Letters

I am writing in response to the letter entitled “You can close our museums but you can’t take our dreams”.

To look uncompromisingly for work in the museum sector while in the midst of the worst economic recession since the second world war is admirable.

But also, I think, arrogant. I presume you are lucky enough to have the kind of support network in place that allows you to do this. To wait it out, as long as it takes.

I have spent, on and off, over three years volunteering in different museums and galleries, as well as gaining an MA in the area. Of course unpaid work is only sustainable for so long (don’t even get me started on the exploitation of unpaid graduate internships). I took a job in June 2009, albeit in the arts, not in the museum sector.

After a year and a half, in October last year, I made the brave (or stupid) decision to refocus my career back into the museum world, and have spent three extremely disheartening and frustrating months unemployed.

I gave myself this deadline as a realistic amount of time before I would have no choice but to compromise again. I am lucky to have since found a job within the sphere of the museum sector. However, this is still not exactly where I want to be and nor is it full-time.

The museum sector is facing huge hardship over the next few years, but so are other industries. Many people across many different industries are having to compromise in order to survive, and it is not weakness that forces it, but necessity.

It is pure arrogance to suggest that some people might be less passionate about their work in museums than others if they are forced into the position where they have to take “any crappy job” to survive.

Yes, I agree, passionate and committed individuals are integral to the success of the museum industry, and I, more than anyone, am a subscriber to the mantra of “follow your dreams”, but sometimes it is just not economically or mentally sustainable to “keep going”, and people should not be made to feel inferior for not doing so.

Indeed it is strength of character which allows someone to have the courage to put dreams on hold until they are more viable or at least more practical economically. Pride may prevent you from wanting to take a “crappy job” but common sense should make you see that somewhere along the line you may have no choice but to compromise.

Name and address supplied

Museums Journal February 2011, p20

I read and watch on a daily basis the increasing amounts of cuts in funding for our heritage and arts budget. This forces museums to close and makes staff redundant, such as the writer last month.

This is damaging to our culture immediately, in that museums are closed and the stories of those that they represent are lost. It can also mean that the running is passed to volunteers who, while well meaning, do not have the training to ensure the correct practices in handling and storing valuable artefacts and ensuring that they are properly looked after.

It also puts at risk the future of the industry, with the best and brightest leaving for other countries or simply being put off actually investing in history courses, leaving us facing a world where everyone has a degree in psychology, or other odd subjects.

Despite these clear disadvantages, councils and the government continue to see arts and heritage budgets as soft targets. And the only suggestion the Conservatives can provide is look to trust status and find your own money.

Museum staff are trained to look after objects and ensure the smooth running of museums, not to try and convince Microsoft that it should sponsor their museum. 

Despite campaigns to save libraries, forests and science, no one has done this for museums. It seems that there is a lack of coordination or willingness to do this.
 
I believe we may be required to hold a national day of strikes where all museums, historic houses and other parts of the heritage industry close their doors to the public.   

The concept that history is boring has been destroyed. The success of comedians such as Eddie Izzard, and the Horrible Histories book and TV series show that people do love and care about history.

It is the silent inaction of the heritage industry that must now be tackled and a message sent that what is happening cannot continue and that we as an industry don’t wish it to.

Jon Roke, MA student in historical studies, Godalming

Museums Journal February 2011, p20

I was delighted to read the review of Havering Museum. It reflected the community commitment and involvement which is ensuring the success of Havering Museum.

However I would like to acknowledge the contribution of Val Bott, whose role as curatorial consultant was essential in the development of the museum with a community that had never had a museum before. 

Havering Museum benefited from Val’s extensive experience in creating new museums, which include Brent and Wandsworth. She worked closely with Simon Donoghue, the local studies librarian for the London Borough of Havering, on listing and photographing stored collections, researching objects, images and archives with local connections in other collections, and drafting the storylines, all for the Heritage Lottery Fund application.

She was re-engaged to implement the project – as part of the design team and she researched and wrote the exhibition script, carried out the picture research and planned the content of the showcases and galleries. 

So a huge thank you to Val, the design team and all the people who have turned Havering Museum from a dream into a wonderful reality.

Elizabeth Neathey, curator, Havering Museum

Museums Journal January 2011, p52

- Museums Journal roundtable on digital innovation in partnership with the Heritage Lottery Fund
- The national question: how do museums shape and reflect national identity?
- Interview:  Kate Howe, the Cardiff Story
- Reviews: Impressionism, National Museum Cardiff; Robert Burns Birthplace Museum, Alloway; Northern Spirit, Laing Art Gallery, Newcastle
- Plus news, comment, letters, jobs and much more

- The latest issue of Museum Practice explores the rise of online fundraising. It includes case studies on how museums are making the most of digital opportunities at the Cardiff Story and Tyne and Wear Archives and Museums