’ than its institutions. In other words, those affected by big decisions, rather than the decision makers. In in a current climate of political activity on ‘Europe’ and ‘Europeans’ (and the prospect of a President Blair–Il presidente del popolo, presumably) this point was made even more apposite.