Making a night of it
I was fortunate to be in Amsterdam in November for Museums Night and it was very enjoyable (Museums Journal January 2006, p32-33).
Three things struck me about the impact of this type of event. Firstly, Amsterdam is a small city where many venues can comfortably be reached on foot.
Secondly, many non-museum sites were open and doing extremely well. The Portuguese Synagogue, an 18th-century building not normally accessible to the public, had a queue stretching down the street all evening.
Thirdly, in the Van Gogh Museum, I experienced the rare privilege of being able to linger as long as I wished in front of every painting. In other words, while the collections were not exactly ignored by the crowds of visitors enjoying music and beer in the foyer, there was hardly the normal daytime press of numbers.
There is a huge feelgood factor to these events but it does seem to me that the very positive attendance figures warrant closer analysis.
Mary White, manager, Shrewsbury Museums Service
It takes more than a name to confuse us
Your article on Northern Ireland's national museums (Museums Journal February 2006, p13) gave the impression that a third new name in eight years would help public recognition of the unified body MAGNI. It seems to me, as a regular visitor to the various component parts of the National Museum, that it is the process of restructuring which has created the confusion in the public mind.
Regular publicity for each of the components as an individual museum and reduction in the emphasis of the centralised body would not have created the situation where the public did not know the relevance of the acronym MAGNI.
It is strange that an integral part of the reorganisation following amalgamation in 1998 is the introduction of new high level posts and offering redundancy to many long-serving members of staff. It gives the impression of there being even more chiefs and even fewer Indians than before.
The world standing of any museum relies on the quality of its collections and the curatorial staff employed. The loss of such staff without the transfer of their knowledge, acquired over a long period, can only be detrimental to the individual components and the parent body.
John S Moore, Holywood, Co Down
Wilberforce and much, much more
It was interesting to read your article Breaking the Chains (Museums Journal March 2006, p22-25), in particular the synopsis of work being carried out on the subject of the slave trade, slavery and abolition for 2007 and beyond.
In response to the 'mild criticism' raised in this article about Hull's redevelopment 'concentrating too heavily on Wilberforce as the only abolitionist' I would like to clarify Hull's position.
One of the main aims of the new development in Hull is to redress the balance of the previous 1980s displays, which were focused predominantly on Wilberforce as the main abolitionist.
The new displays focus on many of the key people involved in resistance and abolition from West Africa, the West Indies, the Americas and Europe.
These have from the start of the project research in 1999 always included weighty sections on Olaudah Equiano, Ignatius Sancho, Toussaint L'Ouverture and others.
The displays have been developed in consultation with local black and minority ethnic groups, access groups, regional curators and an international advisory group of curators, academics and community representatives who have acted as 'critical friends', challenging content and design. This has resulted in major changes.
The new contemporary galleries will explore modern-day slavery, human rights and the legacy of slavery, including the debate around the issue of reparations. They will also give local groups space to exhibit material relating to the issues raised on a regular basis. The key element for Hull will be to continue to engage with the people who have helped to create the new museum after 2007.
The coming year of commemoration has given Hull the chance to explore the subject of slavery and emancipation alongside Wilberforce's role and contemporary issues for the benefit of the local community and national and international visitors.
Jayne Tyler, lead officer, Wilberforce House Development, head of professional services (museums)
I was pleased to see your cover story devoted to the events planned throughout the UK in 2007 to commemorate the abolition of slavery. Readers may be interested to know that the Wisbech and Fenland Museum holds collections relating to Thomas Clarkson, a leading abolitionist who travelled the length and breadth of the country in support of Wilberforce and speaking out against the slave trade.
Notably, he pioneered the concept of fair trade with developing countries, accumulating in his celebrated travelling chest, artefacts obtained from the crews of ships trading with Africa. By this means he sought to demonstrate that the peoples of Africa had developed distinctive cultures and that an ethical trade in their products could be established.
In 1788 the Privy Council viewed the contents of Clarkson's chest while considering numerous anti-slavery petitions. The town of Wisbech has a monument, designed by Goerge Gilbert Scott, commemorating Clarkson's prominence in the abolitionist movement.
The Wisbech and Fenland Museum has a permanent display dedicated to his work, including his chest and other material. In 2007 the museum will be joining other museums commemorating the abolition of the slave trade, mounting an exhibition celebrating Clarkson's work.
David Wright, curator, Wisbech and Fenland Museum, Cambridgeshire
PDAs are the way of the future
I read the article Wireless World (Museums Journal February 2006, p28-31) with interest. We at the Dulwich Picture Gallery have been using PDAs, mainly with schools, for two and a half years and the scheme has been unbelievably successful.
What makes the system we use (we call the programme DiGIT) completely different from all the ones you described in your article is that DiGIT is not just an alternative method of imparting information. It is an interactive device that enables responses from the viewer and subsequent follow up at a later time.
Individual trails are written for different age groups and ability levels which cover varying topics and interests. These ask questions, sometimes funny, sometimes provocative, and always thought-provoking. They are designed to encourage the 'picture detective' in us all. The viewer checks tick boxes, radio buttons and responds to the questions by texting ideas and answers.
The viewer has a prearranged personal ID number. All their input is saved in their own personal file, which can be accessed later from any web-based device. This opens up tremendous opportunities for follow-up in class, which teachers really appreciate. It is also obvious that the children love it.
There are pre-visit trails that prepare the children and adults for their visit so that very little time is taken up with explaining the system. Also within the trails there are a great many suggested follow-up activities, discussion topics and related websites.
We have extended the programme to pre-arranged family visits. Although they could view independently, most participants preferred to form natural groups. Mums linked up with their daughters, teenagers wanted to be with their peers - a mother was amazed that her son and daughter were discussing a painting together. We are now considering widening DiGIT to the general public.
There has been a considerable amount of evaluation of DiGIT and almost all of it has been positive. We would love to extend the wireless network and increase the number of PDAs available as, in our view, this is the way forward in museum education. This is, sadly, impossible at the moment due to financial constraints.
Ingrid Beazley, DiGIT coordinator, Dulwich Picture Gallery, London
The first photography gallery? Not quite
As a near neighbour, it's pleasing that the New Art Gallery Walsall has at last appointed a director and such a distinguished one at that (Museums Journal January 2006, p20-23).
However, we were a little disconcerted here at Light House, the media centre in Wolverhampton, to read of Stephen Snoddy's flash of inspiration that he would open the first dedicated photography gallery in the West Midlands. Had he not been on a train at the time, he might have been able to check that his idea is behind by some years.
Light House has been running the region's only gallery dedicated to photography since 1992, supported with capital grants from the arts council and European funds and from the Arts Council England West Midlands and its predecessors. But if Stephen wants to open another one, we should welcome it and look forward to working together in the future.
Frank Challenger, chief executive, Light House, Wolverhampton
Unnecessary freedoms
It seems that an important element of the debate on freedom of information is being repeatedly overlooked (deliberately?); if the information doesn't exist you don't have to create it (Museums Journal March 2006, p4).
So many heritage organisations that do not have up-to-date valuations for some or all of their collections don't really have a problem. And surely if public funds have been used for recent acquisitions the information should be in the public domain anyway?
Paul Brough, historic collections manager, Cornwall County Council
I was fortunate to be in Amsterdam in November for Museums Night and it was very enjoyable (Museums Journal January 2006, p32-33).
Three things struck me about the impact of this type of event. Firstly, Amsterdam is a small city where many venues can comfortably be reached on foot.
Secondly, many non-museum sites were open and doing extremely well. The Portuguese Synagogue, an 18th-century building not normally accessible to the public, had a queue stretching down the street all evening.
Thirdly, in the Van Gogh Museum, I experienced the rare privilege of being able to linger as long as I wished in front of every painting. In other words, while the collections were not exactly ignored by the crowds of visitors enjoying music and beer in the foyer, there was hardly the normal daytime press of numbers.
There is a huge feelgood factor to these events but it does seem to me that the very positive attendance figures warrant closer analysis.
Mary White, manager, Shrewsbury Museums Service
It takes more than a name to confuse us
Your article on Northern Ireland's national museums (Museums Journal February 2006, p13) gave the impression that a third new name in eight years would help public recognition of the unified body MAGNI. It seems to me, as a regular visitor to the various component parts of the National Museum, that it is the process of restructuring which has created the confusion in the public mind.
Regular publicity for each of the components as an individual museum and reduction in the emphasis of the centralised body would not have created the situation where the public did not know the relevance of the acronym MAGNI.
It is strange that an integral part of the reorganisation following amalgamation in 1998 is the introduction of new high level posts and offering redundancy to many long-serving members of staff. It gives the impression of there being even more chiefs and even fewer Indians than before.
The world standing of any museum relies on the quality of its collections and the curatorial staff employed. The loss of such staff without the transfer of their knowledge, acquired over a long period, can only be detrimental to the individual components and the parent body.
John S Moore, Holywood, Co Down
Wilberforce and much, much more
It was interesting to read your article Breaking the Chains (Museums Journal March 2006, p22-25), in particular the synopsis of work being carried out on the subject of the slave trade, slavery and abolition for 2007 and beyond.
In response to the 'mild criticism' raised in this article about Hull's redevelopment 'concentrating too heavily on Wilberforce as the only abolitionist' I would like to clarify Hull's position.
One of the main aims of the new development in Hull is to redress the balance of the previous 1980s displays, which were focused predominantly on Wilberforce as the main abolitionist.
The new displays focus on many of the key people involved in resistance and abolition from West Africa, the West Indies, the Americas and Europe.
These have from the start of the project research in 1999 always included weighty sections on Olaudah Equiano, Ignatius Sancho, Toussaint L'Ouverture and others.
The displays have been developed in consultation with local black and minority ethnic groups, access groups, regional curators and an international advisory group of curators, academics and community representatives who have acted as 'critical friends', challenging content and design. This has resulted in major changes.
The new contemporary galleries will explore modern-day slavery, human rights and the legacy of slavery, including the debate around the issue of reparations. They will also give local groups space to exhibit material relating to the issues raised on a regular basis. The key element for Hull will be to continue to engage with the people who have helped to create the new museum after 2007.
The coming year of commemoration has given Hull the chance to explore the subject of slavery and emancipation alongside Wilberforce's role and contemporary issues for the benefit of the local community and national and international visitors.
Jayne Tyler, lead officer, Wilberforce House Development, head of professional services (museums)
I was pleased to see your cover story devoted to the events planned throughout the UK in 2007 to commemorate the abolition of slavery. Readers may be interested to know that the Wisbech and Fenland Museum holds collections relating to Thomas Clarkson, a leading abolitionist who travelled the length and breadth of the country in support of Wilberforce and speaking out against the slave trade.
Notably, he pioneered the concept of fair trade with developing countries, accumulating in his celebrated travelling chest, artefacts obtained from the crews of ships trading with Africa. By this means he sought to demonstrate that the peoples of Africa had developed distinctive cultures and that an ethical trade in their products could be established.
In 1788 the Privy Council viewed the contents of Clarkson's chest while considering numerous anti-slavery petitions. The town of Wisbech has a monument, designed by Goerge Gilbert Scott, commemorating Clarkson's prominence in the abolitionist movement.
The Wisbech and Fenland Museum has a permanent display dedicated to his work, including his chest and other material. In 2007 the museum will be joining other museums commemorating the abolition of the slave trade, mounting an exhibition celebrating Clarkson's work.
David Wright, curator, Wisbech and Fenland Museum, Cambridgeshire
PDAs are the way of the future
I read the article Wireless World (Museums Journal February 2006, p28-31) with interest. We at the Dulwich Picture Gallery have been using PDAs, mainly with schools, for two and a half years and the scheme has been unbelievably successful.
What makes the system we use (we call the programme DiGIT) completely different from all the ones you described in your article is that DiGIT is not just an alternative method of imparting information. It is an interactive device that enables responses from the viewer and subsequent follow up at a later time.
Individual trails are written for different age groups and ability levels which cover varying topics and interests. These ask questions, sometimes funny, sometimes provocative, and always thought-provoking. They are designed to encourage the 'picture detective' in us all. The viewer checks tick boxes, radio buttons and responds to the questions by texting ideas and answers.
The viewer has a prearranged personal ID number. All their input is saved in their own personal file, which can be accessed later from any web-based device. This opens up tremendous opportunities for follow-up in class, which teachers really appreciate. It is also obvious that the children love it.
There are pre-visit trails that prepare the children and adults for their visit so that very little time is taken up with explaining the system. Also within the trails there are a great many suggested follow-up activities, discussion topics and related websites.
We have extended the programme to pre-arranged family visits. Although they could view independently, most participants preferred to form natural groups. Mums linked up with their daughters, teenagers wanted to be with their peers - a mother was amazed that her son and daughter were discussing a painting together. We are now considering widening DiGIT to the general public.
There has been a considerable amount of evaluation of DiGIT and almost all of it has been positive. We would love to extend the wireless network and increase the number of PDAs available as, in our view, this is the way forward in museum education. This is, sadly, impossible at the moment due to financial constraints.
Ingrid Beazley, DiGIT coordinator, Dulwich Picture Gallery, London
The first photography gallery? Not quite
As a near neighbour, it's pleasing that the New Art Gallery Walsall has at last appointed a director and such a distinguished one at that (Museums Journal January 2006, p20-23).
However, we were a little disconcerted here at Light House, the media centre in Wolverhampton, to read of Stephen Snoddy's flash of inspiration that he would open the first dedicated photography gallery in the West Midlands. Had he not been on a train at the time, he might have been able to check that his idea is behind by some years.
Light House has been running the region's only gallery dedicated to photography since 1992, supported with capital grants from the arts council and European funds and from the Arts Council England West Midlands and its predecessors. But if Stephen wants to open another one, we should welcome it and look forward to working together in the future.
Frank Challenger, chief executive, Light House, Wolverhampton
Unnecessary freedoms
It seems that an important element of the debate on freedom of information is being repeatedly overlooked (deliberately?); if the information doesn't exist you don't have to create it (Museums Journal March 2006, p4).
So many heritage organisations that do not have up-to-date valuations for some or all of their collections don't really have a problem. And surely if public funds have been used for recent acquisitions the information should be in the public domain anyway?
Paul Brough, historic collections manager, Cornwall County Council
