Modern History Gallery, Ulster Museum, Belfast
This new gallery will encourage visitors to think differently about the history of Northern Ireland and its people, writes Elizabeth Crooke
Northern Ireland is often thought of as a place with a past that drags on cultural, social and political life.
Late last year, the country had nine weeks of cross-party talks to consider the budget, reform of political institutions and the “legacy issues of flags, parading and the past”. Some agreement was reached eventually, but it was a tortuous process.
Although there may have been a stalemate in Stormont, the Ulster Museum recently made a fresh contribution to approaching our past.
Its Modern History Gallery is a complete rethinking of the history space in the museum, providing a visitor experience that is more inviting and intriguing – and one that provides a shared perspective on the historical period that is often lacking elsewhere.
There was an appetite in the museum for the redisplay of the history gallery. The Ulster Museum was stung when, only months after it reopened in 2009 following a major refurbishment of the entire museum, Nelson McCausland, the minister for culture, arts and leisure at the time, criticised the history displays.
The exhibition was not quite “Orange” enough for the Democratic Unionist Party minister and the issue was extensively covered by the press at the time.
The chance to revisit the gallery came with the anniversary of the Decade of Centenaries 1912-1922, which is the marking of a period of significant dates in the history of Ireland: the home rule crisis, the first world war, the 1916 Easter rising and partition.
This was the chance for the museum to dig into its collections and pull out objects that had rarely been on display before – and what a great selection they are.
Throughout the gallery, the choice of artefacts reflects a more nuanced approach to the interpretation of history – one forged from an interest in bringing new layers of understanding. This encourages us to think about the lives of children, women and disabled people, and creates a link between the stories of Northern Ireland and the international experience.
The gallery features 400 items, and the way they are displayed, as well as the choice of objects, is inspired. A blackened cast-iron cooking pot from the 1800s is striking for its simplicity alongside a gaudy silver tea service of the same period. The former is a symbol of poverty and a reminder of starvation, the latter an indication of the wealth of industrial Belfast.
Effective placement
The irony of history is shown in a display case titled Peace and Prosperity, where the artefacts include duelling pistols, beggars’ badges and penal crosses (the penal laws attempted to suppress Catholics from worship and holding office).
Quirky objects are used to tell personal stories – a purse, embroidered with a shamrock, that once belonged to the writer and moralist Maria Edgeworth (1767-1817); the death mask of United Irishman James Hope (1764-c1846); and an animal hoof (and section of lower leg) brought home from the Boer war. I was entertained by the 1846 “Lost Pig Notice”, which is displayed beside a plan of Belfast, a railway timetable and an agricultural prize medal.
The events of the Decade of Centenaries are well represented. We see the chair that the labour leader James Connolly stood on; a souvenir Ulster Covenant reputedly signed in blood; and blotting paper with the signature of Unionist leader Edward Carson in reverse.
A case on the first world war features the names of nurses alongside their uniforms and equipment. A selection of German war items, including everyday objects such as a cigarette box, are exhibited alongside a Russian helmet, belt and cap, and French haversack. An iconic object from the period is the 36th (Ulster) Division flag, with shrapnel damage, which is displayed in the same case.
This also acts as a backdrop to an original 1916 Proclamation of the Irish Republic. This simple juxtaposing of objects is effective, although it is less so in some other cases where the array of objects has the feel of an appealing cabinet of curiosities.
In contrast to the objects, I found the panel text underwhelming. They are mostly short and to the point, but lack a lightness of tone and a rhythm that would encourage visitors to linger.
The paragraph formatting was odd, often with distracting gaps mid-sentence. I was more taken with the “Did you know?” speech bubbles but not so much with the monochrome design scheme – some colour built into the architecture of the gallery could liven up the space.
Tightrope history
One of the aspirations of the new gallery was to include more interactives and there are a number that have been designed for younger visitors. Without children in tow I cannot attest to the success of the jigsaws and mechanical games. However, on my visit, none of the six screens on the interactive multimedia table, intended to give touch access to more object information, were working.
In the creation of the gallery, the official approach to the Decade of Centenaries – one of learning, reflection, inclusivity, tolerance, respect, responsibility and interdependence – is apparent in this carefully curated space.
Here, the ephemera of our political history, in all of its diversity, sit congenially together. The curators should be commended for producing an exhibition that carefully walks the tightrope of Irish history.
The Modern History displays lead to the Troubles gallery, which will evolve as a result of the museum having recently been awarded a Collecting Cultures grant from the Heritage Lottery Fund.
The success of the recent temporary Art of the Troubles exhibition (10 April - 7 September)and the collaborative working underpinning Modern History bodes well for this gallery.
As I left the gallery, I found a remnant of the previous incarnation of the history gallery – it was a sign and arrow indicating the way to Plantation to Powersharing. I wonder whether this object would be useful in Stormont.
Elizabeth Crooke is a professor of heritage and museum studies at Ulster University
The redevelopment of the modern history displays in the Ulster Museum has taken place within the context of Northern Ireland emerging as a “post-conflict society", where the legacy of the past remains a contentious and divisive issue.
Repositioning “contested history" within a broader context of our complex, diverse, but ultimately shared history presented a fundamental challenge. But the 500-year scope of the gallery allowed for a broader perspective that places turbulent periods of conflict in the context of relatively peaceful social and economic development. Widespread conflict is not an ever-present feature of Irish history, nor is it necessarily an inevitable part of our future.
A feature of this project has been a collaboration with the school of history and anthropology at Queen’s University, Belfast. Through this we have sought to capture deeper insights into our history, drawing on the university's research and specialisms.
These scholarly insights frequently challenge stereotypes and prevailing myths. At the same time we have tried to meet the challenge facing all museums of translating knowledge into accessible and engaging experiences for the visitor.
The overarching concepts that have emerged through these discussions have been the interconnectedness and the interdependencies that characterise our history on this island.
A criticism of our former Modern History Gallery was the lack of a “take-away" message for the visitor. If visitors leave the new space with a sense of history being complex but shared, we will have achieved something.
William Blair is the head of human history at National Museums Northern Ireland
Late last year, the country had nine weeks of cross-party talks to consider the budget, reform of political institutions and the “legacy issues of flags, parading and the past”. Some agreement was reached eventually, but it was a tortuous process.
Although there may have been a stalemate in Stormont, the Ulster Museum recently made a fresh contribution to approaching our past.
Its Modern History Gallery is a complete rethinking of the history space in the museum, providing a visitor experience that is more inviting and intriguing – and one that provides a shared perspective on the historical period that is often lacking elsewhere.
There was an appetite in the museum for the redisplay of the history gallery. The Ulster Museum was stung when, only months after it reopened in 2009 following a major refurbishment of the entire museum, Nelson McCausland, the minister for culture, arts and leisure at the time, criticised the history displays.
The exhibition was not quite “Orange” enough for the Democratic Unionist Party minister and the issue was extensively covered by the press at the time.
The chance to revisit the gallery came with the anniversary of the Decade of Centenaries 1912-1922, which is the marking of a period of significant dates in the history of Ireland: the home rule crisis, the first world war, the 1916 Easter rising and partition.
This was the chance for the museum to dig into its collections and pull out objects that had rarely been on display before – and what a great selection they are.
Throughout the gallery, the choice of artefacts reflects a more nuanced approach to the interpretation of history – one forged from an interest in bringing new layers of understanding. This encourages us to think about the lives of children, women and disabled people, and creates a link between the stories of Northern Ireland and the international experience.
The gallery features 400 items, and the way they are displayed, as well as the choice of objects, is inspired. A blackened cast-iron cooking pot from the 1800s is striking for its simplicity alongside a gaudy silver tea service of the same period. The former is a symbol of poverty and a reminder of starvation, the latter an indication of the wealth of industrial Belfast.
Effective placement
The irony of history is shown in a display case titled Peace and Prosperity, where the artefacts include duelling pistols, beggars’ badges and penal crosses (the penal laws attempted to suppress Catholics from worship and holding office).
Quirky objects are used to tell personal stories – a purse, embroidered with a shamrock, that once belonged to the writer and moralist Maria Edgeworth (1767-1817); the death mask of United Irishman James Hope (1764-c1846); and an animal hoof (and section of lower leg) brought home from the Boer war. I was entertained by the 1846 “Lost Pig Notice”, which is displayed beside a plan of Belfast, a railway timetable and an agricultural prize medal.
The events of the Decade of Centenaries are well represented. We see the chair that the labour leader James Connolly stood on; a souvenir Ulster Covenant reputedly signed in blood; and blotting paper with the signature of Unionist leader Edward Carson in reverse.
A case on the first world war features the names of nurses alongside their uniforms and equipment. A selection of German war items, including everyday objects such as a cigarette box, are exhibited alongside a Russian helmet, belt and cap, and French haversack. An iconic object from the period is the 36th (Ulster) Division flag, with shrapnel damage, which is displayed in the same case.
This also acts as a backdrop to an original 1916 Proclamation of the Irish Republic. This simple juxtaposing of objects is effective, although it is less so in some other cases where the array of objects has the feel of an appealing cabinet of curiosities.
In contrast to the objects, I found the panel text underwhelming. They are mostly short and to the point, but lack a lightness of tone and a rhythm that would encourage visitors to linger.
The paragraph formatting was odd, often with distracting gaps mid-sentence. I was more taken with the “Did you know?” speech bubbles but not so much with the monochrome design scheme – some colour built into the architecture of the gallery could liven up the space.
Tightrope history
One of the aspirations of the new gallery was to include more interactives and there are a number that have been designed for younger visitors. Without children in tow I cannot attest to the success of the jigsaws and mechanical games. However, on my visit, none of the six screens on the interactive multimedia table, intended to give touch access to more object information, were working.
In the creation of the gallery, the official approach to the Decade of Centenaries – one of learning, reflection, inclusivity, tolerance, respect, responsibility and interdependence – is apparent in this carefully curated space.
Here, the ephemera of our political history, in all of its diversity, sit congenially together. The curators should be commended for producing an exhibition that carefully walks the tightrope of Irish history.
The Modern History displays lead to the Troubles gallery, which will evolve as a result of the museum having recently been awarded a Collecting Cultures grant from the Heritage Lottery Fund.
The success of the recent temporary Art of the Troubles exhibition (10 April - 7 September)and the collaborative working underpinning Modern History bodes well for this gallery.
As I left the gallery, I found a remnant of the previous incarnation of the history gallery – it was a sign and arrow indicating the way to Plantation to Powersharing. I wonder whether this object would be useful in Stormont.
Elizabeth Crooke is a professor of heritage and museum studies at Ulster University
In focus: shared history
The redevelopment of the modern history displays in the Ulster Museum has taken place within the context of Northern Ireland emerging as a “post-conflict society", where the legacy of the past remains a contentious and divisive issue.
Repositioning “contested history" within a broader context of our complex, diverse, but ultimately shared history presented a fundamental challenge. But the 500-year scope of the gallery allowed for a broader perspective that places turbulent periods of conflict in the context of relatively peaceful social and economic development. Widespread conflict is not an ever-present feature of Irish history, nor is it necessarily an inevitable part of our future.
A feature of this project has been a collaboration with the school of history and anthropology at Queen’s University, Belfast. Through this we have sought to capture deeper insights into our history, drawing on the university's research and specialisms.
These scholarly insights frequently challenge stereotypes and prevailing myths. At the same time we have tried to meet the challenge facing all museums of translating knowledge into accessible and engaging experiences for the visitor.
The overarching concepts that have emerged through these discussions have been the interconnectedness and the interdependencies that characterise our history on this island.
A criticism of our former Modern History Gallery was the lack of a “take-away" message for the visitor. If visitors leave the new space with a sense of history being complex but shared, we will have achieved something.
William Blair is the head of human history at National Museums Northern Ireland
Project data
- Cost £624,569
- Main funders Heritage Lottery Fund; Department of Culture, Arts and Leisure
- Curator William Blair
- Exhibition design and creative direction Simon Leach Design
- Software Centre Screen Productions
- Scriptwriter Alicia St Leger
- Display cases Click Netherfield
- Mountmaking Anna Barclay Design
- Specialist graphics Leach Colour
- Conservation NMNI and Rachel Phelan; Fergus Purdy; Nuala Maguire
- Interactives AIVAF