A Victorian Shipbuilder Interactive sensory objects Pop Up Theatre Royal in Bristol Dr Kate Allen Tess Forbes-McMurchie Michael Gorely Tower of London Talking Objects Heritage in the forest Foreshore Finds National: Tullie House Daisy Horsley Kathleen McIlvenna Anna Smalley GEM champions and Emily Aaron excellence in Mammoths on the Move heritage learning What’s Your Story? Laura Bennison and ISSN 1759-6378 John Simpson Wedge Fiona O’Sullivan HMS Warrior in focus Age Collective Judith Carrie and Laura Phillips Katherine Webber Art in the Park Lisa Williamson

Case Studies Vol.13 2014 xxxx A Victorian Shipbuilder in Bristol xxxxxx Michael Gorely English Heritage Schools

What is Editorial A Victorian Shipbuilder in Bristol

GEM? Lessons learned Summary they built and tested their own • Using a real person as the focus for The project was the main focus sailing boats. The project the enquiry was very motivational of a whole school heritage week finished with an exhibition for the children. at Elmfield School for Deaf displayed at Bristol Record • Being able to follow up the initial Children. It began with the Office. finding of the bag with meeting GEM champions excellence in Welcome to Volume 13 of Case Studies our collections and sites such as deaf William Morgan and then heritage learning to improve the and an inspiring set of articles children (A Victorian Shipbuilder in discovery of a bag of tools, a Background immediately going to the SS Great education, health and well-being highlighting a range of excellent Bristol), disadvantaged young people newspaper and a letter The project was part of the Britain was very powerful. of the general public. projects colleagues have been involved (HMS Warrior in focus), adults with belonging to nineteenth-century Heritage Schools Programme in • Cross-curricular opportunities for art, in across the UK. Many of them reveal learning disabilities (Interactive sensory Bristol. The aims of the programme literacy, science and design and GEM believes that involvement how important working in partnership objects) and sick children in hospital shipwright William Morgan. Next a signing actor playing the part include engaging children with the technology were exploited very well. with our rich and diverse heritage is in order to achieve our aim of (Mammoths on the Move). Age heritage of their local area, increasing is an enriching and transformational reaching and engaging new audiences Collective describes efforts to explore of William Morgan told the opportunities for learning outside Next steps experience that provides distinctive with local heritage and collections. how museums can better cater for the children a little of his life and the classroom and helping The Heritage Schools Programme will opportunities for learning. We aim Exciting projects have emerged diversity of older people in their work building the SS Great children relate local heritage to provide direct support to 24 schools in to make that learning accessible, through working with health localities in partnership with other Britain. The children were then the national story. Bristol during 2014 and share learning relevant and enjoyable for all. professionals, artists, university organisations. The Tower of London’s and resources with the wider heritage GEM works with its members and researchers and archives, as well as Foreshore Finds project demonstrates taken to the SS Great Britain and Challenge schools network. explored the ship. This was Many of the children at the school collaboratively with other learning teachers in schools and fellow heritage one way, through the involvement of Michael Gorely organisations across the UK and organisations. Several articles also volunteers in the storage and followed up with a visit to the live outside the city of Bristol, so the emphasis of this project was to Local heritage education manager, internationally to: illustrate the impact of funded projects documentation of finds. Bristol Record Office to look at English Heritage, Bristol • champion excellence in heritage with a national reach and multiple engage the children in a significant Two projects, Art in the Park and Talking original nineteenth-century learning and participation enabling museum partners. aspect of the city’s heritage. Objects National describe the value, in maps of Bristol docks. During people to be inspired by, value and The Heritage Schools Programme, led terms of levels of engagement, Approach enjoy their and other’s heritage; the week the children also by English Heritage, provided the enthusiasm and confidence, of enabling The project attempted to connect • advocate the power of heritage worked with an artist to explore impetus for the projects in Bristol and children and young people to respond a human story with the bigger story learning in transforming people’s the maps in greater detail and Manchester in our first two articles, in creative ways to objects and the local of Victorian ambition and transport lives to sector organisations, which aimed to engage schoolchildren environment. Meanwhile Pop Up with a real shipwright with whom in Bristol. national agencies, funders and with their local heritage and place it Theatre Royal outlines a project aimed government; within the context of national events. at introducing children and community • influence sector organisations to Intended outcomes who use British Sign Language as their Through visits to local sites and groups to live theatre and the heritage deliver excellent learning and • An understanding of the significance primary form of communication, were organisations, the children accessed a of the Theatre Royal in Glasgow participation for their visitors; of the SS Great Britain in Bristol’s met. A signing actor was used, each variety of sources such as oral testimony through performance, audience • promote and explain the benefits of history. provider who worked with the children and maps and in Bristol experienced participation and follow-on workshops. learning through heritage which is • An opportunity to use primary had interpreters and hand-held games costumed interpretation. inclusive, sustainable and respectful We hope you enjoy reading this edition historical sources to increase consoles with a signed video tour were of communities; Arts Council England’s Museums and of Case Studies and please consider historical understanding. available for the children on the SS • develop creative partnerships with Schools Programme has funded a sharing your own work by submitting an • To make links between history and Great Britain. geography. other organisations to share literacy-focused project What’s Your article for our next issue. The deadline The children researched William • To establish links with a range of effective practice in heritage Story? in Norfolk including the creation is 11 March 2015. Morgan on the 1851 census using learning and participation; of valuable resources that will enable heritage providers. The editorial team ancestry.co.uk, although it was not • research and pioneer innovation in schools to continue to engage with the Intended outputs particularly user friendly for the heritage learning and participation; wonderful collections of a local, small • An exhibition of work inspired by children. • inspire and support the work of museum, long after the project Group for Education in Museums the week’s activities. Actual outcomes heritage learning practitioners; funding ends. 54 Balmoral Road, Gillingham Obstacles and issues • Engagement with parents and carers. • provide opportunities for Kent ME7 4PG This edition also illustrates continuing The major issue was, of course, making • High degree of motivation in the practitioners to develop their Tel/Fax: 01634 853424 efforts to reach groups and audiences sure that the needs of the children, all children. practice through networking, [email protected] who may not find it as easy to access of whom were profoundly deaf and mentoring and learning together. www.gem.org.uk

2 GEM CASE STUDIES Vol.13 2014 GEM CASE STUDIES Vol.13 2014 3 Heritage in the forest Daisy Horsley and Emily Aaron English Heritage and Bowker Vale Primary School Schools

Lessons learned The identified heritage project must be interesting and engaging for the Heritage in the forest students but must also be readily incorporated into existing schemes of work, or relevant to the school curriculum. It must be sustainable if it is to be a viable part of the school curriculum. This means that teachers must be equipped with the knowledge, skills and confidence to deliver the lessons in the future and that lasting Summary and diverse community, is one of 18 partnerships must be established Teachers at Bowker Vale schools in Manchester taking part. between the school and local heritage Primary School in Blackley, Challenge partners. Manchester planned and • Identify a local building or place Next steps carried out a scheme of work with significance for the students, • The lead teacher on this project has based on the history and an interesting history, and produced an additional scheme of relevance to the school’s heritage of Blackley Forest. work which she is now leading with curriculum and national historical other year groups across the school. Supported by English Heritage as events. • The lead teacher intends to organise a part of the Heritage Schools Project, • Provide teachers with knowledge “coronation tea party” oral history students were encouraged to and understanding of the history of Intended outcomes different priorities. The oral history to put history into a real life context.” event to encourage people in the the site and understanding of how • Develop the local history skills, element proved problematic as many of investigate why Blackley Forest was Rachel Jacques, headteacher, community to share their memories. this fits into “the bigger historical knowledge, understanding and the older people approached were replanted in commemoration of the Bowker Vale Primary. • The commemoration event will be suffering of local people during the picture”. confidence of teachers. reluctant to speak on tape or to children, repeated on or around Armistice Day second world war, and in celebration • Develop their confidence to deliver • Use local history in order to inspire, or had not lived in the area during the Lasting relationships were made and each year and the children will take of Queen Elizabeth II’s coronation in local history topics in the enthuse and instil pride in children period. Finally, carrying out this project strengthened between the school and care of the memorial bench and trees. 1953. They worked with local classroom. about their area and create links with with students aged eleven meant that local heritage partners, Manchester • Additional local heritage projects are heritage partners, examined archive • Facilitate and co-ordinate the the local community. the pressures of educational Archives and Council representatives now being planned, with the support photography, second world war involvement of local heritage • Highlight links between local history assessments were looming! The teacher and local armed forces groups. Dot of the Heritage Schools Programme, bombing maps and newspaper providers in the project. and the national picture. had to devote enough time to literacy Keller of Friends of Blackley Forest so that local heritage is incorporated reports, oral testimony and council • Inspire and enthuse children with • Highlight opportunities for local and numeracy to meet her statutory stated, “I thought the commemoration across the school year-groups. records. the history of their local area. history to be used to enrich a school’s obligations, as well as the local heritage event was wonderful. It has been project. suggested we hold another anniversary Daisy Horsley Approach existing history curriculum and to Background further develop skills in other areas of event next year on Armistice Day.” Local heritage education manager, A number of continuing professional Actual outcomes The national curriculum for history the curriculum. English Heritage Manchester has provided a fantastic opportunity development sessions were Pre and post project student evaluations Actual outputs for schools to use their local area to organised in order to train teachers Intended outputs indicate that the children enjoyed their The scheme of work is now firmly Emily Aaron study the past and thus allow in skills needed in a local study, such • Scheme of work with accompanying investigation of Blackley Forest and that established in the curriculum for eleven Bowker Vale Primary School students to develop greater as oral history, and using archive resources and activities to ensure their knowledge of local history and year olds. maps and plans. Resources including sustainability. heritage improved. They developed a understanding of, and sense of pride The commemoration ceremony held on maps, archive photos, newspaper • Local heritage display showcasing sense of pride in the people of their area in where they come from. The Armistice Day 2013 was a poignant articles and presentations were children’s history, literacy and art work. who had persevered during times of Heritage Schools Programme, event, well received by all those provided for the lead teacher to • Commemoration event to remember suffering and hardship. introduced by English Heritage in involved. Dave Barlow of Manchester develop her knowledge and the suffering of local armed forces April 2012, supports this. Schools are Feedback from the school indicates that City Council stated, “The project, the Further information understanding of the site and its representatives in past and present helped to develop schemes of work the project had been a success: commemoration event and its legacy is history. Contact was made with local conflicts. Students to take part, plant [email protected] using local heritage resources and a credit to the school and to the archive services, the local council trees and place a memorial bench as a “We are very proud of the children. the built historic environment, so that Heritage Schools Project.” Heritage Schools Programme: and heritage partner. They helped The bench and trees look fantastic and the children can find out about and lasting legacy. heritage.schools@ provide the necessary time, help make the project even more The school received positive publicity appreciate their local history and Obstacles and issues english-heritage.org.uk resources and information to make meaningful and sustainable.” from the project including articles in a heritage, in the context of national It proved difficult to contact and www.english-heritage.org.uk/ the project a success. local newspaper and on websites of historical events. Bowker Vale co-ordinate the involvement of many Emily Aaron, Bowker Vale Primary. heritageschools. local heritage partners and Manchester Primary School, which serves a large groups all with busy schedules and “What a wonderful way for the children City Council.

4 GEM CASE STUDIES Vol.13 2014 GEM CASE STUDIES Vol.13 2014 5 What’s Your Story? John Simpson Wedge Time & Tide Museum Schools

the new resources. Many of the teachers had never visited the site before their training and were amazed What’s Your Story? by the quality of collections available. Actual outputs Designing literacy resources to support Produced a resource pack enabling Stories from the Sea at the Tolhouse teachers to lead creative writing workshops using the Tolhouse gaol’s collections. Supported by on-site teacher training led by museum staff to fully use the activities within the pack. The pack was expanded to include more activities with a poetry focus. Lessons learned • High quality teacher training was vital for helping teachers to make the most of the new resources. • Realising the limitations to teacher- led visits enabled us to better focus our resources to support teachers Intended outcomes who could make the most use of Summary Challenge • Support teachers raising attainment them. Time & Tide Museum is working The Tolhouse is a small museum in literacy. • When teachers feel supported by with Royal Museums Greenwich located in an atmospheric former • Make inspiring objects more their local museums in one aspect or gaol. It has limited facilities (no toilets on Stories from the Sea, a accessible to schools. subject, they are more likely to seek on-site, low staffing and limited their assistance with other curriculum literacy-focused, primary • Increase school visits to the interpretation) but fantastic Tolhouse gaol. subjects. schools project which is part of collections. We wanted teachers to Arts Council England’s be able to access the museum and Intended outputs Next steps Stories from the Sea continues until Department for Education use it to support their literacy and Produce a resource pack enabling creative writing work. teachers to lead creative writing March 2015. The resources from funded Museums & Schools workshops using the Tolhouse What’s Your Story? are available to programme. What’s Your Story? Approach gaol’s collections. Obstacles and issues training sessions on-site. In one case all schools. We are leading workshops was created to encourage We designed and trialled a new There were two main difficulties the entire teaching staff from a local for other museum educators to show teachers to visit our sister resource which led teachers through encountered during the project; firstly school came for twilight training how the resources can support any the process of using objects to the layout and small size of the sessions so that any teacher could museum or collection. We are museum, the Tolhouse. inspire creative writing, along with Tolhouse meant that groups of 60 bring their class or would feel continuing to offer free teacher Background suggested activities and follow up were too large to use the space confident supporting a colleague’s training for all schools interested in Great Yarmouth is an area of low work for back in school. It also effectively and there was not enough visit. visiting the site. contained information on the material to support a self-led visit of cultural engagement, with high Actual outcomes John Simpson Wedge logistics of visiting the Tolhouse gaol more than 90 minutes. Consequently numbers of children from low- What’s Your Story? supported teachers Learning officer and the museum’s collections. we focused on working with local income families. Levels of attainment raising attainment through inspiring Time & Tide Museum, schools within walking distance of the in English are below average and collections and was seen by teachers Norfolk Museums Service museum that could bring a single class there are many children with English as a very positive addition to our as an additional language. Time & of children at a time to use the site. schools programme: “Really Tide Museum is working with The second difficulty was teacher impressed with the vocabulary that thirteen local primary schools to confidence. Several of the teachers felt the children produced in their writing; Further information develop teacher resources and uncomfortable leading creative thanks for the inspiration!” Local education events with a specific writing workshops in the museum as primary school teacher. john.simpson-wedge@ literacy focus. norfolk.gov.uk they felt they lacked the skills to focus School visits to the Tolhouse have on creative writing, especially poetry, seen an increase of 60% over the last Stories from the Sea: and knowledge to work with museum year thanks to schools coming to use www.rmg.co.uk/storiesfromthesea collections. To overcome this we ran

6 GEM CASE STUDIES Vol.13 2014 GEM CASE STUDIES Vol.13 2014 7 HMS Warrior in focus Judith Carrie and Katherine Webber Artswork and HMS Warrior Special Needs

Intended outcomes • Embed Arts Award delivery in both organisations. HMS Warrior • Establish sustainable partnerships, • Engagement and skills acquisition for young people. • In-depth work to be seen as valuable in focus by heritage organisations. Intended outputs • Arts Award training for HMS Warrior, and Enable Ability staff. • Explore Arts Award for young people. • A newspaper booklet of photos and weekend exhibition. Obstacles and issues Summary Challenge • Enable Ability staff were initially To engage teenagers in a heritage reluctant to engage in a prolonged Strong Voices is a national photography project with a heritage project aiming to connect setting whilst developing their photographic skills. venue as they believed that the disadvantaged young people young people would get bored. with world class arts and Approach Some of the support staff clowned culture. Artswork is the bridge A professional photographer was around during sessions, as they felt engaged and she and Katherine organisation delivering Strong this would ensure the young people worked together with the young would have fun. It was the young Voices in the South East of people, both on board Warrior people who asked for this behaviour England. They are working in and at regular youth club sessions. to stop. Portsmouth; a city with a rich A sound artist also worked with • On Warrior, primary schools and naval heritage but also high the group to produce an families with young children are seen Screen and at Portsmouth Film • Time needs to be spent engaging Bronze Arts Award and it is hoped this indices of deprivation. The accompanying soundscape. as the target audience. There was no Festival. support workers as well as young will form the nucleus of a youth forum project with HMS Warrior is expectation that teenagers with • There have been requests from people. for Warrior. Future projects on Warrior learning difficulties would produce Warrior staff and from museum will have Arts Award built in where Quality is vital one of a range of initiatives to work of interest to the wider public. visitors to purchase copies of the possible. The artist is seeking to • Using professional artists has meant connect local teenagers with images. extend her practice to those with Actual outcomes the young people have gained that heritage. profound learning difficulties. • The quality of the pictures taken by Actual outputs transferable skills. Background the young people really impressed • Fourteen young people achieved • The effort involved in ensuring that Enable Ability are seeking to establish HMS Warrior, launched in 1860, was all those who saw them; HMS Warrior Explore Arts Award. Warrior’s the young people’s work is an ongoing relationship with the the pride of Queen Victoria’s fleet. extended the exhibition from the learning team, Enable Ability and accredited is far outweighed by the museum using their core funding. Powered by steam and sail, she was original two days to four weeks. both artists were trained as Arts benefit to young people. Judith Carrie the largest, fastest and most The young people have now been Award advisers. The project challenged assumptions Strong Voices programme powerful ship of her day. Warrior commissioned to produce a series of • Arts Award embedded into two about the competencies of those with co-ordinator, Artswork was, in her time, the ultimate postcards to sell in the museum further projects on Warrior. learning difficulties. Whilst individuals deterrent. The ship now serves as a shop. • Young people all had a newspaper Katherine Webber have undoubtedly benefited, the floating museum and iconic local • The project had such a beneficial of prints as well as copies of their Learning officer, HMS Warrior project has raised the profile of the landmark. HMS Warrior has a part impact on one young person that the own work. Two made short films. time learning officer, Katherine, charity recorded the changes in a museum, both as a destination and as Further information whose main focus is primary school case study. Lessons learned a partner for collaborative projects. Cross-sector knowledge [email protected] groups. Enable Ability is a local • Warrior has since delivered summer Next steps • The care agency was unaware charity supporting young people workshops aimed at this audience to HMS Warrior will be working with Katherine Webber that museums have staff who with learning difficulties. The young which the young people have volunteers from the group to produce [email protected] people meet fortnightly for a social returned independently. can facilitate and support visits. images for commercial postcards of www.hmswarrior.org programme. • Films shot by the young people are • Warrior assumed that charities the ship. The project will encompass www.artswork.org.uk to be shown on the Guildhall’s Big would have no funds.

8 GEM CASE STUDIES Vol.13 2014 GEM CASE STUDIES Vol.13 2014 9 Interactive sensory objects Dr Kate Allen University of Reading Special Needs / Access

Intended outcomes Multimedia websites created by the • Engage people with learning co-researchers with learning disabilities disabilities as co-researchers in the documenting their workshop Interactive design of interactive multisensory experiences. objects which replicate or respond to A cookbook of tried and tested ideas for museum collections. sensory expeditions and workshop • Explore what improvements to access activities to support other museums to and engagement can be achieved for develop multisensory workshops and sensory objects people with learning disabilities, materials for their collections. through the use of multisensory object For and by people with learning disabilities interfaces. Obstacles and issues • Explore to what extent learning from • The main difficulty has been to create Custom devices to enhance a museum Dr Kate Allen this research can influence interactive workshop tools and activities that visit with multisensory experiences, such Department of Art, provision for the general public. encourage our co-researchers to state as an easy to use “sound box” that can University of Reading their thoughts and ideas during the Intended outputs be carried around and plays sounds at design process. A collection of interactive multisensory an appropriate part of the collection. • To promote the maximum opportunity object interfaces created by the co- for our group to be engaged and have A series of webpages created by the Summary disabilities. However, materials made researchers with learning disabilities in access to electronics and be able to co-researchers with learning disabilities accessible to people with learning response to museum collections, tested Our aim is to create make choices. documenting their experiences. disabilities as substitutes for the and showcased at three events at each multisensory interactive • To allow personal view points of Further information originals are often chosen by of the project’s three main sites. A cookbook of sensory activities is artworks that respond to collections through sensory curators rather than determined by being developed to encourage and Dr Kate Allen engagement. equivalent objects in museum the user-group. Many materials are support other groups to take up the [email protected] collections, developed through deemed by curators too delicate to • To make these objects robust enough activities. to be used by the public. Dr Nic Hollinworth art and electronics-based be handled by the user group and in In June 2014 an event showcasing our some heritage sites access to objects • To know how best to share ideas with School of Systems Engineering, workshops by people with other sites. co-researchers’ sensory objects at MERL University of Reading is limited because of the nature of and a seminar at the University of learning disabilities in the site’s environment. • To articulate how the project’s [email protected] collaboration with an workshop activities align with Reading Dr Faustina Hwang Approach museums’ educational aims. interdisciplinary research team. Lessons learned School of Systems Engineering, This project brings together artists, The importance of including our Background Actual outcomes University of Reading technologists, experts in multimedia co-researchers in the research process, This is a research project, funded advocacy and people with learning The project has been very successful in [email protected] co-research with people with learning and how this can be encouraged by from 2012-15 by the Arts and disabilities as co-researchers in the Andy Minnion disabilities in the workshop activities. developing workshop tools to promote Humanities Research Council. The design of interactive multisensory Director of the Rix Centre, Participants have been highly engaged empowerment. grant is held by the University of objects that replicate or respond to University of East London and feedback has been very positive. Reading and the University of East objects of cultural significance. To design and simplify in order for our [email protected] London in collaboration with Through multi-sensory art and Feedback from Speke Hall and MERL group to actively participate in design Gosia Kwiatkowska organisations representing people electronics workshops, people with has been enthusiastic. The project has process. The Rix Centre, University of East with learning disabilities, and learning disabilities are co- influenced how the sites present their How to present the work we have done London museums and heritage sites. researchers in exploring how the collections, encouraging use of sensory to the heritage sector in a way that it [email protected] Challenge different senses could be utilised to materials and hand held objects that can would be taken seriously to inform “Hands-on exhibits bring a space to augment existing artefacts or create travel with the visitor to give an policy and decisions of museum design. Ticky Lowe life, giving a greater understanding new ones. individual experience. Liverpool Mencap Access to Next steps and meaning to cultural heritage. Heritage Forum, director of Making The project explores collections at We hope our research will challenge Our funding continues to April 2015. We This is especially important for Sense CIC the British Museum, the Museum of museums and heritage sites to become plan to apply for further funding to people with learning disabilities.” [email protected] English Rural Life (MERL) at the more sensory in their displays and produce some of the prototypes Lord Rix, President of the Royal University of Reading, and the promote wider, alternative versions of developed by the group including our www.sensoryobjects.com Mencap Society. heritage site of Speke Hall as the collections and their accessibility. sound boxes, littleBits go LARGE and https://extrasensoryobjects. The experience of handling artworks basis for developing the objects, and the cookbook. We will continue to stages workshops and public events Actual outputs wordpress.com enormously enhances our Workshop tools to make working with highlight interactive sensory objects in those locations. littleBits go LARGE understanding of cultural heritage, electronics and interactive technologies developed by our co-researchers’ https://extrasensoryobjects. especially so for people with learning more accessible, called littleBits go sensory response to the collections at wordpress.com/littlebits-go-large LARGE. the British Museum in 2015.

10 GEM CASE STUDIES Vol.13 2014 GEM CASE STUDIES Vol.13 2014 11 Tower of London Foreshore Finds Kathleen McIlvenna Royal Armouries Adults

Tower of London Foreshore Finds

Intended outcomes Summary Challenge • Promote and share the collection Working with the Museum of The foreshore finds material is not with interested parties. London’s archaeological typical of the Royal Armouries • Generate wider knowledge and collections and Royal Armouries staff archive, Royal Armouries understanding of the collection at the Tower of London lacked the and the history of the ordnance. wanted to revisit, repackage specialist archaeological expertise so Next steps and store a collection of sought advice on storing such objects Intended outputs • Documentation and images will be foreshore finds, explore its to safeguard them and facilitate • Improve the care, storage and added to our collections database to history and increase its public accessibility to a wider audience. documentation of the foreshore finds. increase access to that information. • One workshop on history of ordnance • We are looking at digitising the Approach accessibility. and a tour of the White Tower for the photographs of the dig to make them Royal Armouries approached the Background volunteers. available to a wider public. Museum of London’s archaeological Royal Armouries has collections • We want to maintain the relationships archive for practical advice regarding Obstacles and issues originating from the Office of this project has cultivated, possibly storage and quickly realised the Working with the archaeological Ordnance stores based in and around offering workshops and presentations archive had strong relationships with archive removed the challenge of the Tower of London. In 1986 to organisations like the Thames volunteers who had experience and recruiting volunteers with the required evidence of the ordnance’s Discovery Programme and the interest in the Thames foreshore. experience. However, I worried about Actual outputs excavation could be extremely workshops was uncovered during a archaeological archive to increase the Volunteers were recruited from the not offering adequate skills • Over 700 objects have been important in demonstrating the dig on the foreshore. Nearly 30 years awareness of our collections, the archive’s pool of contacts and the development in exchange. repacked, documented and extent of the erosion to the Thames later it was considered that this history of the Tower foreshore and the project commenced in two phases photographed. foreshore. This will be investigated material could be of value to those Time and space was limited. The venue Office of Ordnance. with four volunteers. The first pilot • One workshop with a handling further. interested in the historic tower used for the volunteer sessions had to session on history of ordnance and a phase was six weeks and the second Lessons learned Kathleen McIlvenna foreshore, its archaeology and be changed part way through and tour of the White Tower was phase was twelve weeks. • Talking to and working with the Curatorial assistant, Tower conservation. working conditions could be crowded. provided to the volunteers. archaeological archive meant that Collections, Royal Armouries • I wrote one blog for Royal Armouries Actual outcomes not only were we able to improve the and one of the volunteers blogged • The foreshore finds collection is far storage for this collection practically, about the project every week. more accessible and with good long but it also gave us access to people Through this blog we were able to term storage provision. (volunteers) and processes that reach out to the wider archaeological • A useful and productive partnership enabled us to view our collection in a community and make discoveries with the Museum of London has been different light. within the collection; one object developed, providing a gateway to • Sharing skills with the volunteers was previously listed as a medieval jetton audiences interested in the collection a pleasure. All involved had valuable Further information was actually a Roman coin! and archive. skills that benefited the project and • Although I had been worried about kathleen.mcilvenna@ • The volunteers were able to further each other. developing the volunteers’ skills, the armouries.org.uk their knowledge and understanding • A clearly defined and succinct project did offer a new, meaningful of Royal Armouries, an area of history project helped us and the volunteers Glynn Davis, archaeology learning experience and volunteers they had not encountered before. manage limited time and space, collections manager (volunteers), gained new knowledge. For They also met their own objectives especially as it was difficult to predict Museum of London example, by the end of the project which included working with this type the amount of time needed for the [email protected] they were able to identify parts of of collection and broadening their desired outputs. standard issue weaponry. Volunteer blog on the project: knowledge of archaeological archival http://mooseandhobbes.wordpress. work. • Through this project we realised that the photographic archive of the com/tag/royal-armouries

12 GEM CASE STUDIES Vol.13 2014 GEM CASE STUDIES Vol.13 2014 13 Mammoths on the Move Laura Bennison and Fiona O’Sullivan National Museums Scotland and Sick Kids Friends Foundation Community

manager and the NMS staff, so that the play specialists were on board with the project and could see the benefits. This Mammoths will be easier going forward, now they have seen the impact of the project. Part-time working at both ends also meant it took longer to deliver on some on the Move tasks than we planned for. Actual outcomes The learning resource continues to be Intended outcomes used in the wards of the hospital and has bring the museum experience into the • Skills sharing and building proved to have a positive impact on hospital, so bedbound children and relationships between hospital individual recovery. children who would not normally access and museum, as near neighbours the arts wouldn’t miss out culturally. “Being able to hold a real mammoth in the city. tooth is not something you get to do Approach • Recreate part of the museum every day and especially not if you’re a Mammoths of the Ice Age at the experience for patients at the hospital. long term patient.” National Museum of Scotland was • Increase visits to the museum from chosen as the theme for activities. families using the hospital. While families expressed a desire to visit National Museums Scotland (NMS) the museum exhibition, we were not Intended outputs able to measure this. provided mammoth visuals that began • A learning resource for the hospital to appear on walls around the hospital containing real objects. Actual outputs including “mammoth myths”, height • Creative work by children exploring • A themed and branded learning charts and footprints to raise curiosity. mammoths to be displayed at both resource for ongoing use within the The artist and writer in residence at the institutions. hospital, including real and replica Summary hospital offered drop-in activity objects on the theme of ice age Mammoths on the Move aimed Obstacles and issues animals including books, craft sessions in the hospital’s public area, It was important to tread carefully when to explore the impact of handling including mammoth mask making and activities for different age groups, building relationships within the hospital factual information and toys. museum objects for young cave art. They explored children’s so as not to seem like the museum was questions about mammoths in a • Staff skills exchange sessions. people’s physical and emotional adding tasks to the workload of the • A colourful corridor display on creative way through stories and hospital’s play specialists. They have a health within children’s hospital illustrations. mammoths, “a mini museum” in a busy wards and to recreate elements very demanding role including medical section of the hospital. of the National Museum of Together we created a portable care, delivery of activities on the ward • Blog posts written by hospital staff learning resource on the theme of and psychological support for families. sharing the young people’s work and Scotland experience for those ice-age animals that met the hospital’s This relationship needed to be brokered who couldn’t visit. sharing of their work on both requirements. The resource needed gently by the artists in residence project institutions’ websites. Background quick, engaging activities for use with Lessons learned Next steps Laura Bennison The project began with skills swap children who were waiting to go in for We need to be more realistic about the Phase two of the project is starting in Community engagement officer, sessions between museum learning surgery or bed bound. It needed to length of time certain processes within autumn 2014. We aim to involve long- National Museums Scotland assistants and play specialists at the work for a range of ages, contain a lot our mutual institutions take. Change can term patients and hospital staff more hospital. The museum’s community of tactile objects for children with Fiona O’Sullivan, be slow and we needed a longer lead-in closely on the content of the learning engagement team shadowed play communication problems and also Artist in residence project manager, time to the start of the project. resource. A second learning resource for specialists on the hospital wards and in pass hospital infection control. Sick Kids Friends Foundation the hospital will focus on an area of the turn the play specialists attended part There needs to be more evidence of the NMS’ community engagement team museum’s permanent collections, so of the under-fives programme at the project within NMS, both in a physical Further information met with hospital play specialists to there are no time limitations created by museum. display and online. consult on the learning resource. There the short-term nature of temporary [email protected] Challenge was also a session on how to deliver We need a better system for evaluating exhibitions. We aim to expand upon the 01312 474 128 object handling sessions. Hospital staff object handling training given to the Sick Kids Friends Foundation run an arts the project and the impact on those fiona.g.o’[email protected] organised for long-term patients on day play specialists and work more closely programme aimed at enriching the involved. It would be great if museum 01316 684 949 environment in the Royal Hospital for release to visit the mammoth exhibition. staff could spend more time in the with them on the delivery of the Sick Children. The challenge was to hospital observing the learning resource resource to evaluate it effectively. in use.

14 GEM CASE STUDIES Vol.13 2014 GEM CASE STUDIES Vol.13 2014 15 Age Collective Laura Phillips British Museum AudiencesOlder

Age Collective

Intended outcomes Intended outputs Age Collective did not manage to Summary • Listen to the voices of older adults: Formulate a shared action plan: create include the voice of older people as Age Collective is a UK-wide, explore the needs of diverse a cross-sector network to drive change, much as it would have liked, although it cross-sector movement communities of older people and the with the aim of increasing opportunities did engage with and has an on-going exploring how museums and varied provision for meeting these and well-being for the diverse relationship with many older people’s galleries can better work with needs across the UK. communities of older people in organisations. Individual partners also • Share good practice: develop ideas different parts of the UK. had their own ways of consulting with and for the older people in to support museums across the UK to older audiences and feeding their Obstacles and issues their communities. better cater for the older people opinions into the process. Age Collective’s seminars and within their localities, in partnership Background conference were extremely popular and Actual outcomes with other organisations. Led by the British Museum working feedback from the evaluation was good, The outcomes that were achieved or • Develop inter-disciplinary in partnership with National but there were some key issues that part achieved (and continue to be partnerships: encourage social care, Museums Northern Ireland, continue to help evolve the programme. worked upon) were that Age Collective health and advice providers for older Glasgow Life (Glasgow Museums) enabled sharing of good practice (and people to view museums as There is a disconnect between what and Manchester Museum, Age we’ve been asked for a lot more of this). potentially valuable partners. museums want to achieve through Collective 2012-13 was supported The seminars and conferences were • Research: improve the work that we programmes with and for older people, by the Esmée Fairbairn Foundation. opportunities for developing inter- do; formulate new ways of and the networks they need to work disciplinary partnerships and sharing Approach collaborating with other sectors and with. Health and social care providers in examples of where partnerships were Work to date includes five seminars disciplines to locate new areas for particular do not view museums as valid pushing best practice. and a conference aimed at drawing collaborative research. partners in their work. together a cross-sector audience to Ideas are being formulated from Age discuss the work of museums and Collective regarding research studies, support with best practice Next steps older people. 191 participants from proposals focused on museums and and continuing professional • A plan for an “age-friendly museums 171 organisations took part, older people working in partnership development (CPD). day” in collaboration with Age UK ranging from older people’s with research institutions. • There is a need for museums to and Silver Sunday. organisations, museums, health counter the negative perceptions of • Plans are being developed to devise a and social care, to research Actual outputs older people and ageing that prevail series of CPD sessions on the subject institutions. Open-space We have just revised the Manifesto for in the press. of older audiences. techniques enabled participants to Age Friendly Museums after launching • Museums must recognise the great set their own seminar agendas. the original version at the conference Laura Phillips and then wanting to respond to diversity of this “group” and one of Head of community partnerships, delegate input. The manifesto the strengths of museums is their British Museum superseded the idea of creating an diversity of collections which have action plan, although Age Collective “something for everyone”. • There is a need for research into what has developed its own action plan for Further information its future work. the demographic impact of our ageing society will be for the museum Age Collective’s “age of creativity” Lessons learned sector. website: • There was a greater interest than • Open-space techniques can work www.ageofcreativity.co.uk/users/299 expected and as well as an really effectively with large and small opportunity to discuss how museums numbers of people and groups really Manifesto for Age Friendly might engage older people most appreciate the democratic principles Museums: effectively, there was a desire for case and opportunities to speak. www.ageofcreativity.co.uk/items/694

16 GEM CASE STUDIES Vol.13 2014 GEM CASE STUDIES Vol.13 2014 17 Art in the Park Lisa Williamson Birmingham Museums Trust CommunitiesSchools/

Art in the Park Creative learning outdoors

Intended outcomes Summary Challenge • Give children an immersive Art in the Park was an arts project Aston is one of the most deprived experience working with nature. held at Aston Hall Museum in areas of Birmingham and many local • Create sculptures for public display pupils are at risk of social exclusion at Aston Hall. collaboration with willow craft from the museum sector. An important artist Paul Simmons. It was aimed • Pupils gain a sense of pride for their factor for Art in the Park was to actively local community. at engaging pupils aged five to involve children from the local • Pupils have increased confidence in eleven with the outdoor community with the hope that they their artistic abilities. environment via a creative and would want to spend more recreational time with their families at Aston Hall Intended outputs hands-on approach. and its park. Many local children live in • Introductory outreach session for all profile of Aston Hall as a site for arts proximity to Aston Hall, booked include a one-hour tour as the children Background multi-storey flats or terraced housing participating groups to familiarise based projects. additional outreach workshops for were eager to explore and learn more The project was delivered during with little or no gardens. Teachers at them with the project and the theme • Many of the participating children their five to seven year old pupils about the hall’s history. autumn 2013 with pupils collecting neighbouring schools felt their pupils of land art. returned during October half term themed around Art in the Park. leaves, conkers and using willow to spent very little time outdoors out of • Full day visit to Aston Hall for each Next steps with their families. This subsequently These were delivered to 174 pupils make sculptures for Aston Hall’s school and it was hoped this project group, working with the artist to All of the participating schools have helped local parents discover that and attended by 59 parents, further outdoor areas. The children learnt would help to overcome this. create their sculptures. requested to take part in the project Aston Hall is an inclusive site for all. adding to the engagement of local about land art before the visit and • Follow-up school assembly to finalise again, with further schools wanting to Approach • Teachers were surprised at how families. made small scale sculptures at school the project and present the children join as a result of recommendations. Schools within walking distance of happy and inquisitive the pupils were in preparation for their day with the with a framed image of their art work, Lessons learned We are eager to repeat this project but Aston Hall were targeted to involve when working with nature and the artist. By creating public art at Aston showcasing what they had achieved Running the project during autumn was due to the high costs it is very much children from the local community. outdoor environment. As a result one Hall with natural, found materials it was to the rest of their school. hugely successful as the children dependent on budgets and funding. Within two weeks we had four schools of the schools has gone on to sign up hoped that the children would learn thrived when collecting fallen leaves, We are exploring alternative grants that signed up with an additional school Obstacles and issues as a forest school to further enhance new skills, gain respect for a local conkers and other materials. The will allow us to deliver Art in the Park from further across Birmingham joining The project carried a high cost due to their pupils’ outdoor experiences. landmark, enjoy getting hands-on with children learnt things about nature that again and hopefully lower the costs for via word of mouth. materials and artist fees. Consequently nature and have increased confidence we needed to charge schools £300 per Actual outputs they had no prior knowledge of and schools too. in their own abilities. • We worked with four schools and a this resulted in the project becoming group. This did result in one school Lisa Williamson total of 200 children aged five to cross-curricular. Despite occasional withdrawing from the project. However, Learning officer, Aston Hall Museum, eleven. rainfall the teachers and I agree that as this project was delivered outdoors Birmingham Museums Trust we were able to have up to 45 children • By delivering school assemblies at the autumn was the best time for this per group, which lowered the cost per participating schools, we connected project to run. with 1,371 pupils and 68 teachers. pupil overall for the schools and The project included 20 minutes inside Further information • The final sculptures were viewed by parents. the museum to look at the architecture 1,014 visitors to Aston Hall during lisa.williamson@ of Aston Hall, which inspired the final Actual outcomes October half term. birminghammuseums.org.uk sculptures. I settled on this limited time • Art in the Park received a high level of • Participating school Manor Park 0121 202 2244 or 07842 029477 to make the most of the period spent interest and helped to raise the Primary, which has the closest outdoors, but in the future I would

18 GEM CASE STUDIES Vol.13 2014 GEM CASE STUDIES Vol.13 2014 19 Pop Up Theatre Royal Tess Forbes-McMurchie Scottish Opera CommunitiesSchools/

Pop Up Theatre Royal

Intended outcomes Summary Royal. For schools, a follow-on • Educate pupils on the history of the Pop Up Theatre Royal was workshop was provided along with an Theatre Royal Glasgow. designed to educate school activity pack for teachers. • Provide support materials for teachers pupils and the local community Challenge and follow-on workshops to pupils about the theatre’s heritage • Engage a wide audience base in an based upon the aims and outcomes for the curriculum for excellence. and encourage them to visit the entertaining and educational way (including curriculum for excellence • Connect pupils to what happens in the re-developed theatre. aims and outcomes). theatre through performance based Background • Cover a vast and varied history follow-on workshops. As part of the wider Heritage Lottery within a short performance. • Encourage visits to the Theatre Royal Fund (HLF) supported Theatre Royal • Convey to the audience the and establish both the theatre building Heritage project, Scottish Opera experience of visiting the Theatre and its heritage as an educational produced and delivered Pop Up Royal within the Community Trailer. resource. • Provide an entertaining account of the Theatre Royal; a free, 30-minute Approach performance, which toured to class heritage of the Theatre Royal Glasgow The project was managed and evaluation forms. For the second tour, In conjunction with the cast and However, some schools cancelled last groups aged ten to eleven years old to local community groups. delivered by Scottish Opera’s class teachers were contacted directly, musicians of the Pop Up Theatre Royal minute, creating an issue of finding an and community groups across heritage engagement and education Intended outputs which resolved these issues. performance, a question and answer alternative audience and site to park Glasgow. The performance was teams who also developed the • The Pop Up Theatre Royal session was also delivered at the end of the trailer. Luckily we were able to delivered in the HLF funded Actual outcomes accompanying educational materials. performance piece. each school’s performance, allowing utilise existing contacts to cover the Community Trailer; a converted HGV The project was well supported by the Scottish Opera’s technical team • An accompanying activity pack for pupils to ask questions about audiences for these performances. It trailer with an interior to reflect the sites that played host to the community converted the Community Trailer. teachers. performing on stage, career advice for would be helpful to develop a method experience of visiting the Theatre visits, including Maryhill Burgh Halls. In • Follow-on workshop for school visits. the expressive arts industry and further to secure the school’s booking and addition to the success of the schools’ information about the Theatre Royal’s avoid similar situations. Obstacles and issues tour, we also found the Pop Up Theatre history. One of the main difficulties experienced Royal performance and Community Next steps with our first tour was booking the visits Trailer worked well with elderly Lessons learned The Community Trailer will be used for and providing the support materials to audiences, acting as a reminiscence • Contact class teachers directly to future Scottish Opera education and the head teachers. The performance event to prompt the sharing of their organise school visits instead of head outreach performances, activities and included elements of audience memories of the theatre. teachers, to ensure key information workshops. participation, with materials to support about the project and supporting Actual outputs Tess Forbes-McMurchie and prepare the pupils for this provided resources is passed on to those who Through 52 performances over two Heritage Engagement, to schools in advance of the visit. It will prepare the pupils for their tours, the performance was delivered to Scottish Opera became apparent that the class participation. 1,240 audience members, engaging teachers, who attended the • Due to the logistics of transporting the them in the heritage of the Theatre performances and workshops, had not Community Trailer, it was important to Royal Glasgow. The design of the Further information always been given the support materials recce sites fully to ensure ease of schools’ activity pack allows it to be by senior staff. This meant they were access and parking, and for the tess.forbes-mcmurchie@ used separately from the Pop Up unable to prepare for the elements of hosting schools and community scottishopera.org.uk Theatre Royal performance, acting as an audience participation in the venues to understand the restrictions 01412 420 558 educational resource that can be performance, and in some cases were of audience sizes. utilised by teachers in the classroom www.glasgowtheatreroyal.org.uk also unable to participate in the • The project was provided to schools setting and adapted to complement www.scottishopera.org.uk workshops. This was highlighted in and communities free of charge. pupil performances in school.

20 GEM CASE STUDIES Vol.13 2014 GEM CASE STUDIES Vol.13 2014 21 Talking Objects National: Tullie House Anna Smalley Tullie House YoungSchools People / Contribute to GEM Case Studies comfortable expressing their opinions through artwork and drama rather We would love to hear from you! than just talking in front of an If you are thinking of writing an article Talking Objects audience. Logistically, working in the holidays was tricky – we will think more for GEM Case Studies then please carefully about when to run projects to contact us or view our guidelines suit young people. on our website. National: Tullie House Next steps The original Talking Objects project at 01634 853424 Tullie inspired another project, also www.gem.org.uk funded by the Esmée Fairbairn and having to hold the project in the Summary British Museum’s six national Foundation via the British Museum. summer holidays in general was We took the original format and The Talking Objects National partners, Tullie House tested the logistically difficult. programme in August 2012. condensed it, and worked with three programme aims to inspire Actual outcomes different groups – the museum’s young people to creatively Challenge By the end of the week, the young children’s club the Tullie Time engage with museum objects Young people are typically a hard to people involved were relaxed and Travellers (aged 7-14), Tullie’s youth and collections and forge reach audience in museums. It was comfortable in the museum group Yak Yak (aged 14-19) and the hoped that Talking Objects could environment. They had really Carlisle Time Travellers, a group of closer links with cultural and test an object engagement heritage sites in their area. embraced the chosen object and adults with learning disabilities. The methodology that would suit their come up with an entirely new theory as methodology worked really well in a As part of the project, a group needs. to its origin which surprised even our shorter format, with groups spending of young people explored an Approach curator! The deputy head of the an hour examining their chosen object from our collection and The project ran over four afternoons school was incredibly proud of the objects and a further two hours its history, before producing a across a week and the participants young people’s final creative producing their creative responses. School of Museum Studies creative response to it. came from a local school, Richard response. She felt that the group Each group was filmed whilst they worked and a short film was created This could take any form, Rose Morton Academy. The seven would never have worked so hard on MA / MSc / PGDip pupils were students aged 14 to 16 something like this at school as they from the footage, which will be shown from art and craft to drama, who were “gifted and talented” in would be worried what their peers in our reception area. in Learning and Visitor Studies dance and music. humanities. We chose one item from would say – at Tullie, she said, they felt Anna Smalley in Museums and Galleries Background our collection to focus on, a statue of comfortable enough to relax and be Learning officer, Tullie House by distance learning The Talking Objects programme was three Celtic Gods known themselves. created by the British Museum in affectionately as “the Three Actual outputs 2008 and is funded by the Esmée Hoodies”, Genii Cucullati. The group produced a fantastic mixed Fairbairn Foundation. As one of the media creative response, made up of an original musical composition, a drama piece and artwork. The debate Intended outcomes Obstacles and issues session was well attended and all were The key aim was to encourage the Before the main four-day project, we highly impressed with their work. Head Further information young people to experience a deep intended to hold two taster sessions of collections and programming level of engagement with our with the group. For the first one, we Andrew MacKay stated, “It sets a bit of [email protected] collection and the chosen object, and went to Richard Rose to deliver the a precedent on how we might go about 01228 618723 make the museum seem like an session and the young people seemed interpreting our collections in future. In See the British Museum’s Talking accessible, relevant place. really interested in the project. A other words, a tall act to follow!” Objects website for all of the short group of seven was recruited. The This innovative programme is aimed speci cally at existing Intended outputs films produced by the British second taster session where the group Lessons learned or aspiring museum learning professionals and aims to The four-day programme was to be Museum and their partner was supposed to visit the museum was We learnt to trust in the enthusiasm equip students with the skills and knowledge to work filmed and a five-minute documentary organisations: scheduled a week before the project and innovative ideas of young people eectively in this eld. film produced for the British Museum in the summer holidays. However, we – their fresh look at our collection was www.britishmuseum.org/channel/ and Tullie House’s websites. At the had to cancel it as the majority of the invaluable and reinforced to us how object_stories/talking_objects.aspx For more information, visit our website, call Dr Viv Golding end of the week, the young people young people were on holiday or powerful objects and their stories can on (0116) 252 3975 or email [email protected] would present their work to museum www.peopleandplace.org.uk/ couldn’t attend. This made it very be. It was also of great use to see how staff, friends, family and teachers in a talking-objects difficult to predict whether they would creative arts can be an excellent way debate session. actually turn up for the main project, into history. The group felt more www.le.ac.uk/museumstudies

22 GEM CASE STUDIES Vol.13 2014 GEM CASE STUDIES Vol.13 2014 23 Editor GEM Case Studies is Designed by Susie Batchelor Case Studies 14 published twice a SteersMcGillanEves GEM Copy date: year by GEM but all 01225 465546 54 Balmoral Road 11 March 2015 opinions expressed Gillingham, Kent Publication: remain those of the Cover: Mammoth ME7 4PG 27 May 2015 named authors. drawings at National Museums casestudies@ © GEM 2014 Scotland gem.org.uk

A large print version is available on request. Please contact the GEM office. Index Vol.13 2014

3 A Victorian Shipbuilder in Bristol 14 Mammoths on the Move Michael Gorely Laura Bennison and Fiona O’Sullivan 4 Heritage in the forest Daisy Horsley and Emily Aaron 16 Age Collective Laura Phillips 6 What’s Your Story? John Simpson Wedge 18 Art in the Park Lisa Williamson 8 HMS Warrior in focus Judith Carrie and 20 Pop Up Theatre Royal Katherine Webber Tess Forbes-McMurchie 10 Interactive sensory objects 22 Talking Objects National: Dr Kate Allen Tullie House Anna Smalley 12 Tower of London Foreshore Finds Kathleen McIlvenna