In the years since the disaster National Museums Liverpool has responded to Hillsborough in a number of different ways.
To mark the 27th anniversary of the tragedy on 15 April the figure 96 – the number of Liverpool fans who died in the crush at the Hillsborough stadium in 1989 – was emblazoned across a window close to the entrance of the Museum of Liverpool.
The museum also added two new objects to its collection: a portrait by artist Christian Hook of the actress Sue Johnston, who has long been a supporter of the families’ campaign for justice; and a patchwork quilt made from donated Liverpool football shirts by Linda Whitfield from Ellesmere Port.
Back in 2013 the Museum of Liverpool put on an the exhibition Spray for Justice – a display of graffiti art created by the artist Gecko in memory of his friend Carl Brown, who died at Hillsborough, aged 18.
Spraypaint and stencils were used to create From the Heart - 96 artworks (all featuring the victims’ age) made up of layers of images, including the iconic Liver Bird. There were also portraits of members of the Hillsborough Independent Panel, set up by the government in 2009 to reinvestigate the disaster.
The museum is now reviewing material in its football collections that relates to Hillsborough in light of the new inquest verdicts that show Liverpool fans were unlawfully killed.
Janet Dugdale, the director of the Museum of Liverpool, talks about interpreting events relating to the tragedy.
What has defined National Museums Liverpool’s approach to interpreting the events around Hillsborough so far?
As a museum service we have supported the Hillsborough families in various ways; some have been in public and others in private. Our defining approach, if we label our ongoing work like this, has been to try to do the right thing in the right way. This is key to ensuring that National Museums Liverpool’s social justice values remain a strong thread running though our museum practice. It takes daily judgment and careful listening by the staff involved.
The Museum of Liverpool, a city history museum, works to be a significant place for Liverpool people – a place where many voices can be heard. This means we have a responsibility to take a supporting and campaigning role where there is injustice, while also remaining factual.
The museum has collected material from 15 April 1989 and displayed it with the input of the donors/lenders (by definition they have been the Hillsborough families). We have also accepted artworks via the Hillsborough Family Support Group (HFSG) and held special exhibitions, such as Spray for Justice.
How has the museum involved the local community in its interpretation of events?
We have taken advice, presented ideas and listened in private. There has been an ongoing dialogue since the 1990s. For instance, enabling a constructive dialogue was vital during the making of the major immersive film Kicking and Screaming. This specially commissioned film looks at the passion of being a football fan in a city as emotional and passionate as Liverpool. We worked closely with the HFSG committee on parts of the film and assured them that we would only sign it off with their support.
How will the Museum of Liverpool address Hillsborough after the new inquests found that the fans were unlawfully killed?
The Museum of Liverpool will review existing interpretation and then consider where updates are necessary.
What do museums need to be wary of when tackling sensitive and emotive subjects that are so present in the public's consciousness?
I think that museums have to be careful to understand their own motives. Some of the most emotionally difficult conversations we have had have been around this subject. Museums need to support their staff. Museums need to consider what is in the public interest, what is ethical and of course take account of the law with legal advice, which is particularly important for ongoing investigations. As with all museum work [we need] to be aware of the impact that the public platform can have on the people involved.
How can museums help communities reflect and come to terms with tragic events as they unfold?
By being open and outward-facing, and understanding that museums can be positive spaces for action and change, rather than aiming to be neutral and thus being passive. Perhaps [museums] can be a place to remember and, over time, a place to share experiences and to tell the story. It will always depend on the subject and the community, as well as on the museum’s governance and values.
To mark the 27th anniversary of the tragedy on 15 April the figure 96 – the number of Liverpool fans who died in the crush at the Hillsborough stadium in 1989 – was emblazoned across a window close to the entrance of the Museum of Liverpool.
The museum also added two new objects to its collection: a portrait by artist Christian Hook of the actress Sue Johnston, who has long been a supporter of the families’ campaign for justice; and a patchwork quilt made from donated Liverpool football shirts by Linda Whitfield from Ellesmere Port.
Back in 2013 the Museum of Liverpool put on an the exhibition Spray for Justice – a display of graffiti art created by the artist Gecko in memory of his friend Carl Brown, who died at Hillsborough, aged 18.
Spraypaint and stencils were used to create From the Heart - 96 artworks (all featuring the victims’ age) made up of layers of images, including the iconic Liver Bird. There were also portraits of members of the Hillsborough Independent Panel, set up by the government in 2009 to reinvestigate the disaster.
The museum is now reviewing material in its football collections that relates to Hillsborough in light of the new inquest verdicts that show Liverpool fans were unlawfully killed.
Janet Dugdale, the director of the Museum of Liverpool, talks about interpreting events relating to the tragedy.
What has defined National Museums Liverpool’s approach to interpreting the events around Hillsborough so far?
As a museum service we have supported the Hillsborough families in various ways; some have been in public and others in private. Our defining approach, if we label our ongoing work like this, has been to try to do the right thing in the right way. This is key to ensuring that National Museums Liverpool’s social justice values remain a strong thread running though our museum practice. It takes daily judgment and careful listening by the staff involved.
The Museum of Liverpool, a city history museum, works to be a significant place for Liverpool people – a place where many voices can be heard. This means we have a responsibility to take a supporting and campaigning role where there is injustice, while also remaining factual.
The museum has collected material from 15 April 1989 and displayed it with the input of the donors/lenders (by definition they have been the Hillsborough families). We have also accepted artworks via the Hillsborough Family Support Group (HFSG) and held special exhibitions, such as Spray for Justice.
How has the museum involved the local community in its interpretation of events?
We have taken advice, presented ideas and listened in private. There has been an ongoing dialogue since the 1990s. For instance, enabling a constructive dialogue was vital during the making of the major immersive film Kicking and Screaming. This specially commissioned film looks at the passion of being a football fan in a city as emotional and passionate as Liverpool. We worked closely with the HFSG committee on parts of the film and assured them that we would only sign it off with their support.
How will the Museum of Liverpool address Hillsborough after the new inquests found that the fans were unlawfully killed?
The Museum of Liverpool will review existing interpretation and then consider where updates are necessary.
What do museums need to be wary of when tackling sensitive and emotive subjects that are so present in the public's consciousness?
I think that museums have to be careful to understand their own motives. Some of the most emotionally difficult conversations we have had have been around this subject. Museums need to support their staff. Museums need to consider what is in the public interest, what is ethical and of course take account of the law with legal advice, which is particularly important for ongoing investigations. As with all museum work [we need] to be aware of the impact that the public platform can have on the people involved.
How can museums help communities reflect and come to terms with tragic events as they unfold?
By being open and outward-facing, and understanding that museums can be positive spaces for action and change, rather than aiming to be neutral and thus being passive. Perhaps [museums] can be a place to remember and, over time, a place to share experiences and to tell the story. It will always depend on the subject and the community, as well as on the museum’s governance and values.