CINEMUSESPACE Exploring people’s experience, and understanding of, everyday space

Suzanne MacLeod, Ceri Jones and Jocelyn Dodd

April 2020

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CONTENTS

1. Introducing CineMuseSpace 3

2. Case Study 1: CineMuseSpace at CFCCA 4

3. CFCCA Findings 12

4. CFCCA Conclusions 34

5. Case Study 2: CineMuseSpace at Port Sunlight 37

6. Port Sunlight Findings 46

7. Port Sunlight Conclusions 63

8. Conclusions 60

Appendix 1: List of participants, CFCCA case study 63

Appendix 2: CineMuseSpace at CFCCA, visitor questions 67 and prompts

Appendix 3: List of participants, Port Sunlight case study 68

Appendix 4: Port Sunlight, questions and prompts 69

Front cover: Timeline artwork made by CineMuseSpace based on the film Caché (Michael Haneke, 2005).

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1 Introducing CineMuseSpace

Project aims and ambitions prompt reflection on how this differs across cultures. Funded by the Arts and Humanities Research Council (AHRC) CineMuseSpace: A Cinematic Following an opening Workshop to this phase of Musée Imaginaire of Spatial Cultural Differences was the project and involving all partners (the led by François Penz, School of Architecture, Cambridge and Leicester teams as well as the University of Cambridge, Suzanne MacLeod, cultural organisations), two very different School of Museum Studies, University of approaches were developed towards public Leicester, and Andong Lu, Nanjing University. engagement:2 The project was framed by the premise that cinema can be ‘construed as a form of spatial 1. An installation as part of the Future Cities: ethnography’ in which films make visible ‘how Technopolis and Everyday Life exhibition at the we live, love, work and sleep in buildings’.1 Centre for Chinese Contemporary Art Through the creation of a database of cinematic (CFCCA) in Manchester; images from films representative of the Western ‘naturalism’ tradition (Europe, USA) and the 2. A creative and participatory process, drawing Eastern ‘analogism’ tradition (China, Japan), the on the concepts and themes of the research, aim of the project was to enable the cross- with the residents of Port Sunlight, to make a cultural study of everyday spaces and activities film about their everyday lives. (eating, sitting, bathing, cleaning), and explore the ways in which different cultural experiences Qualitative research, designed, carried out and in the East and West might impact on the way in analysed by researchers from the Research which we conceive of, inhabit, and design, Centre for Museums and Galleries (RCMG), everyday space. University of Leicester, was undertaken for each approach. The research captured the reflections and thoughts of visitors to the CFCCA and Engaging the public with CineMuseSpace participants in the project at Port Sunlight, including residents and representatives from the A key component of CineMuseSpace was a desire key stakeholders involved, National Museums to engage the public with the concepts and ideas Liverpool (NML) and Port Sunlight Village of the research; to get people thinking about our Trust (PSVT). The findings from this research everyday practices, how we use space, and to are set out in this report.

1 Taken from A Cinematic Home of the Everyday, Leaflet about 2 An exhibition was also organised in China at the Shanghai – the exhibition by University of Cambridge and Centre for Chinese NextMixing Gallery – March/April 2019. Contemporary Art. See Case Study 1 in this report. 3

2 CASE STUDY 1: Centre for Chinese Contemporary Art (CFCCA), Manchester

CineMuseSpace at CFCCA CFCCA – a snapshot The Centre for Chinese Contemporary Art CineMuseSpace was developed as one element of (CFCCA) is a unique art gallery based in the exhibition, Future Cities: Technopolis and Manchester, which has the second largest Everyday Life (2 August - 19 October 2019), Chinese community in the UK.3 The gallery has shown at the Centre for Chinese Contemporary been working with emerging and established Art (CFCCA) in Manchester. In this exhibition, artists for over thirty years to provide a ‘space for visitors were invited to reflect on the way in conversation, debate and cross cultural exchange’ which our use of, interaction and relationship and explore ‘relevant global issues from different with, everyday space may evolve in the light of international perspectives.’4 With its beginnings changing technologies, physical geography of in a festival for the Chinese artistic community, cities, natural resources and domestic the Centre opened in 1989. It moved to its environments. A research study captured the current location – a RIBA award-winning former responses of visitors to the galleries – a 19th century market building that incorporates predominantly young, educated and digitally elements of Chinese architecture within the aware demographic – through interviews, focus design – in 2003. With its ambition to be a groups, and opportunities provided in-gallery, to ‘future-facing’ organisation and host a answer the following, over-arching question: ‘challenging and innovative exhibition programme showcasing the very best of How does the project/intervention 5 generate insights, understandings and contemporary Chinese art,’ the CFCCA includes awareness of our everyday environments two (free to enter) gallery spaces, an artist-in- and the routines that shape our lives? residence project space, archive and library, education and events suite, and shop. Many rich and interesting themes emerged from visitor responses including: what shapes our personal relationships with everyday space; the role of the exhibition in highlighting cultural difference (and same-ness); the limitations of film in reflecting the ‘reality’ of our experiences with the everyday; and speculation around how these elements may evolve in the future.

3 Arts about Manchester, 2009, Chinese Arts Centre: Visitor / 4 ‘About Us’, http://cfcca.org.uk/what-we-do/about- Audience Research, report prepared for the Chinese Arts Centre:3 us/ [retrieved 05 10 2019] 5 Arts about Manchester, 2009: 3-4 4

Part of a vibrant cultural scene in the Northern known and may be challenging for first time Quarter visitors to access.11

As part of the up-and-coming Northern Quarter, Exhibition Future Cities: Technopolis & Everyday the CFCCA exists alongside a range of quirky and Life independent galleries, bars, cafes, and shops that Future Cities: Technopolis & Everyday Life was attracts a young and culturally diverse audience.6 shown from 2 August-19 October 2019, with Recognised nationally and internationally as a artworks by Chiawei Hsu, Lawrence Lek, Zheng ‘vibrant, inclusive and outward-looking city,’7 Mahler, and Liam Young. The exhibition over the past two decades Manchester has seen explored how evolving technologies have ‘unprecedented population growth’ particularly affected our interactions with the physical around the city centre and surrounding areas. The geography of cities, natural resources, and city is home to many diverse communities and domestic environments (Figures 1, 2 and 3). welcomes people ‘from across the world.’8

For the CineMuseSpace contribution, four films CFCCA visitors tend to be young, educated and were selected from the CineMuseSpace project: working in the creative industries Cinematic Timelines of the Everyday (2019), Garden Stroll: Illusive Realm (2018), Keep Cool – The The CFCCA is a relatively small gallery, visited by Augmented Hutong Reality Experiment (2019) and nearly 27,500 people in 2018-19. Because of its Cinematic Home of the Everyday (2019).12 The space Northern Quarter location it attracts a mainly was ‘creatively divided by stenciled lines on the young, educated audience; in 2018-19, 60 per cent floor to represent different rooms of a traditional of visitors were aged 16-34,9 and tended to be house’13 with a different film shown in each more ethnically diverse than the wider north-west ‘room’ of the ‘home’ (Figure 1). Robert, a region.10 A significant amount of visitors work in participant from the CFCCA visitor study focus the creative industries, arts education, are group, commented that experiencing the students or artists. Focus groups with new and exhibition was ‘almost [like being] in a home existing visitors have found that its appeal is space… like watching TV.’ linked to wanting to understand more about a politically and culturally important country, as well as experiencing Chinese art and culture, although contemporary Chinese art is less well-

6 ‘Northern Quarter,’ 10 Arts about Manchester, 2009: 233 visitor responses were https://www.academyofurbanism.org.uk/northern-quarter/ collected. [retrieved 31 10 2019] 11 The audience agency, 2013, Chinese Arts Centre Branding 7 Manchester City Council, (2019), State of the City Report Focus Groups: Results and Analysis, report prepared for the 2019, Chinese Arts Centre https://www.manchester.gov.uk/downloads/download/7121/state 12 Exhibition leaflet and description, Future Cities: Technopolis _of_the_city_report_2019_whole_document [retrieved 31 10 &Everyday Life, CFCCA 2019]:15 13 Lisa Habernik, (2019) ’Future Cities: Technopolis and Everyday 8 As above: 8 Life’ https://mancunion.com/2019/09/26/future-cities- 9 audience finder, 2019, Audience Report: ACE Survey report technopolis-everyday-life/ [retrieved 05 10 2019] 2019, Centre for Chinese Contemporary Art 2018-2019 data entry. 393 responses were collected from visitors. 5

Figure 1: Future Cities: Technopolis & Everyday Life at CFCCA.

Capturing visitor responses to the Over September and October 2019, 30 exhibition interviews were carried out with 43 visitors, singly and in small groups, two An important part of public engagement focus groups were held – one at the with CineMuseSpace was capturing visitor CFCCA and one at School of Museum responses to the exhibition. Qualitative Studies, University of Leicester – and research methods were used in order to opportunities were provided within the explore and tease out themes and ideas in gallery for visitors to give their opinions on relation to the over-arching research the exhibition. Drawing on a range of data, question: including interview and focus group transcripts, researchers’ reflective notes How does the project/intervention generate completed during fieldwork and visitor insights, understandings and awareness of our comments collected by the CFCCA, the everyday environments and the routines that shape content was analysed collectively by our lives? researchers to explore and unpack emerging themes.

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7 Figure 2: Future Cities: Technopolis & Everyday Life, view from the entrance.

Figure 3: Future Cities: Technopolis & Everyday Life, the ‘garden’ area featuring one of the video installations.

In-gallery opportunities to respond to the tended to visit during lunchtime or in the exhibition afternoon. There were more visitors at weekends. Interviews were carried out by RCMG researchers, who actively sought culturally In total, 30 interviews were conducted with diverse perspectives. Visitors were 43 adult participants (Appendix 1). People approached as they entered the exhibition were interviewed individually, in couples, space and asked if they wanted to take part or in small groups. Interviews were taped in a 15-20 minute interview. Those who and transcribed, and, with their informed agreed to take part in an interview tended consent obtained, visitors’ actual words to be positive about the exhibition; visitors have been used in the report. Interviews who had spent only a short time in the were semi-structured, with a series of gallery, felt negative about the exhibition warm up questions followed by an or did not engage with it, rarely exploration of the themes and ideas raised participated. Language barriers also by the exhibition (Appendix 2). Short clips prevented some visitors from participating from Cinematic Home of the Everyday were in an interview. Interviews took place at used as a stimulus and reminder of the various times of day depending on visitor exhibition and to support questions patterns. During the week, the Centre was very quiet in the mornings and people 8

around everyday actions and cultural Harvey, ‘[The CFCCA] looked cool and we difference (Figure 4).14 saw a big free entry sign… that was us sold.’ Most were first time visitors to the Visitors could complete a post-it note in CFCCA but a few people had visited the gallery in answer to the question, before (Laura, Sam, Ryan, Roza and Ben, ‘Please share your responses to the Elle and Kai). Ben worked nearby and exhibitions,’ or respond via a visitor survey often popped into the gallery during his collected by the CFCCA for the Arts lunch break, ‘[It’s] meditative to get away Council. The most relevant question was from the office, and it’s also an Q.12, ‘Is there anything else that you opportunity to keep on top of what’s going would like to say about your visit or the on with the exhibitions.’ CFCCA in general?’ In total, 38 post-it notes were completed and 24 responses The focus groups were collected from the visitor surveys across the exhibition period. Visitor Two focus groups were used to explore, comments (with no other data attached) tease out and test key findings from the were provided to researchers by CFCCA visitor interviews. Both were chaired by via an Excel spreadsheet. Jocelyn Dodd. The first focus group was held at the School of Museum Studies, Who took part in an interview? University of Leicester on 30 September 2019, with a group of eight, culturally Reflecting visitor demographics at the diverse, non-UK Museum Studies students CFCCA, participants tended to be young from Greece, Hong Kong, China, USA, (aged 16-34), educated to degree level, or Tibet and Taiwan. The group was selected in higher education. Many worked in the to test some of the findings emerging from creative industries, were artists, or studied interviews with UK visitors about the the arts. Whilst most of those interviewed universal human experience with were from the UK, there was a good mix participants from non UK perspectives. of people who were from outside the UK The MA students had not seen the or had family backgrounds or connections exhibition at the CFCCA and were in their to Hong Kong, China, South Korea, Italy, second week of study of their first year at Germany, Philippines, Morocco, India, the University of Leicester. The second Asia, France and Spain (18 participants, 42 focus group was held at the CFCCA on 2 per cent). Visitors had come to the October 2019, with eight participants from CFCCA for many different reasons: some mainly creative, museum or art gallery, film were passing by during a visit to the and academic backgrounds. They were Northern Quarter (Harvey, Fynn, older than the demographic reflected in Mariam), others came after finding it on the interviews, aged between 30 and late the Internet (Leo, Fe, Gwen and Edwin, 60s. Raman and Trish, Phil and Beth). Free entry was a big draw for visitors, including

14 To distinguish between the films viewed in the used throughout the case study to refer to the film shown exhibition and during the interview, the term ‘film clips’ is during the interviews. 9

Figure 4: Stills from Cinematic Home of the Everyday. The short clips were grouped together using categories such as ‘drinking’.

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Analysis and interpretation

Interviews and focus groups enabled participants to discuss, in-depth, their ideas and responses to CineMuseSpace with researchers, whilst group interviews also enabled an observation of the dynamic between individuals. The interview and focus group transcripts, researchers’ reflective notes, and visitor comments collected in gallery by CFCCA, were analysed as part of a collaborative process of breaking down, and unpacking the data to find, and explore, emerging themes that could be grouped together in broad categories. Researchers teased out key ideas in the content of participant responses, looking for patterns across the data, as well as deep into, the data. Nuance was important, subtle differences in how participants responded to the questions. The overarching research question provided a focus to ensure that these key themes reflected the overall aims of the research:

How does the project/intervention generate insights, understandings and awareness of our everyday environments and the routines that shape our lives?

The focus groups were also an opportunity to test several themes emerging from the research. Once the key themes had been agreed upon by researchers and written up, these were explored in conjunction with the findings from the second case study at Port Sunlight. Overall, it was a process of selection, inference and interpretation where the researchers and their experiences played a critical role.

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3 CFCCA Findings

Overwhelmingly positive The familiarity of scenes of everyday life shown in the films was a positive aspect for responses to the some visitors (e.g. Leo, Tyler, Mariam, exhibition Fauziya) because they could relate it to their own experiences. Leo liked the scenes Responses to the Future Cities exhibition that reflected her own life, that ‘looked like from participants were overwhelmingly where I live or people who may live like positive: visitors thought it was original, me.’ Tyler, who grew up in China, related interesting and thought-provoking, gave a to one scene in particular that reminded new perspective on everyday life in cities him of his childhood: ‘the dad is reading and different cultures, and prompted them the newspaper and the mum is in the to think about their own experiences of the kitchen and [the son runs in, grabs some food, everyday. The range of responses to the and runs out]. That was like when I was still exhibition suggested that people could living at home… I was always late.’ Fauziya connect in different ways with the complex was reminded of her experience of themes and ideas underpinning the films commuting to work by a scene of a woman and art installations. Generally, the washing her plates in the sink: ‘I had to get exhibition was described as ‘good vibes’ up at 5am so it was always dark.’ Scenes (Roza), ‘fun… It gives a smile’ (Emmy), that were different to their lives, however, ‘thought-provoking’ (Lucy) and ‘beautiful’ were less meaningful. in the way that it documents ‘moments of humanity’ (Natasha). A positive response to the exhibition also emerged from the post-it notes and visitor Several participants talked about the surveys. Reflecting similar themes raised in natural curiosity that the exhibition the interviews, visitors described the provoked, linked to an interest in how exhibition as ‘amazing’, offering a ‘new other people experience the everyday perspective’ on daily life and how cities (Natasha, Ryan, Jamie, Mariam). Natasha impact on our lives, and helps us to reflect enjoyed getting ‘a glimpse of everyone’s on ‘our similarities as individuals + everyday… seeing their little quirks of how societies no matter where/who we are or they go and make a cup of tea or just go what culture we're from.’ Comments were for a walk.’ Similarly Ryan talked about the positive about the layout of the exhibition ‘human interest’ in watching other people and use of the space, and how ‘artists from carrying out their routines: ‘It’s stuff that different Asian countries [are] coming you’ve done before and maybe empathise together to reflect on a modern + relevant with them.’ Mariam enjoyed seeing how topic.’ Visitors also praised the ‘friendly people from different cultures experienced welcome, lovely atmosphere’ of the their everyday: ‘You want to keep looking CFCCA, although some visitors would and looking.’ have liked to have seen more about Chinese culture and more interactive exhibits. 12

Not everyone could connect to the routines), shaped by underlying values and exhibition or find it meaningful assumptions about what makes a home, and what we understand to be a good and Although visitors with negative fulfilling life, as well as our emotional and experiences of the exhibition tended not to practical needs. Despite the importance of take part in the research, some criticisms everyday space to our lives, it was not a of the exhibition emerged from the visitor subject that many participants had responses. In some cases this was linked to reflected on before, with everyday routines the exhibition design and layout, the often described as ‘mundane’, a ‘chore’, presentation of the films within the gallery something to be got through as quickly as and the ‘extreme’ sound bleed between the possible. The experience of the exhibition, installations. Ann (CFCCA focus group) and taking part in an interview, therefore commented, ‘there’s that much going on enabled many participants to think about you really need to be able to focus on it… their use of everyday space for the first It’s such a detailed film and such a time and in new ways. dominant soundtrack… it’s putting a real hurdle in the way.’ Tanith and Kira explained that the films prompted them to think about things that, Some visitors found the films difficult to ‘you don’t really think about in your own understand and reconcile with their own life very much.’ An important stimulus to experiences; they were ‘dull’ (Clara), participant responses were the films ‘confusing’ (Adrian), ‘overwhelming’ shown in the exhibition and the film clips (Roza), ‘too stylistic’ (Fauziya) or lacked used to prompt memory of those films relevance to their lives (Mykola, Charlie, during the interview. Having something Adrian, Jennifer, Lucy, Abigail), visual in front of them invited participants particularly in relation to the age of the to make comparisons with their own lives films. Some visitors struggled to and experiences, such as Natasha: ‘that’s understand the concepts behind the what I was thinking when I was watching artworks, including Adrian who said he the film, [about my everyday use of space]… it’s tried hard to make sense of it but perhaps something so personal to everyone.’ was overthinking it: ‘I’m so set on finding this deeper meaning to it.’ Language On the other hand, for Tiffany, the film barriers could also make it challenging. clips did not directly raise any new ideas or English was not Erika’s first language – insights because it was a subject that she ‘it’s difficult for me to understand and I had often thought about through her work disconnect a little bit.’ and artist practice, ‘it’s something that I feel quite comfortable with.’ Her Prompting reflection on everyday use of experience enabled her to raise some space interesting questions about the role of women within the films. Overall, the The experience of the exhibition and the interviews provide a fascinating snapshot interview prompted participants to reflect of visitors’ thoughts directly following on, and talk about, their daily routines, use their experience of the exhibition. As Ed of everyday space, and the personal, and remarked: ‘It tends to take me a few days external, factors that influence, and shape, [to reflect on what I’ve seen]… if you ask me in that use of space. Throughout the a week, I’m sure I might say something interviews, their relationship with space totally different.’ was revealed to be a complex one (despite the seeming simplicity of everyday 13

Working through the interviews, it became Internet and social media. Yet this reality clear that there was enormous depth and was entirely missing from the films, most richness around everyday use of space in of which were dated to before the people’s responses, related to their own, explosion in its use. Some of the younger and their families’ experiences, but also to participants, particularly the MA students wider culture and society. This included (focus group), could not relate at all to the the huge importance of digital technology film clips. Natasha’s comment after in younger peoples’ lives today, as well as watching a scene showing two children their comfort and familiarity with cultural looking out of the window was typical; she diversity and difference, part of living in a thought it was strange because ‘today kids globalised world. Participants spoke in normally have an iPad or something.’ detail about their everyday routines, and revealed their concerns, feelings and The interviews revealed how important the thoughts on a range of related themes. digital was to young peoples’ lives (and to They invited the researchers into their some older participants too), shaping and lives, some of which were very busy and influencing their routines, and situating hectic, whilst others were slower paced. them within an increasingly connected and Some participants were very conscious of globalised world, where immediate access their impact on the world around them, to information, and virtual connection others less so. As Natasha asserted, with others, was normal. It affects their ‘everyone has a routine… Everyone has relationship with entertainment (on their own way of doing things..’. Patterns demand, Youtube), work (computers), could be discerned across the interviews food (eating in front of a screen, ordering too. What became clear was that most from a phone, downloading recipes), their routines had meaning and a purpose for leisure time (Internet) and the wider world the individual (people could rationalise (Google Maps). People looked at their why they did particular things) but also phones or laptops from the moment they revealed people to be at their most woke up (Charlie, Leo, Kira, Phil, Beth, instinctual, responsive. As Luke (CFCCA Giulia, Simon) and before they went to focus group) commented, we do them sleep (Adrian, Harvey, Finn). unconsciously, un-thinking, fulfilling our most basic needs. A Museum Studies student from Hong Kong spoke for lots of young people when Young people’s lives were not well they said, ‘Everyday I am using my mobile represented in the films phone… …. Scrolling [for]… different messages, [looking at] Instagram…’ Young people often did not see their lives Participants checked their emails, text reflected in the films, particularly in messages and social media first thing, relation to their use of digital technology whilst some mentioned using it for other and mobile phones (which was not activities such as ‘English listening in the represented at all), and sitting down at a morning’ (MA student from Tibet) or table to eat (which was over-represented). reading the news (Simon). Smartphones, tablets and laptops had replaced other The use of digital technology was under- forms of entertainment such as radio and represented in the films television.

Young people today have grown up in an

‘information age’, immersed in the digital world through their mobile phones, the

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Eating at the table was a huge revealed a wide range of factors that generational difference that many of the shaped their lives, from individual young people had not experienced in circumstances, preferences and priorities, their lives to whether they lived alone or with others. People varied as to whether their everyday An interesting issue that was raised by routine was structured or more flexible, participants was the focus, in the films, of straightforward or complex, repetitive or sitting at the table with family to eat meals. ever-changing. Current life circumstances This was an experience that was alien to – going to work, studying at University, many young people and several saw it as a retirement, unemployment, being in- romanticised image of the family (Tanith, between jobs, and having a family – were Kira, Cara, Sam, Jennifer, Lucy, Roza, particularly important in shaping Raman). People ate their meals in front of participants’ use of everyday space, the television (Ann, Jennifer, Lucy), in although unemployment and retirement front of a screen (Giulia) and often could also have a profound impact. Kira, separately from their families (Tanith, for example, was ‘in between things at the Kira, Harvey, Raman). Eating at the table moment so I don’t really have a proper was confined to special occasions like daily routine,’ and she had started a journal Christmas or at ‘grandparent’s house’ in order to be more organised. Currently (Sam, Lucy). Sitting down to eat was unemployed, Elle spent much of her time regarded as old-fashioned or dying out; as in her room, trying to be productive. Roza suggested, it was an activity that was, Although she lived with her father, they ‘lost in modern day England… A lot of rarely spent time together, her father going families just sit and watch TV when they shopping every day, ‘just a way to get out eat.’ Raman’s family ate at different times of the house.’ Despite living together, the so rarely sat down together: ‘We never had sense of isolation in their lives was palpable a set, come and get your food. It was made from the interview, and was a real contrast whenever you wanted to eat, and you just to the sense of family and together-ness ate it. My mum would always eat in the that Elle had experienced with her kitchen standing.’ mother’s family, who were from the Philippines. Participants in the CFCCA focus group debated whether modern, digital lifestyles Reflecting on her own experiences, could be included dramatically in films, for Mariam wondered where our everyday example in the same way that sitting routines come from – is it something around the table to eat was often used as a ‘innate’ or is it ‘external influences’? For narrative convention. An individual using Mariam it was a bit of both, her everyday a phone could often appear ‘boring’ (Luke, routines were shaped by a desire for Jo, Robert). However, its exclusion from independence, comfort and creativity, but the CineMuseSpace films made it difficult for there was some influence from the some participants to connect with the surrounding Moroccan culture (her home everyday scenes, or made them less country). This was replicated across the meaningful. interviews, with participants choosing to live in particular ways, but being influenced Current life circumstances shape use of by outside factors such as who they lived everyday space with, the space available to them, and their childhood or cultural backgrounds. When prompted to think about their everyday use of space, participants 15

Having one’s own space is highly valued, others tolerated it, and some thrived on it. but most people have to adapt to live Harvey and Finn had recently moved in with others together and were adjusting to each other, both having different routines and Independent living, and having one’s own attitudes to space. They recognised that space, is highly valued in Western society, they needed space to be themselves, to do but was not the reality for most ‘their own thing’, otherwise ‘you’d just participants, who shared their everyday start to grind on each other a little bit.’ space with other people, whether family Although sharing student accommodation and friends, in a shared house or in student could be noisy and a ‘hassle,’ Clara enjoyed accommodation. Very few participants had the sociable aspects: ‘You run into a lot of complete control over their space, a different people… which is pretty cool.’ common situation for many young people Living with others forced participants to just starting out in life.15 Living with others reflect on, and even change, their affected their everyday routines and use of expectations of everyday living and needs space as they had to adapt their lives to fit (Phil and Beth, Leo). Different rooms in with other people who might have represented different possibilities in shared different ideas about everyday space to living spaces; people often used their them. bedrooms for alone time, kitchens and living rooms signified being with others. For some, this worked very well. Ryan, There was reassurance in always having who worked at home, had developed his people around if you needed them. daily routine to fit in with his housemate, who worked full time outside of their flat. Very few participants had young children Some young people were still living with but those who cared for, or lived with, their families. For Abigail this was positive, younger children, shaped their lives around she liked having other people around and the childrens’ needs. As an au pair, Giulia’s enjoyed spending time with her parents: ‘I day revolved around caring for two young always know that [if I want] to talk to children, doing laundry, preparing food someone… they’ll be in the living room.’ and trying to ‘entertain them not using the In contrast, Elle led a very separate life computer or the tablet.’ Fe’s routine from her father, rarely sharing the same focused on making sure that her daughter space: ‘I’m always in my room and he’s got to school on time, before going to always in his room.’ On the other hand, work in the family pharmacy. It was an leaving home could change peoples’ incredibly long day: ‘[My daughter’s] school perceptions of everyday life, including starts at 6.30 in the morning… … [and] Raman who was getting used to living on finishes at five… [It’s] half past five when his own; ‘You have to cook everything we see her next.’ Kai lives with a friend yourself… You’re learning new actions who has a little boy, who wakes him up that you haven’t done before.’ early but Kai does not mind, ’It’s a nice way to wake up.’ People had mixed feelings about sharing their space with others, some disliked it,

15 For young people aged 25-34 years old, the increase eownership-among-young-adults-collapsed-institute-fiscal- in house prices over the past 20 years means that they studies [retrieved 05 12 2019]; Pidd, H., 2018, are less likely to own their home compared to previous ‘Housing Crisis: 15,000 new Manchester homes and not generations. See Partington, R. 2018. ‘Home ownership a single one ‘affordable’, amongst young adults has collapsed, study finds,’ The https://www.theguardian.com/cities/2018/mar/05/british Guardian, -cities-developers-affordable-housing-manchester- https://www.theguardian.com/money/2018/feb/16/hom sheffield [retrieved 31 10 2019]. 16

For those young people who did live on cope with. This was said in relation to one their own, they relished the opportunity to of the films clips which referred to the war organise their own space and have in Iraq. complete control over their routine, including Cara: ‘I feel like I quite Everyday space outside the home romanticise the independence of getting ready, doing chores… I still do it now. I’m Despite the theme of the exhibition sure the novelty will wear off eventually.’ around city living, the CineMuseSpace films focused on domestic interiors, and most Temporary and dysfunctional space participants associated everyday space with their home. For Luke (CFCCA focus People felt differently about space that was group), this was not an accurate only temporary or did not fit their needs. representation. Everyday life was not They felt less connected to it, or it did not confined to the home but was: ‘happening feel like their ‘home’ (Roza, Tanith, Kai, outside… in the streets, politics, Mykola). Roza was living with her agriculture…’ A minority of participants boyfriend whilst she was looking for her did associate the everyday with places own place and admitted that; ‘I often feel external to their homes including work quite anxious that I’m in people’s way (Mariam, Simon, Laura), University because I’m staying on other people’s (Raman, Fynn, Charlie), and outdoor space places.’ Tanith was living with her sister, such as the garden (Peter, Erika, Abigail), Kira, temporarily and did not feel that it depending on where they spent their time. was her home: ‘[I can’t] have any of my Simon spent a lot of time on the train things in it… it’s a very boring bland commuting to work and described the house.’ Kai described his temporary living stress of being ‘stuck in a box’ with space as a ‘plastic box’ that was ‘clean and ‘hundreds of people… that don’t talk to breezy but there’s no personality in each other.’ To avoid having to commute, there… it’s very much just a white box.’ Mariam had arranged her life so that she Again this was not necessarily a negative could walk to work and go home for lunch, thing, it gave Kai a feeling of freedom, ‘I’m giving her time to ‘disconnect… [and] relax free to go wherever I want.’ after the whole morning of intensive work.’ Charlie enjoyed spending time at art Space could be dysfunctional when it did school because it had been designed as a not meet the needs of the people who live relaxing space in which to study: ‘you can in it, such as Mykola who had conflicting eat, you can sit around. There are different opinions about his flat. Designed for areas where you can work. You don’t have someone who lived alone, the kitchen was to be forced onto a desk. You can go and very small and was ‘not fit for a young work on a sofa, or in the cafe… It’s really couple who cook a lot.’ Whilst others relaxed.’ This more relaxed approach talked positively about their homes, suited Charlie, it helped inspire him: ‘it Mykola explained that he was not gives you more motivation to work and ‘emotionally attached’ to it. Similarly, makes you more imaginative.’ Harvey and Fynn found some aspects of their flat impractical. It was small and Despite being the focus of the exhibition, ‘horrendously made,’ lacking a proper the experience of everyday life in cities was window that opened. Yet like Mykola, rarely touched on explicitly by participants. Harvey and Fynn remarked that they really Ed had lived in two cities (Manchester, had little to complain about, particularly in Glasgow) and was able to reflect on the comparison to what other people had to differences in atmosphere, sense of scale, 17

and architecture between the two: ‘Even extremely limited. Sam, who was always the little things like I get a train [in Glasgow] ‘put to the back of the pecking order in instead of a bus to go somewhere. The terms of getting ready,’ had learnt to, ‘get atmosphere [is different]… Glasgow feels ready as quickly as possible in the shortest safer and more friendly. A little bit less amount of time and take up the least oppressive. The architecture is older… amount of [space].’ In contrast, Cara valued Compared to Manchester where her independence highly, disliking having everything is a bit rushed and it seems like other people in her space. it’s becoming an extension of London, Glasgow is not like that.’ Returning to Everyday life is repetitive – this can be Manchester, he recognised how comforting and restricting investment was changing the city, with new buildings springing up: ‘I’ve been The editing together of the CineMuseSpace away for a bit and I come back and I’m like, films emphasises the repetitive nature of that building wasn’t there. Now it’s the everyday life, which many participants tallest one!’ connected with. People described doing the same activities every day, getting up Childhood experiences are significant but and going to work or University, drinking tea or coffee to get going (Kai, Giulia, we can choose how we want to live Mykola, Tyler Tanith, Kira, Simon, Eamonn, Lucy, Raman, Cara, Leo, Prompted by the scenes of family life in Fauziya), showering or washing (Clara, the films, some participants reflected on Giulia, Mykola, Ed, Tyler, Adrian, Charlie, how their childhood experiences had Natasha, Tom, Gwen, Trish, Cara, Sam, shaped and influenced their everyday lives. Leo, Fauziya), brushing their teeth and However, it was clear that for many making their beds before leaving the participants they were not defined by their house. People ate breakfast in their houses, backgrounds, they had the choice to with their families, or on the go. Routines recreate the same experience for were usually more structured in the themselves or their own families, or adopt mornings, evenings and weekends were new ways of thinking about everyday life. more flexible. For some, the repetitive For Harvey, seeing how close his partner nature of everyday life was comforting (e.g. Fynn was with his family, had thrown his Cara, Mykola, Charlie), for others it was own family experiences (of individuals that stifling. For Cara, routine was important, tended to do their own thing) into sharp she liked to have her day precisely mapped relief. It had led Harvey to think that out, but Jennifer had more of a love/hate elements from both their backgrounds relationship with routine: ‘it can be boring, should be integrated when it came to and you want to do something else that’s creating their own family life: ‘I think it’s away from your routine, but then, as soon nice to do things together within reason. as you get away from your routine, you feel When we have kids, I… want them to eat like you want it back and you miss it.’ Trish together as a family and do stuff together tried to have a routine but her shift but once they’ve had enough [they can do patterns (she works as a nurse) could make their own thing].’ Beth also felt she had the it a challenge. Others found repetition choice to both ‘pass on’ what was useful boring or stifling and tried to do something from her own childhood, and ‘filter out’ different everyday (Charlie, Abigail, Roza). things she did not like. In another example, Abigail found it impossible to develop a both Cara and Sam shaped their everyday consistent routine, ‘I don’t think my brain lives in response to coming from families where having your own space was 18

is necessarily wired for it.. … [I feel] really Fynn) or simply being in ‘the moment’ trapped by routine.’ (Mariam, Peter, Emmy and Jan). Cooking was particularly cited as an enjoyable, even The films show everyday ‘chores’ – creative activity (Adrian, Kai, Roza, where’s the joy? Mariam). Roza and Mariam were both vegan and cooking fresh food at home was The films tended to focus on everyday very important: ‘I cook a lot of my own chores, as Jamie (CFCCA focus group) food and I bake a lot of my own food… pointed out, apart from ‘eating food, there I’m always cooking something that I’m was no relaxation… no one reading, no excited about’ (Roza). Kai used cooking as one dancing in the kitchen. It was all an ‘escape’, and engaging in menial tasks chore-based… [there was] no joy.’ This was like cooking potatoes could be very common across the interviews, with satisfying: ‘you’ve got to peel it, chop it, visitors equating everyday life with routine and put it in a pan… I like those menial activities such as getting up in the tasks. They make me feel like I’ve mornings, cooking, cleaning, washing, accomplished something.’ going to work. For some people these activities were boring and mundane, things The varied rhythms of everyday life that needed to be done as quickly as possible to get them out of the way The way in which the film clips were edited (Tanith, Kira, Ben, Charlie). Kira did not together suggested to Giulia that there was find any ‘pride or excitement in doing a rhythm to everyday life, ‘It’s quite a fast [mundane] things. I’ve got bigger fish to pace. It’s quite a rhythmic pace. We tend fry… Making things… Having fun.’ Both to do everything the same every day like Kira and her sister Tanith were tap, tap, tap, this and that.’ Yet this was disappointed that the film seemed to be only one approach to everyday life. saying that their future would consist of Looking across the interviews revealed a mindless chores: ‘Is that what I need to variety of ‘rhythms’ from hectic and fast- look forward to, having to do all this stuff?’ paced, rushing out of the house to get to Their father, Simon, admitted that he had work, to a much slower appreciation of the same attitude when he was younger, he one’s position in space, a conscious did not care about being clean or looking realisation of what is going on around you after himself, but as he got older, he began and how you fit into it, often the result of to realise their importance. For Charlie, practising some form of meditation or mundane activities such as eating got in the wider spiritual/philosophical approach to way when there were more important the everyday. things to do, like studying, ‘Today… I’ve got loads to do and… I didn’t want to eat.’ Some routines had a fast or hectic rhythm, Ben’s response was more mixed, he pressured by the need to get out of the reflected on how everyday activities are house in order to work or study (Ed, often done out of necessity, but he agreed Charlie, Adrian, Simon, Raman, Benjamin, that these could sometimes be Sam, Cara) – several participants (Adrian, ‘pleasurable… [or] cathartic.’ Sam, Cara) contrasted their experiences with the seeming ‘luxury’ of the more Some participants were much clearer that relaxed, leisurely routines that they saw in joy and pleasure was present in their the film clips. In the mornings, Ed was everyday life, such as having breakfast in always in a rush to get to work or bed (Natasha), connecting to nature University: ‘I get up. I go straight in the (Peter), going for a walk (Erika, Harvey, shower. If I’ve got time I make a cup of 19

tea.’ Breakfast was often abandoned to Our relationship with space is emotional save time, or grabbed on the way (Ed, Charlie, Simon, Raman, Sam). Adrian did Whilst many aspects of people’s everyday eat breakfast but rarely had time to sit lives were practical (how much space they down before his long commute to work. had, the details of their routines, how they Wanting to prioritise sleep, Sam had used space) interviews also highlighted the developed a very condensed routine in the emotional dimensions of everyday life mornings, ‘Basically I wake up as late as I connected to our mental health and possibly can and have a shower. Dry, get wellbeing, the need for comfort, safety and changed and then go out the door. It’s security, even beauty, a retreat from stress, literally that quick.’ or something that reflects our personality. For some young women in particular, In contrast, starting the day with ‘exercise, space often acted as an ‘extension of the meditation, yoga’ (MA student, Tibet), or self,’ reflecting their interests, memories the practice of mindfulness, yoga, and experiences. Emotional connections breathing exercises and similar approaches to space were also identified in the gave some participants a much slower, CineMuseSpace films, the interaction more considered rhythm to their day between families in particular (preparing (Peter, Emmy, Jan, Tom, Mariam). Peter, food and eating together, children sitting for example, taught and practiced Chi, the by the window) reminding participants of process of ‘being aware of your actions and their own experiences. how you connect with other people and [the] environment.’ He was interested in the Luke (CFCCA focus group) encapsulated ‘ritualistic’ aspects of the everyday that the emotional significance we often give to were revealed in the film clips, the our homes, they are somewhere safe, everyday routines that were, ‘carefully where we can shut out the wider world and done and considered,’ which seemed to be ourselves: ’When you’re at home, you’re mirror his own approach. He was also not thinking about where to sit or stand, interested in the aspects of the film that it’s habit… you come home and it all showed people continuing with their daily comes out.’ He contrasted this with being lives despite terrible events happening in public spaces such as an art gallery, elsewhere, ‘There’s a background really, we where we have to contain ourselves, the still have to carry on with our lives.’ Similar lack of ‘naturalness.’ This ability to be approaches included ‘Qi Gong’, which was ourselves in our safest space was practised by Emmy and Jan, which focuses particularly pertinent for young women on ‘slow movement and being aware that (Laura, Natasha, Beth, Tiffany, Roza, Elle you’re now in this moment’, and the ‘Wim and Mariam). Their personal space often Hof' breathing technique which helped functioned as both an emotional outlet, Tom to have a calm and considered start and extension of their interests and sense to his day. Mariam practised mindfulness, of self, as well as a safe space for wellbeing which had changed her entire outlook on and positive mental health. life by helping her to enjoy being in the moment. The most poignant example was Laura, who worked long shifts as a psychiatric nurse in a very difficult, chaotic and challenging environment. Laura’s home was a refuge away from work, a place for self-care, where she could recover from her ‘emotionally draining’ and exhausting 20

job. Part of her recovery was spending stand in the conservatory or stand out in time alone in her bedroom. She described the garden and it’s just very calming.’ herself as, ‘an introverted person… I use my space to get away from everything else.’ The connections between everyday space Spending time alone gave Laura the chance and emotion seemed less explicit for the to recuperate in a space that she had men involved in the interviews: Mykola arranged purposefully to be calming and openly said that he was not emotionally comforting, with minimal clutter. Without connected to his apartment, and space this time alone, she felt ‘really drained.’ seemed more of a place to fulfil a particular function, e.g. the bedroom was used for Similarly, Natasha and Tiffany had sleeping (Phil, Tom). A different arranged their living spaces to be places of perspective came from Charlie, who talked comfort and self-care. Natasha’s bedroom about how, ‘different places and spaces’ was her ‘safe space’, where she could feel could be used ‘to achieve how you want to happy and comfortable. She made sure be.’ He gave the example of how, if he that it was filled with things she loved, wanted to be sociable, he would go into the including her painting and textile interests. living room, ‘to talk to somebody’ but he Tiffany had established her living space as would use his bedroom if he wanted, somewhere she could think, rest and be ‘some alone time… [to] relax, and shut creative. She could be ‘comfortable and yourself off.’ At other times, he would not distracted about what’s going on leave the house, ‘just to be surrounded by outside.’ Objects and furniture were people and do things.’ carefully placed, everything in Tiffany’s space had purpose and meaning. ‘it’s a Asserting control over a chaotic world balance between things of necessity and things you want to build a space. It’s about Just as giving structure to life through use colours, it’s about different styles of of everyday space could be comforting, furniture. It’s about different works of art everyday routines and rituals could be seen I want to put in my own space.’ Both Elle as an attempt to assert control over a and Roza talked at length about the chaotic world. There was a sense that importance of their bedrooms as places order, and structure, were common to the that reflected their personalities and human experience, there was a need to interests, as well as provided comfort and have meaning and purpose. Routines were security. Elle’s room had been the same often used to give structure to the everyday since childhood, reflecting her ‘entire (and those without a clear purpose given life… memories, both emotional and by work or study often felt aimless or physical… It’s like being on the inside of developed a routine to fill the time, such as my head sometimes.’ Whilst Roza was not Elle and her father). Control was achieved living at home, her parents had kept her through ‘effective’ use of space, being very room the same, preserving her ‘little specific about what goes where, such as trinkets’ and retaining the same decoration. Phil who had very clear ideas about how For Roza, who was living in temporary space should be used, and Harvey and accommodation and was anxious about Fynn who joked about their contrasting being in other peoples’ way, her bedroom attitudes towards the arrangement, and was a refuge, where she could feel safe and cleanliness of, a small apartment. secure. Having a connection with nature Familiarity with space could also bring a was important to Abigail, who often form of control in that it could be experienced migraines: ‘If I feel very heavy navigated without thinking, a type of in my head or I just need a breather, I can ‘muscle memory.’ Elle talked about this in 21

relation to her friend Kai and his kitchen, like people with money are saying “look how he knew ‘exactly where everything is how much I’ve got”, and dominating and you just flail your arms around… and public space with something huge.’ Living by the time you’ve finished, you’ve put the in London, Trish was very aware of the kettle on.’ Ryan was interested in the issues around affordable housing and the persistence of routines and their more gap between aspirations and reality: ‘I’m ritualistic, even spiritual, aspects, that he living off of a nurse’s salary. Buying your saw reflected in the films: ‘there’s own apartment, it’s not possible. You have something really human and, well, to rent…’ Fortunately for Trish, she had beautiful about someone following that found a great space to live in with, ‘lovely ritual. It’s the intensity with which people’ but she clearly had less positive someone does a ritual that I found really experiences in the past with shared interesting.’ housing. Fauziya was fascinated by the role and power of architecture in defining and Control was not only about mastery of shaping our environment, and the space but could also reflect the need to implications that the underlying values and come to terms with situations where we ideas of architects have for our experience have no control. As a psychiatric nurse, of space: ‘If you think back to modern Laura has very little control over her work architecture… Mies van der Rohe… Le environment, which caused her a great deal Corbusier. They were fascists…’ of anxiety. Cleaning the house or keeping her uniform smart and clean were ways in The humanity of everyday space which she coped with this anxiety, and tried to take control of her life: ‘My partner Many of the ways in which we use, and always jokes he knows if I’ve had a bad experience, everyday space relate to shift because everywhere’s clean… It’s like meeting basic needs, a theme that was I’ve lost control of the ward, but I can still reflected in the CineMuseSpace films with control my own environment at home.’ their emphasis on preparing and eating Working in an unstable environment food, cleaning, sleeping and personal meant that Laura needed ‘a stable base hygiene. Yet participants talked about their outside of work.’ relationship with space in much wider terms; it meets our emotional needs, The everyday is political – but the provides us with a refuge from the stresses interviews barely touched on this of work, travel, study (or the lack of work), provides comfort, and even beauty. Space, Perhaps surprisingly for a mostly young, and our use of it, reflects us as individuals, educated demographic, political issues our backgrounds, our need for peace and around the everyday and use of space – e.g. reflection, for control and for our issues such as inequality, gentrification, wellbeing. The richness of these responses impact on the environment, sustainability reflected Eamonn’s comments on how our – rarely came up in the interviews, except use of space enables us to retain a sense of in relation to the films themselves and the who we are; how when people are in the future (see later sections). Prompted by the most challenging or difficult cir- exhibition, Laura gained a new perspective cumstances, they ‘try and find something, on urban architecture, understanding or do something which makes them buildings as statements of wealth and comfortable, which is normally their habit power: ‘I’ve always felt empty about that they’ve grown up with.’ These habits skyscrapers but now I’m guessing the give our lives meaning and purpose. political context of them… … It’s almost 22

What do the films reveal about cultural a result, it seemed, of their own comfort difference? and exposure to world cultures in an increasingly globalised world. Participants An important theme running through did not deny that there were differences CineMuseSpace at the CFCCA was the between cultures, but these were potential of cinema to reveal spatial secondary to the universal experience of cultural differences, particularly between being a human: ‘We are all different, but Asia and Europe. When asked to think we are the same’ (Robert, CFCCA focus about the cultural differences surfaced by group). the films, participants’ responses were influenced by their own cultural This view seemed to be amplified by the background and experiences, and their visual medium of film, which made recognition and understanding of the participants focus on the superficial, films/film clips they viewed in the external aspects of culture rather than the exhibition and interview. Young people underlying values and meanings attached from the UK were familiar with different to those differences (aspects that were cultures but were focused on what makes understood by people from non-UK us the ‘same’, that there was a universal backgrounds). For many, ‘same-ness’ was ‘human experience’ despite differences in explored through the idea of the universal how routines were carried out. In contrast, shared experience of being a human, of visitors from outside the UK, or with non- having similar ways of living (Tom, Roza, UK backgrounds, had a more nuanced Simon, Erika, Emmy, Jan, Harvey, Fynn, understanding of why cultural differences Ben, Abigail). We all need to eat, sleep, existed beneath surface appearances. In keep ourselves and our surroundings clean. particular, the difference between the We have a need for human contact and dominance of ‘individualism’ in the West interaction, connection with nature, and to (the importance of individual choice and be kind to each other. The focus on these consumerism) was contrasted with the basic needs throughout the films, shown as importance of family and community in a rapid series of clips, seemed to support the East, which had an influential impact this interpretation (Luke, Eamonn). on everyday routines, particularly around the preparation of food and eating. There A more nuanced understanding of cultural are interesting questions to be raised about difference from non-UK visitors the way in which ideas of cultural ‘same- ness’ may be rooted in the legacy of Participants who had more direct colonialism, particularly in the UK, and experience of cultural difference – either ‘cultural appropriation’ as world cultures because they were from outside the UK, become more accessible in a globalised had non-UK family backgrounds, or had world. lived and worked in other countries – were able to think in more nuanced ways about The films showed the ‘same-ness’ of the cultural differences shown in the films human experience, rather than cultural because they understood the meaning difference behind the outward displays of difference. Rather than focusing on cultural A strong general observation made by differences, the CineMuseSpace films these participants is that life in the West prompted many UK visitors, and some tends to be more individualistic and driven non-UK students to reflect on human by individual needs and wants, whereas life ‘same-ness’ rather than cultural difference, in the East is driven by the needs of family

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and community, a theme that was reflected preparation and drinking of tea in the UK both in the films and in wider society. was still not ritualised in the same way as other cultures: ‘In England it’s more of a Exploring the meanings behind cultural builder’s cup of tea, a tea bag. In other difference cultures it is more of a ceremony with leaves, special cups and tea houses’ A deeper understanding of why different (Natasha). cultural practices have developed around the everyday helped some visitors to Elle, whose mother was from the explore the theme of cultural difference in Philippines, described how there were the films in more nuanced ways, and many aspects of daily life in the Philippines enriched their readings of the films that she would ‘never do it like that here’, (Simon, Laura, Elle, Nathan, Mariam, particularly in terms of how families Raman, Trish, Tyler, Fe, Edwin, Clara). interact with each other. In the Philippines, They used their own experiences of the extended family got together every day different cultures to develop their ideas, to prepare and cook food, everyone was whether this was because they were from given a job, including the children. In the outside the UK, had a non-European UK, Elle reflected that this only really background or family connection, or had happened at Christmas or on special experience of working outside the UK. occasions. Families, Elle explained, were The common theme identified by much closer in the Philippines and this is participants was the greater importance of reflected in the cultural traditions that have family and interpersonal relationships to developed around the everyday: ‘when you everyday life in (predominantly) non- have to share in that way… it’s going to Western cultures, demonstrated (mainly) naturally bring you closer together.’ She by clips of people sharing food around the contrasted the warmth and importance table. To Simon, these clips showed scenes attached to family with the difference of of families taking pleasure in eating and her life in the UK: ‘It’s really rare that I’ll sharing food together, rather than eat with my Dad even though we live satisfying their own needs as people together. I’ll cook something for both of seemed to in the West, which hinted at a us and then he’ll eat in his room and I’ll eat deeper, even spiritual connection to the in the living room.’ Food was not about everyday.: ‘I suppose… [they] spiritually family here: ‘[we] eat to sustain ourselves, live richer lives…’ Working in Asia let’s get it over and done with.’ Fe and suggested to Nathan that people were Edwin, who were from the Philippines, more respectful and considerate over also described the ways in which a greater there, compared to the West where people emphasis on family influenced how people were more casual: ’They’re more lived and worked together. They lived in a respectful… people tend to… take their large compound shared by the extended time a bit more when meeting people… it’s family, although greater connection with slightly more considered.’ Whilst Nathan other cultures meant that traditional life pointed to the ritual around handing out was changing. Mariam talked at length business cards, Ed was also interested in about the different attitudes towards eating the rituals that accompanied life in the in Morocco, her home country, the East, a perspective which seemed to be importance of eating together and sharing missing from UK or Western culture. food, which was ingrained in her own ideas Drinking tea was perhaps the closest that about food: ‘I feel better sharing food. participants got to considering a cultural When you eat together with other people tradition in the UK (Leo). Yet, the rather than eating by yourself.’ 24

Individualism versus family don’t have time because the new generation is on the cell phone. They don’t Watching people doing mundane things bother talking or make conversation with like eating and having dinner ‘gives you a the parents’ (Fe). A consequence of this lot of insight on what their culture is was implied (by participants) to be a more about… [Things like] sharing the meal or selfish society. having one for yourself says loads about the culture and the general vision of life’ Not all differences in the films were (Giulia). One of the insights shared by connected to culture participants was the assumed dominance Although participants were asked to reflect of ‘individualism’ in Europe, which was on the cultural differences shown in the contrasted with the greater focus on family CineMuseSpace films, not all the differences and community in Asia. Often this was identified by participants were connected, provoked by scenes of people coming in their opinion, to culture. Some together to eat and share food in the films. differences were attributed to personal For some participants, this change was choice and preference, the impact of new associated with the decline of the technologies, historical and social change, importance of the family in the West: ‘[It] and the impact of inequality and structural has basically disappeared with modern day oppression. living here in England. It’s one of the reasons why I live in the Philippines now because the family structure is still there’ Individual preference and choice can (Edwin). challenge cultural ‘ways of doing’

Giulia struggled to reconcile the everyday Differences in routines and use of life of the children she cared for with her everyday space were connected by some own childhood experiences. The two participants to personal preference and young children rarely ate with their individual choice rather than cultural parents, or with each other, choosing to ‘norms’ (Fynn, Mariam, Jennifer, Abigail, watch videos separately on the television Lucy). The globalisation of culture and or tablet: ‘There is no together…It’s being ubiquity of the Internet also means that individuals that live in the same house… people have a far larger potential pool of which is extremely sad.’ The value placed influences to draw from. For some, this on individual choice in the West seemed to explained why people living in the same be an important influence, with technology culture could have different ways of doing such as mobile phones, games consoles, things. Fynn’s family, for example, had a streaming services and Internet platforms very specific way of preparing for like YouTube making it easier to access breakfast, and he was not sure whether this what we want, when we want. Ever was a ‘cultural thing or a traditional thing. increasing demands for convenience and I think it’s just how we decided to do it.’ individual choice were having a profound Living in Morocco, which is influenced by impact on family and community life, with many different cultural traditions, some older participants expressing Mariam’s approach to the everyday was concern that these were being eroded: created by her from a ‘patchwork’ of influences that suited her needs and ‘[Before] all generation, especially the family, expectations from life. The connection were going to sit down, talk together and between individual preference and cultural then, share what’s going on everyday. But norms / traditions was not always easy to now, especially the young kids… They disentangle. Sometimes the preference was 25

to continue cultural traditions despite cycle of making things better... [but, in the these becoming obsolete. An interesting process,] creating new problems.’ Ben was discussion with the non-UK MA students interested in how the films created a (focus group) around everyday tasks such ‘juxtaposition of historical stuff and what as cleaning showed how cultural traditions we perceive as traditional and non- endured because individuals preferred to traditional,’ but he was not sure what continue them despite pressure from wider message the film was trying to convey society to change. A student from Hong overall around the impact of technology. Kong explained how they had bought a vacuum cleaner for their grandma because The films show social and historical, it is more convenient but she refused to rather than cultural, differences use it, continuing to use a mop. In Greece, cultural traditions continued alongside the For some visitors, the age of the clips used new ways: ‘we use the vacuum but if we in the CineMuseSpace films (or the periods have a wooden floor we use the mop with represented by the films) was problematic. wax to polish the surface… we learn from It made them difficult to relate to, our parents how to do it.’ particularly for younger visitors, but it also made it difficult for them to distinguish Technology has revolutionised our lives between cultural and historical differences, particularly if they did not know the The films, which spanned several decades context of the film (Charlie, Harvey, Fynn, from the 1960s to 2000s, prompted some Edwin, Roza, Ben, Nathan, Jennifer). This participants to think about the impact that was a particular problem for the MA technology has had on our everyday lives, students (focus group) who found it hard particularly the way in which machines to connect with what they saw as dated have revolutionised the way we carry out film clips, which did not represent their everyday tasks (Giulia, Natasha, Tom, Ben, lives, or show ‘present moments that Kai, Beth, Phil). This included cooking happen in daily life.’ (peeling potatoes), washing clothes (by hand or by machine), washing dishes (by Harvey and Fynn were cautious about the hand or dishwasher), communicating with value of the films for providing an insight others (landline telephone replaced by into cultural differences because you could mobile phones) and entertainment be looking at something traditional or (computers, consoles, tablets). Technology historical instead: ‘just because its not only changes how actions are carried traditional doesn’t mean that’s what the out but also our attitudes. Watching majority do… Traditionally here you women hand washing their clothes in a would eat with your family but that’s not film clip prompted Natasha and Tom to what my family do’ (Harvey). The reflect on how washing machines have historical nature of the film clips also affected attitudes towards our clothes: ‘It’s complicated the possible readings that so easy to throw it into the washing could be made about cultural difference, machine. You’re not as caring with your for example, the over-representation of clothes’ (Natasha). People were divided as women performing domestic tasks. to whether technology had, overall, had a positive or negative impact on everyday life. Phil and Beth considered the impact of washing machines and dishwashers was beneficial. Kai was ambivalent, thinking that machines were part of an, ‘endless 26

The films reflect underlying issues of race, the choice to perform particular actions in class, gender/sex, privilege and inequality her own space, the women shown in the films did not have that choice. Similarly, Differences in the films could also be some of the participants of the CFCCA attributed to issues of inequality, structural focus group questioned the ‘male gaze’ oppression, race, sex/gender, social class, that seemed apparent in the film: ‘it’s a and income (Mykola, Tiffany, Harvey, question of gender, but whose eyes [you are Fynn, Ryan, Ben, Raman, Trish, Ed). For looking with].’ some participants, this relied on knowing the films and their context, where these Is the emphasis on ‘sameness’ issues were explored (but this would not problematic? have been accessible to those who did not The CineMuseSpace research set out to know or recognise the films). The MA explore cultural difference. However, for students (focus group), Harvey, Fynn and many participants the films conveyed Mykola identified a bias in the film clips ideas, instead, about the universality of towards more affluent Western examples human experience. The outward displays compared to less affluent examples in the of culture might be different, but East, when in reality, as Mykola observed, underneath we are all the same in terms of income inequality is apparent in both the our everyday needs and interactions. On East and the West. the surface this seems positive, particularly in relation to acceptance of diversity. A more noticeable bias was the However, it seems to be based on a representation of men and women in the relatively superficial understanding of film clips in terms of who performed culture that focuses on outward displays of particular domestic tasks. Women were difference, rather than understanding the over-represented in terms of preparing underlying meanings and values attached food, cleaning, washing and other to those differences. In the West, the ethics domestic tasks. For Ben, this was around the adoption of different cultural surprising: ‘I live in a world where I think elements has become a significant topic. men have evolved a little bit more… That The adoption of hairstyles, clothing, food, was interesting that the author of the video and so on as fashion, trend or consumer chose a female portrayal for that particular choice, can rob specific cultural forms of domestic duty.’ Like other participants, their significance, and strip them of their however, Ben connected it to the age of real meaning for the source culture. the films rather than a particular bias by the Cultural appropriation can perpetuate film-makers: ‘If that was contemporary, harmful stereotypes by focusing on there would be a man shoving underpants particular elements of a culture, and tends into a washing machine.’ Tiffany to ignore the struggles for equality and questioned the intention of the film- representation that minority cultures have makers in showing an obvious bias experienced in the West, along with towards women in the domestic sphere, structural racism and other forms of with images of women cooking, cleaning injustice.16 and serving family members, but also showing people from a ‘certain class… Some participants touched on these issues. maybe someone of a lower class within a Natasha and Tom discussed cultural domestic space.’ Whilst she could make

16 Convery, S. 2016. ‘We need to talk about cultural https://www.theguardian.com/books/2016/sep/15/we- appropriation; why Lionel Shriver’s speech touched a need-to-talk-about-cultural-appropriation-why-lionel- nerve,’ shrivers-speech-touched-a-nerve [retrieved 16 12 2019] 27

appropriation but did not necessarily see it optimistic. Our lives were part of a as harmful in relation to activities like using ‘continuum of things evolving’ (Leo) and chopsticks. Lucy did not think it was as long as we continued to be thoughtful always possible to understand a different and aware of what we need as humans culture unless you were born into it, (positive interactions with people, however with the world becoming more connection with nature, kindness) we connected and ‘globalised’ it would be could move forward confidently into the difficult to stop cultures merging together. future. In the UK, our attitudes to different cultures have been shaped by our history The dystopian perspective and legacy of imperialism and colonialism. However, our complex and problematic Dystopian views of the future are common relationship with non-European cultures in popular culture, particularly in relation was not openly explored by participants. to the human/technology dynamic.17 Instead, their discussions gave a positive Technology itself was clearly an important view of being part of a more connected indicator of change and evolution in how and globalised world, where they were we approach the everyday but some exposed to cultural difference as part of participants were concerned about the their everyday. Could the exhibition have change that they had seen in their own done more to encourage visitors to reflect lifetime (Giulia, Charlie, Laura, Kai, Elle, on the political implications of our Nathan, Sam, Tom, Natasha, Cara). These understanding of cultural differences, or to changes were taking humans away from think more about the assumptions we what was ‘real’, from the ‘simplicity of make when we articulate our views of things’ (Kai), from our connection to different cultures? nature and from each other. It was exacerbating inequality and pushing people In the face of significant challenges, how out of the cities. Whilst technological can we retain our humanity in the future? changes mean people are better connected and have access to more media and Responding to the exhibition theme of the information than ever before, this only future of everyday life in cities, researchers really benefits large capitalist corporations, asked the visitors participating in the who use it to ‘infiltrate’ our everyday and interview what they thought about every commodify our lives (Tom). Instead, day environments and how people might participants suggested that we could do want to live in the future. It was a more to explore how technology could challenging, even ‘strange’, question for benefit humanity and help us live better participants to reflect on and articulate lives. Everyday environments could be their ideas (Emmy, Jan, Benjamin, Clara, more inclusive, ‘not as overwhelming, less Harvey, Mykola, Leo, Nathan). Emerging advertising, more green… peaceful, more from across the responses was the idea that space, more open areas’ (Laura). And it was important to retain our humanity in although Sam started off feeling very the face of ever-changing technology, the negative about the future, he ended on a impact of wealth and capitalism on our positive note, ‘I feel like everyone takes a cities, increasing inequality and loss of the backstop. We go too far one way and then natural environment. Whilst some try and go, no, let’s start again.’ considered that the future was looking ‘grim’ (Elle), others were cautiously

17 Television programmes such as Black Mirror and Years and Years were cited as examples by participants. 28

Cautiously optimistic advanced than cities like Manchester. What intrigued Ryan, in particular, was the sheer The CineMuseSpace films inspired some scale of the cities and ‘how quickly they can participants to be cautiously optimistic be built up. I was reading a bit about about the future, showing that whilst there Shenzhen, I think, and how the have been tremendous social and government decided they wanted it to be a technological changes, everyday human big industrial thing and now it is, within needs and behaviour have, and would one generation. That concentrated growth continue to, remain the same (Ed, Adrian, is quite awe inspiring…’ For Elle, it was Tyler, Trish, Raman, Jennifer, Abigail, the convenience and interconnection that Lucy, Tiffany, Ben). It was a similar was inspiring, but she recognised that there argument to the one around cultural was a cost: ‘[it’s] incredibly safe but that difference, that there is a fundamental comes at the cost of aggressive human experience of the everyday which surveillance.’ Connectivity was clearly very will not change over time. Instead, important to the future design of any city, technology would continue to evolve and and Mariam talked about how Manchester adapt to meet the same needs in new ways. represented for her ‘the future’ of city People would consciously want to keep the living, digital technology enabling her to ‘traditional’ ways too, returning to the navigate the city with ease through Google theme of individual preference and choice. Maps. For example, Trish enjoyed preparing food by hand, it was therapeutic, and she did not A changing world impacts on the future of think that she would want to change that everyday living despite the number of new gadgets that might be developed. The challenges that we face in the future – diminishing natural resources, competition Despite the effort put into making over available space, (over)-dependence on predictions about the future, these often digital technology – would have a turned out to be unrealistic or outlandish. significant impact on future design and In particular, some of the film clips from availability of living space (Eamonn, Sam, the 1950s and 60s that tried to predict what Cara, Edwin). Whilst the CFCCA focus everyday life was like in the future drew group participants joked about living in attention to the challenges of trying to spaceships (Jo), it was clear that individuals predict how life might change (Ed, Adrian, have different requirements around Tyler). For Ed, these clips revealed that, everyday space. Robert was happy to ‘We thought in the 1950s it was going to occupy a very small space, but Jamie was change but it’s still not changed [that much].’ clear that she needed, ‘lots of space, light In his opinion there was a disconnect surfaces.’ How can we reconcile these between what we think we want to change, different needs? Eamonn was optimistic and how much will actually change. that people would always find a way to meet their needs, no matter what space was Looking to the East for inspiration available to them. It was part of human nature to want ‘stability… You can be in a Returning to the theme of cultural fantastic, new shiny apartment building difference, some participants considered and people are still trying to do either what that we could look to the East for future they think they should be doing or what inspiration (Ryan, Ed, Elle, Tiffany). Cities they feel comfortable doing in terms of in the East were seen to be at the forefront their daily habits.’ Some young people of design and everyday living, much more were resigned to the idea that they could 29

not expect to have the same living spaces The limitations of cinema in representing as previous generations, as Sam suggested, the everyday they had the ‘same needs to be met but with less space to achieve it.’ Whilst many participants accepted that cinema was a useful medium to explore Future cities must be for everyone everyday life, for others it was problematic (Chris, Robert, Eamonn, Elle, Harvey, Retaining our humanity in the light of Finn, Tanith, Kira, Cara, Phil, Sam, future changes in technology and everyday Fauziya). They questioned the authenticity, living was a strong theme that emerged as well as the accuracy, of exploring from conversations with some everyday life through cinematic participants, particularly a group of older conventions and narratives. By its nature, participants in the CFCCA focus group cinema is artificial and staged, not real, it is (Peter, Luke, Roza, Erika, Simon, Tanith, not an objective witness of everyday life. Kira, Fauyiza, Vanessa). It was a simple, This artificiality took some visitors away yet powerful message, that in order to from the everyday lives that the films thrive humans need to connect with each portrayed, particularly for those who had a other, with the natural world, and be prior understanding and deep knowledge considerate, and kind. Future challenges of film. Robert (CFCCA focus group) such as the ‘presence or absence of green argued that there was a ‘contradiction’ in space, climate change, the loss of trying to represent the everyday ‘using biodiversity’ (Luke, CFCCA focus group), non-everyday cinema. It is a construction, dependence on the digital world, and it is difficult to gain [a sense of the] everyday differing inclusion and access needs from the non-everyday.’ The natural-ness around space were critical to include in that the clips portrayed was an illusion, and ongoing debates about city design and some participants wondered if the films planning to ensure ‘a very good life and a would have worked better using very good future for everyone’ (Erika). documentary footage. Participants were concerned that some aspects of the everyday were serving the As a visual medium, the films also made it interests of wealthy capitalists and large challenging for participants to recognise corporations, meaning that cities were cultural difference beyond the outward being developed without concern for displays of culture. These differences people’s everyday needs, exacerbating included: inequality and denying people access to the things they need for a good life (green • What people did, used or ate including space, affordable housing, connection with utensils, sharing food (Laura, others). It was important that future cities Benjamin, Ryan), use of vacuum would be inclusive to everyone, not just for cleaners in the West and brooms to the wealthy and privileged, and the way in sweep up in the East (Peter), swilling which to achieve that was to stay the floor with water to clean it connected, stay human. (Mykola), tables, objects used to prepare or eat food (Erika), implements and receptacles (Jo), chopsticks (Simon), how people sit at the table (Ryan);

• Differences in the appearance of everyday space, including Asian 30

households being ‘less commercial, Knowing the context of the films enriched simpler really’ compared to the their meaning Western examples (Peter); Participants who did not know the context • Differences in visible emotions or for the film clips often struggled to feelings expressed by people in the understand or decode what was happening film including children in the Western within each short scenes. As Ann (CFCCA and European films did not appear to focus group) explained, it was complete like their food or seem happy about ‘guess work… unless you knew the film, eating compared to the clips of Asian you didn’t know peoples’ roles in them…. cultures where people were ‘enjoying You didn’t get a context.’ By the time that their food’ (Benjamin), people seemed the viewer has figured out what the scene more relaxed in the Asian films is conveying, ‘then you are onto the next (Benjamin, Simon), a girl in the US one’ (Chris, CFCCA focus group). film grabs a disposable cup whilst Asian families calmly drink their tea Participants who did recognise the films (Tanith, Kira). shown in the clips, or had a wider knowledge around cinema, got much more Without knowing the context of the films, out of the experience (Ryan, Mariam, Cara, most people could not reflect on why Sam). They recognised, for example, the those differences existed, and neither did narrative conventions that shaped the the film help them to understand the scenes of everyday life. Ryan talked about meaning and purpose behind the how routines were used in narratives as a differences shown. Harvey, Fynn and Cara way to set something up in order for it to were also concerned that the films may be broken: ‘You set up a character’s ritual have exaggerated cultural differences for or morning routine and then one morning dramatic purposes or set up ideal, rather something happens that’s different and than real, situations. that’s the start of the film as such.’ Mariam, Cara and Sam thought that knowing the The scenes in the films were too short films gave CineMuseSpace ‘more depth’ and and rapidly edited together enabled them to relate to the characters ‘a little bit more.’ Robert, a retired film For some participants, the way in which lecturer, recognised the way in which some the films were edited and cut together of the clips had been edited together to made it challenging to make sense of what make a political point, but this was unlikely they were meant to show. As Ann to have been picked up by more casual (CFCCA focus group) explained, it ‘was viewers. too rapid to get a handle on any of it.’ She contrasted it with the way in which Participants struggled to understand the peoples’ lives unfold in a television intentions of the film-makers programme – you become intimate with them and this helps you to understand Without knowing the intentions, or the their experience of the everyday. The agenda, of the film-makers, some narratives in the clips did not have time to participants struggled to make sense of develop before it switched to another which created a ‘disordered’ effect, ‘it can’t settle’ (Luke, CFCCA focus group).

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what they were meant to take away from it. They questioned why particular film clips had been used and what the agenda was (Luke, Lucy). Opinions differed, in particular, as to whether the film was purposefully highlighting and drawing our attention to cultural differences, or whether it wanted viewers to see similarities in human experiences of the everyday – there was no consensus (Tiffany, Robert, Ed). People were confused about what the filmmakers were trying to convey: ‘I didn’t get much from it… [it was] jarring’ (Chris, CFCCA focus group).

Visitors needed more support to understand the intentions, and choices, of the film-makers

Whilst most people accepted the CineMuseSpace films as capable of portraying aspects of everyday life, the disconnect experienced by some participants was exacerbated by the limitations of conveying the ‘real-ness’ of everyday life through an artificial medium. Some visitors needed more support to understand why particular film clips had been chosen, why they had been edited together in particular ways, and what the film-makers wanted to achieve. More support may have helped those who found the films ‘tough’ and challenging, where their focus was on trying to work the films out rather than enjoying them as an ‘experience’ or artwork.

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4 CFCCA Conclusions

Providing opportunities for people to Responses came from a ‘young’ reflect on their everyday lives and perspective, people who were experiences of space was immensely immersed in a globalised, digitised valuable for understanding how young world and could engage with complex people navigate the stresses and concepts. opportunities of the 21st century.

The interviews and focus groups represent the views of a (mostly) ‘young perspective’ The visitor study that accompanied the on issues of everyday living and habits, an CFCCA exhibition offered an opportunity educated demographic who lived in a for people from a range of backgrounds to connected, digital and culturally diverse think about, reflect on, and come to some world. Convenience, individual choice and conclusions about their everyday lives. globalisation were also key themes in the Visitors talked in great detail about their life of these young people. It was a world routines, who they lived with, how they that was not always represented in the adapted to the space they had, and gave CineMuseSpace films. For some participants, their thoughts on a range of subjects the film clips seemed remote from their including cultural differences, the lives, portraying a ‘past world’ that was limitations of cinema in representing the vanishing, or was associated with older everyday, and their hopes and fears about generations. This was reflected in the the future. Most visitors admitted that they lengthy discussions about the scenes in the rarely had the opportunity to think about film of people eating meals with their these issues outside of the interview – they families around a table, it was not were too busy living their lives. For some something that they recognised in their participants, the experience gave them a everyday experiences. Despite their new perspective on their lives, and may exposure to diverse cultures, however, have been the beginning of a deeper their understanding of cultural differences understanding of, and reflection on, how was often limited to the visible, to outward they use, and inhabit, everyday space. displays or markers of culture, exacerbated Whilst the questions sometimes challenged by the visual medium of cinema. participants, particularly the question about the future, the interviews reveal a Could the exhibition have done more to rich and interesting snapshot of how some engage visitors with the concepts and ideas young people (and some older people) that underpin CineMuseSpace, encouraging navigate the challenges and opportunities visitors to explore the meaning and values of the 21st century, what they take pleasure behind cultural differences? Such issues in, how they organise their lives, and what were often explored in the films that were is important to them. used in the database but without significant knowledge of cinema, it was not

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always accessible to visitors, despite their ability to engage with complex concepts. Responses to the CFCCA exhibition demonstrate that there are limitations to using cinema to represent A key message is that, globally, everyday cultural experiences. humans have the same everyday experiences and needs, but this reading can be problematic as it glosses over inequality and differences The ability of cinema to reveal the ‘truth’ of race, class, and sex/gender. about the everyday was a contentious issue that made it challenging for some participants to engage with its content. Is Whilst the films appeared to be film therefore a good medium to get emphasising cultural difference, many of people to reflect on their everyday lives the participants instead saw similarities in and spaces? For some it worked, but for how people across the world navigate the others the clips only created confusion everyday. In particular, a common theme without the context. Films are that emerged was that basic human needs constructions of ‘real life’ that want to tell and routines are the same whatever a compelling story – would documentary culture, whatever period of time. There are or social media films been more useful as a core, fundamental things about being a device to explore the everyday? human that we all need to do, which are associated with survival. We all need to eat, sleep, take care of ourselves and others, The experience prompted individual, connect and interact with others. In terms rather than political, perspectives on of the future, there was the sense that the everyday. despite the huge changes in technology and design, these basic needs will never change. Instead, what would change are Participants focused on their own the things around us, the visible markers of individual experiences of everyday space, culture and the spaces in which we do possibly influenced by the focus on these things. This focus on the visible domestic spaces in the CineMuseSpace film markers of difference and ‘same-ness’ were clips. Fewer participants discussed the encouraged by the film, itself a very visual implications of our everyday actions, and medium. the choices we make, on wider society and culture. Our experience of, and However, what was missing from this relationship with, the everyday is a political analysis were the reasons, the meanings, issue, but this was barely touched on in the behind these activities, and why different interviews. The spaces that are available to cultures had found different solutions to us, the way in which we use that space, these basic human needs. Without the what we put in it, how it impacts upon our context for the film clips, there was the behaviour, our experience of life and way danger that focusing on the ‘same-ness’ of of being, can all be affected by our position people around the world could deny or in, and experience of, society. Some diminish the impact of real political and participants drew attention to issues social oppression, inequality and around class, sex/gender and income that representation that shapes people’s lives in were reflected in the films, but the age of negative ways. the films complicated how relevant these were in the present.

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In an age where there are significant global challenges that that will affect our everyday lives now and in the future, was there a missed opportunity in the exhibition to encourage more reflection on the political, social and environmental implications of our everyday actions?

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5 CASE STUDY 2: Port Sunlight Village

If the academic ideas behind and focus of was utilized to explore with residents their CineMuseSpace resonated strongly with the experiences of, and relationship to, the approach to research at CFCCA and sat heritage village, providing new per- comfortably within the Future Cities spectives on contemporary life, and, at the programme, in the context of National same time, developing and evolving Museums Liverpool, possibly the UK’s relationships between the organisations most socially-engaged museum service, the involved with Port Sunlight (NML, PSVT) team’s focus shifted to questions of how and the community. the research might support the aims of NML to diversify its programming and The film and its process of production, led deepen its links with local partner to an intimate look at a very special place, organisations. All conversations pointed and the people that live there, revealing the towards the appropriateness of Lady Lever juxtaposition between a busy visitor Art Gallery in Port Sunlight as the location attraction and a place which is also home for the sharing of the research. Director of to its many residents and is shaped through Art Galleries and Collections Care, Sandra their everyday routines. As Heather Alcock Penketh, recognised that CineMuseSpace from Port Sunlight Village Trust (PSVT) and its emphasis on space and people explained, she was keen to show that side could bring ‘an interesting edge to what of Port Sunlight that visitors do not often we’re doing at the Lady Lever Art Gallery get to see: ‘That tends to be around the and support the work that we’re doing with backs of the houses in the gardens, funny Port Sunlight Village Trust and the local lawn ornaments and things like that’ community.’ (Heather Alcock, Heritage Conservation Officer). The process of making the film Lady Lever Art Gallery sits at the heart of drew the everyday actions and significance Port Sunlight village, a model village of Port Sunlight to the surface for developed by William Hesketh Lever in participants, with significant outcomes for 1888 for employees of his Lever Brothers those involved. It enabled a focus on factory on the Wirral, now the global contemporary lives and drew attention to company, Unilever. Today, as well as being the emotional, as well as the routine home to some 2000 residents, Port practical and functional lives of residents Sunlight is a popular heritage site, and how this was played out in spaces that attracting 300,000 tourists annually. are protected as heritage assets. Working with National Museums Liverpool (NML) and Port Sunlight A creative and participatory process Village Trust (PSVT), the CineMuseSpace team used the ideas and concepts The film was developed through a creative underpinning the project to create a film and participatory process. It relied on the with residents. Rather than utilizing film as active involvement and collaboration of an archive, the process of making a film residents as well as the partner 36

organisations (Lady Lever Art Gallery and (Workshop 1) and Mark Thomas Port Sunlight Village Trust). (Workshop 2 and 3).

Film-maker Mark Thomas from Soup • Workshop 1 provided a space to Collective (http://soupcollective.co.uk/) introduce the project in a more formal was recruited to develop the film way and test out the idea of working collaboratively with the community and together to make a film. The second the partners and to also bring a strong part of the workshop encouraged creative direction to the film. residents and representatives from the Village Trust to share their Utilising the PSVT website for experiences of life in Port Sunlight. announcements and Bridge Cottage (the Participants were asked questions community Hub and one-time home of about what it was like to live and work Lord Lever and his family) as a space for in the village, to ‘get a good rounded meetings, the team began to talk publicly view of what life was like’ (Colin, about the project and to encourage Resident). Participants interested in residents to get involved. Residents were remaining involved in the project at initially recruited through the Trust, via the end of the workshop filled out letter drop, email, social media, and the contact sheets and plans were made village notice board. Claire Bates for Workshop 2. (Community Engagement Officer, PSVT), also used her connections within the • Workshop 2 focused on film. Utilising community, ‘to try and encourage them to a series of resources drawn directly take part in this, and explain to them what from the CineMuseSpace database, Mark it was all about.’ The team worked hard to shared some of his ideas about film attract a diverse range of residents from with the residents. A number of films different backgrounds and stages of life. created by Soup Collective were Because the focus was on people’s explored as inspiration. Discussions everyday experiences, getting the focused on what participants enjoyed community’s support and buy-in for the about the films as well as what they project was essential: ‘it’s a big ask to get to disliked. Wide ranging discussions people’s homes in the first place’ (Mark around the clips from the Thomas, Film-maker). A core group of 7- CineMuseSpace database generated 8 residents was established; whilst more discussions around daily routines and people were involved with the film, this the realities of life in Port Sunlight. At core group ‘stayed through’ the whole the end of the workshop, dates were project. set up for initial filming of participants in their homes. Once contact was made, a series of loosely- structured workshops were held with • Workshop 3 focused on spatial residents to generate a dialogue about the cultural differences and comprised a ideas behind the CineMuseSpace project, a session at the Lady Lever Art Gallery shared understanding of the purpose of to explore (often idealized) the film, and to create new understanding representations of everyday life on about life in Port Sunlight and spatial objects and in paintings from China cultural differences which could feed the and Europe. The Workshop was film-making process. Workshops were supported by Amy Barnes, a facilitated by Suzanne MacLeod researcher from the University of

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Leicester with particular expertise in IT hub. The village, landscape and most of Chinese collections. the heritage buildings are now managed and run by PSVT, except for the Lady Along with the initial filming in peoples’ Lever Art Gallery, which is managed by homes, additional visits were made to film NML. Around 300,000 visitors come to ‘set’ sequences or ‘pick-ups’, sometimes the village each year to see key landmarks asking residents to re-enact the everyday such as Christ Church, Lady Lever Art actions they had filmed the first time Gallery, the war memorial and Leverhulme (Figure 5). memorial, and to enjoy the open spaces and eclectic period architecture, which The project culminated in a celebratory draws on ideas from the 19th and early event at the Lady Lever Art Gallery where 20th century Aesthetic and Arts and Crafts the film was premiered on September 10th movements.19 2019 to an audience of around 100 people, including participants in the film, residents A forward- thinking, but tightly controlled, of Port Sunlight and the partner model village organisations. Following a reception and prior to the screening of the film, When he developed Port Sunlight, William Professor Francois Penz and Dr Janina Lever wanted to ensure that people would Schupp presented the findings of the wider come to work in his factory clean, healthy CineMuseSpace project. At the end of the and well educated, helping them to be evening, the research team and film-maker more productive and loyal. In contrast to Mark Thomas joined Suzanne on stage for the crowded and insanitary living a conversation with the audience about conditions in cities such as Liverpool, film, architecture and everyday spatial Lever’s village reflected his vision and practices. aspiration to provide his workers with healthy, sanitary and beautiful homes in a Following the screening, the film was picturesque and green landscape, that shared with partner organisations and provided escape and development of the residents to be used as they wished. individual through beauty, the arts and communal activities: ‘Port Sunlight was the A snapshot of Port Sunlight best sales pitch you could ever have… The survival rate and the longevity in Port An early example of a garden village, Port Sunlight within 20 years of it opening was Sunlight was founded in 1888 by William nearly double what it was across the river Hesketh Lever and his brother to house in Liverpool’ (Heather Alcock, Heritage the workers at their soap factory, Lever Conservation Officer). Brothers (now Unilever). Set in 130 acres of parkland and gardens, Port Sunlight contains over 900 Grade II listed buildings and has largely remained the same since its foundation, becoming a conservation area in 1978.18 Today, Unilever is a trans- national corporation employing 2,300 people at Port Sunlight in manufacturing, research and development, and its global

18 Port Sunlight Village Trust, 2019, Five Year Strategic content/uploads/2019/06/Five-Year-Strategic-Plan.pdf Plan 2019-2024; 4, http://portsunlightvillage.com/wp- [retrieved 22 11 2019] 19 www.portsunlightvillage.com [retrieved 22 11 2019] 38

Figure 5: Stills from the Port Sunlight documentary portraying residents in their everyday spaces.

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Although Lever was, in some ways, ahead annual grant from Unilever (which is of his time, he looked to the past to secured until 2023) and rental properties, develop his village, drawing on ideas of PSVT maintains the gardens and traditional village architecture and design, landscapes, runs the Port Sunlight but ‘set out with proper sanitary services Museum, Edwardian Worker’s Cottage and really tremendous access to green Experience, tea room, gift shop and space’ (Heather Alcock, Heritage community hub, and several community, Conservation Officer). Facilities such as commercial and listed structures. It works the Lady Lever Art Gallery, library, and a closely with village residents to ‘tackle savings bank not only cemented Lever’s social issues,’ encourage ‘community spirit reputation as a wealthy philanthropist, but and cohesion’ and promote ‘the village as benefited everyone within the working a visitor destination.’21 As there may be community. However, with this largesse tensions between these three aspects of life came rigid rules and responsibilities for in the village, it is critical that the Trust residents, reflecting 19th century ideas of have a close and proactive relationship morality: ‘There is the whole paternalism with residents: side… There were rules about decorum and behaviour of children… There was a ‘They’re very important to the future of neighbourhood watch which when Port Sunlight, and to our vision, so making speaking to some of our older residents sure that they’re happy and that they’re on was quite strict and severe… You had to board… We see that as our responsibility, be married to have a house’ (Heather to communicate with residents and to Alcock, Heritage Conservation Officer). bring them on board with everything that Yet despite these restrictions and unlike we’re doing’ (Claire Bates, Community other company towns, Port Sunlight has Engagement Officer). endured. Tie tenancy, for instance, ‘persisted until 1980… The Port Sunlight PSVT’s Five Year Strategic Plan 2019-2024 model did seem to work, which is to say it was developed in response to a number of wasn’t for everyone, but it worked for a lot future challenges faced by the Trust, and of people’ (Heather Alcock, Heritage articulates their vision as ‘Port Sunlight, an Conservation Officer). inspiring place to live, work and visit.’ Key issues to tackle include ensuring the The role of PSVT sustainability of the village, attracting a more diverse community, and keeping the We are guardians of a unique and beautiful village relevant for both visitors and village, working with its community to ensure a residents. Port Sunlight needs to change great quality of life for residents and to celebrate and evolve if it is to survive, the question William Lever’s amazing legacy through cultural for the Trust is, what will that look like? and learning experiences for all. Who lives in Port Sunlight? PSVT’s Mission.20 In 2019, around 2065 people were PSVT was founded in 1999 by Unilever plc estimated to live in Port Sunlight, in 1100 to perform the functions previously residential properties, of which 292 are managed by Unilever’s Estates owned by PSVT. Properties are privately Department. With its income from an owned or rented out, and include social

20 PSVT, Five Year Strategic Plan: 20 21 As above: 7 40

housing, retirement homes, sheltered (Claire Bates, Community Engagement housing, and holiday homes.22 Until the Officer). 1980s, all village residents were employees or related to employees of Unilever. Now, Visiting Port Sunlight over two-thirds of the houses have been sold and the community is much more Visitors to Port Sunlight tend to be older diverse: ‘You’ve just got such a wide (69 per cent are aged 55 or older), retired variety, so they’ve got some young (53 per cent) and visit as part of an children… and families living in the village, organised coach trip.24 PSVT have people working in the village, people that responded to visitor interest in seeing what have been here all their lives’ (Claire Bates, lies beyond the heritage facade of the Community Engagement Officer). village by providing opportunities to see what life was like in the past and in the The majority of residents are older or present: retired, which reflects the ageing demographic of the wider Wirral area. Key ‘We’ve got a workers’ cottage which is facts from the Strategic Plan about Port based in 1913… We do have an open Sunlight’s residents include: village event once a year… where residents can open up their homes so visitors can go • Most households contain at least one inside and have a look round’ (Claire Bates, retired person (52 per cent); Community Engagement Officer).

• 38 per cent of residents live alone; At the centre of the village, Lady Lever Art Gallery receives around 200,000 visitors • 8 per cent of households contain a each year.25 NML are keen for the gallery primary school aged child and 5 per to contribute to the community, and work cent of households contain a secondary with the Trust to support the sustainability school aged child; of the village.

• 34 per cent of residents have a member The sustainability of Port Sunlight of the household whose activities are limited by a long-term health issue: Ensuring the sustainability of Port Sunlight for the future is a key role for the Trust, • On average, residents have lived in the focused on the twin issues of maintaining village for 15 years, 23 per cent have the housing stock for 21st century needs lived there for more than 26 years.23 and attracting a younger demographic, both in terms of residents and visitors. People who live in Port Sunlight really care about the village and are responsive to the Meeting the priorities of the 21st century needs of the Trust: ‘most people that move in a heritage space that was designed for to Port Sunlight… buy into the vision of different purposes is a real challenge for keeping it the way it is, conserving its the Trust. As Heather Alcock notes, Lever history, its heritage, and they want to be a did not envisage climate change or ‘ever part of that, and they want to contribute stricter environment… performance… towards that, and help where they can’ and biodiversity requirements…’ that puts

22 Taken from the Five Year Strategic Plan and interviews 24 As above: 15 with Claire Bates and Heather Alcock. 25 As above 23 PSVT, Five Year Strategic Plan: 13 41

new pressures on the 19th century housing Nine semi-structured interviews were and landscapes. The Trust have to carried out (Appendix 3) with: consider critical questions such as, ‘Liveability… are the homes big enough? • 5 residents involved in the creative Are they suitable for 21st century living? process and the film (Colin, Steve, Do they have the services within the Hannah, Valarie, Kathryn); Heather community? Do we need them here? Are Alcock and Claire Bates of PSVT; they provided elsewhere? Is that okay?’ Sandra Penketh, NML; Mark Thomas, (Heather Alcock, Heritage Conservation Film-maker. Officer). All the interviews were face-to-face, except Attracting a younger, more diverse Hannah’s and Heather’s, whose interviews demographic to the village – both residents were by telephone. Researchers visited and visitors – is also an important part of Port Sunlight and attended the final, the Trust’s vision, one that PSVT currently celebratory event at Lady Lever Art struggles to achieve: ‘we must give younger Gallery. The interview protocol (Appendix people and families more reasons to move 4) captured how participants were to and then stay in our village.’26 The involved in the project and their opinions available housing stock dictates (to some on the film’s significance and impact. extent) the types of households that live in Interviews were transcribed and Port Sunlight. When houses were researcher’s observation notes were modernised, a bedroom was often included as part of the data set for analysis. converted into a bathroom, making most The collective process of analysis and houses two or three bedroom. As Claire interpretation described for CFCCA’s case points out, most families ‘want more study was used to capture emerging space.’ There are also few facilities for themes from participants responses to the families with children when they visit Port film, and across the study as a whole. Sunlight: ‘Visiting, there’s not a lot for children. Great green spaces, but not Residents were self-selecting and enough to keep them engaged.’ (Claire researchers actively set out to capture Bates, Community Development Officer). diverse responses. Participants represented The Trust are therefore working to a range of ages and backgrounds, including develop their offer for families. Hannah, a young single mother and full time student originally from the US; Steve, Research process a retired art lecturer who had also worked in the music industry and was a passionate Research was carried out by the Research collector of films and music; Colin who Centre for Museums and Galleries worked in tourism and had fallen in love (RCMG), University of Leicester, in with the village; Kathryn who travelled response to the over-arching question: widely for work and leisure, and Valarie who is retired. All the participants had How does the project/intervention generate moved into the village from elsewhere, and insights, understandings and awareness of our Hannah had lived there the longest (11 everyday environments and the routines that shape years). our lives?

26 Five Year Strategic Plan 2019-2024: 5 42

3 Port Sunlight Findings

A creative process that relationships and understanding, par- ticularly for PSVT and their appreciation reveals an authentic of relationship between the everyday lives snapshot of Port Sunlight of residents and future-facing questions of today sustainability and development.

Working with the community of Port The film came together instinctively, Sunlight in a creative and participatory way organically resulted in a film that reveals an authentic snapshot of Port Sunlight in the 21st The project had a loose and open century, a new perspective that supports structure: to create a film that generated residents, and non-residents alike, to refection on the everyday lives of residents, understand the experience of everyday life take things in a new direction and avoid the in a heritage village. Port Sunlight is often typical heritage-focused film that most defined by its heritage and the legacy of people associate with Port Sunlight. As William Lever, but unusually, the heritage Heather (Heritage Conservation Officer) in the film forms the backdrop to the lives recalled, she was excited about ‘the idea of of its living community. What does it mean our community… being involved in to live in a heritage village? How do something quite avant-garde. I also residents navigate the juxtaposition of thought that the residents and the people public visitor attraction and private home? who use Port Sunlight were ready to tell the story from a slightly different Producing an intimate portrait of the perspective.’ village, revealing a side that visitors rarely get to see, the project was not without its The process of making the film was challenges. It was a ‘leap into the people-centred and organic, responding to unknown’ for the PSVT, who had not the interests and enthusiasm of the worked in this way before with residents, residents. Mark (Film-maker) was inspired and for residents, whose experiences were by the people he met in Port Sunlight and framed by television programmes such as followed the connections that they Songs of Praise and Antiques Roadshow rather suggested to him, opening himself up to than the ‘avant-garde’. Expectations and unexpected situations (such as the bat aspirations needed to be managed. Key to walks). As Claire (Community En- the process was being responsive to the gagement Officer) explained, it was a needs of residents, and the patient and natural process of getting to know people engaging approach of the film-maker, who and being open to suggestions: ‘he went to took people along with him even when film one night in a resident’s home… and there was uncertainty around the film’s then he ended up across the road in the direction. The participatory process church filming the bell ringers, and from resulted in deep reflection on Port Sunlight there he meets someone else.’ Kathryn from those involved and worked to deepen (Resident) described how she gave Mark 43

the idea to film the Zumba class: ‘I photographer going into people’s homes, mentioned the Zumba, which he didn’t taking photographs of them, so I think know about, so that gave him another they’d already had that intrusion and angle then to come and see the ladies in the weren’t up for it again.’ Eventually Claire evening at the Zumba class’. It was a very found some residents who were interested different approach to one the Trust would and this got the ball rolling, ‘we started have taken, providing a new perspective with an open call out to residents to come on, ‘areas of interest… that we may have along and to meet Mark, and to have a look not looked at to begin with, or considered’ at some of the films that he had as (Claire Bates, Community Engagement examples.’ Mark began to build Officer). relationships with residents and was responsive to their individual needs – For Mark, the process at times was messy people could be as involved in the project and unpredictable, and he was not always as much, or as little, as they liked. Hannah, confident that the material would come for example, took part in a one-to-one together: ‘I think the danger was [when] interview with Mark prior to filming, and you’re pulled through many really exciting did not attend any workshops. Steve and different worlds, you endanger it Colin attended most of the workshops, becoming a mix of bits of all of them.’ It Valarie and Kathryn only attended one. was during the editing process that the film began to take shape, ‘I think the Film-maker Mark's calm and patient characters… led the film really and ended manner helped to negotiate some of the up being the focus of how [the film] was more challenging elements of the project. built… It doesn’t always come with much Mark recognised that it was a privilege to foresight in terms of how it’s going to take be invited into people’s homes, and he was shape, but the joy of it is in the edits and clear that they were the experts, the seeing what takes shape and what emerges ‘authority’ on their lives. Mark’s technical through that really.’ ability and aesthetic sensibility were also very encouraging to Heather: ‘Before I Responsive to the needs and ideas, of committed our people, our residents, our participants community to this idea, I did go and look and see what Mark could do, and I was At the core of the film is the residents’ blown away.’ experience of, and relationship with, everyday life in Port Sunlight. Critical to The first experience of filming was with the success of the project was getting the Hannah, who Mark described as very co-operation and buy-in of the residents, ‘open’ to ideas. The evening he spent and Mark’s attitude was a key factor in this. filming with them was, for Mark, ‘the most He was very open to listening to their ideas precious footage that we got, the most and suggestions during the filming unguarded footage was that first shoot process. with Hannah [and her son]… … I spent an evening with them, with as little guidance PSVT met with some initial reluctance as possible…. In a way they curated their from residents to the project. As Claire own evening.’ Hannah’s perspective was explained, people were not enthusiastic equally positive, she enjoyed the filming, about having someone to film in their describing Mark as lovely and warm, she house, particularly as there had been a felt ‘at home’ with him. Mark was equally similar project the previous year: ‘[we’d] receptive and accepting with the other done a project where we’d had a residents, keen to listen to their ideas and 44

let them guide the filming process: ‘When think they were a bit like, “Oh, this isn’t we started doing it, it quickly became clear what I expected” (Claire Bates, that they were self-directing themselves… Community Engagement Officer). For within those scenarios really with very little Claire, who was the bridge between the input from me’ (Mark Thomas, Film- film-maker and the residents, this maker). Residents were ‘brilliant’ at setting uncertainty put her in a difficult position at up interesting shots for him, including times, as she had to communicate what Valarie and Colin, who showed Mark the was happening to residents: ‘I’ve not really best position from which to film his felt like I’ve known what’s going on to be garden from the windows of his cottage: honest, and what he’s capturing. I’ve not ‘there’s a certain view from it where you felt confident speaking to those involved.’ see across all the pots and it looks like there’s a really beautiful herbaceous A particularly challenging moment came border. It looks absolutely cracking, and during the second workshop. Residents it’s the sort of view you can’t see from had assumed that they were going to see a anywhere else… When I showed it to rough cut of the film but instead they were Mark, he was like, “Oh I’ve got to get a shown a series of film clips from the shot of that,” because he just hadn’t CineMuseSpace database as well as clips noticed it’ (Colin, Resident). Sometimes it from films produced by Soup Collective. seemed that Mark had little choice, as he As Colin admitted, he was not sure what joked about Valarie, ‘she was quick to tell the point of the clips were at first: ‘it was… me what I needed to be doing.’ artistic films or arts films, or documentary type films, where they’re looking at the The film, therefore, was a collaborative idea of how a person relates to the place project between Mark, the research team, that they live, and how, even when there’s and the residents, although he had the final nobody in the room, maybe the actual say in the editing process. He was clear that place in which they live becomes a their ideas and suggestions had played an character. At first I was a little bit baffled important role in the finished product: ‘the by this, but then as I saw more of these residents very much shaped what I did clips I started to get an idea.’ Colin realised capture… through their enthusiasm and that the team was showing them the interests.’ ‘context of what the film was to explore… [What] I got from that is how people relate Residents could not always engage with to where they live.’ Watching the films the complex concepts underlying the helped Colin to understand what the film- creative process maker wanted from him when it came to filming his everyday routine, as he PSVT were keen to use the film as a way explained: to offer residents a new perspective on Port Sunlight, to see it, and their place in ‘They wanted to film us doing mundane it, in a new light. However, the new ways tasks, like maybe boiling a kettle… If I of working prioritized in the project hadn’t seen those films I probably would challenged all involved to embrace new have found it quite awkward, but having ideas. As Heather described, PSVT seen those films I thought, Okay, I kind of themselves were uncertain about what get an idea as to what they’re looking for… Mark was going to produce: ‘Most of the they just wanted to see how people did act time when people see film in Port Sunlight, in a natural fashion.’ it’s for TV and film, and they can go to the cinema and watch it and understand it… I 45

Other participants, however, did not talking about their experiences of living in achieve the same clarity of thought as Port Sunlight in an oral history or heritage Colin. There was a particularly tricky ‘frame’ and the CineMuseSpace project misunderstanding over one of the demanded something different. Working CineMuseSpace film clips shown during the on what Claire called a ‘more artsy’ film same workshop, which showed a mild created some confusion. As Mark scene of domestic abuse between a man described: ‘I don’t think they knew how to and his wife. It was not at all what some of respond [to the clips]’. Steve, who the older residents had expected and, as understood the purpose and concept of Claire explained, ‘they were really the film from the start, reflected that it was disturbed… and were upset by it.’ Mark’s gentle manner and patience that eventually carried people along with him, Mark acknowledged that some of the as well as seeing the completed film, ‘I concepts behind the film were challenging think the screening last night probably for some of the older residents, in made [the concept] a lot clearer.’ particular, to grasp. They were used to

The ‘film buff’ – Steve

With a career that spans graphic design in the music industry and lecturing in the visual arts, along with a childhood passion for film (with a special interest in Japanese films), Steve immediately understood the concept of the film. As Mark explained, ‘straight away he tapped into the themes, concepts and ideas of it all.’ Steeped in film, Steve’s passion was stoked in childhood when his family, ‘adopted a German Jewish family during the war years… the father had a 16 mm projector and a big collection of Laurel and Hardy, Charlie Chaplin… Buster Keaton.’ Steve became fascinated by the ‘movement… the physicality,’ of cinema and saved up his pocket money to buy his own projector. For Steve, the magic of film was found in the uncertainty of the raw footage and what it would become: ‘The most interesting thing is about what you don’t know until you see the film. How is he going to edit this? Why is he getting me stand by this window for three minutes? What’s he going to use within that three minutes?’

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The challenges of realizing the potential literally live 100 metres or so from the of a multi-partner project gallery. I don’t think that we’ve been inside the gallery in two years. Why not? It’s free, As well as managing the relationships and it’s quite literally on our doorstep. We between the residents and the process of forget that.’ Mark found a solution when making the film, Mark struggled initially he got to know the staff who work at the with what seemed like a conflict of gallery: ‘when I met Ann [one of the front of interests and expectations towards the house staff], who is the lady who opens up project. The organisations involved all the doors at the gallery… I think [that’s] (PVST, NML, Leicester and Cambridge when it became a character for me. I found Universities) all seemed to have a different it a bit easier to look at ways to integrate it.’ perspective on what the film should be, according to Mark: ‘I found it quite a hard The value of research for understanding one to get going with. I think I was aware real world contexts that you were between three worlds… I think everyone has their own slightly Working on the CineMuseSpace project different imagining of what this film could reinforced for both NML and PSVT the be.’ Mark’s relationship with Suzanne value of working with academic partners to MacLeod (Project Lead) from the embed research in real need and University of Leicester was critical, it community context. For Sandra Penketh, helped to keep him on track: ‘when there research is critical to ensuring that NML’s were areas when I did feel I was losing my collections remain relevant and interesting way… Suzanne would help massively in to visitors and diverse audiences, shifting it back into the space and finding maintaining a balance between the two: ‘So other avenues that I completely hadn’t always, we’re thinking about how do we considered and I think that relationship translate [research] into something that is was really important during the project… accessible and interesting and brings …there was a lot of points where Suzanne enjoyment, new opportunities, new helped to shift it back to those key things learning to our visitors.’ The challenge for when I’d get a bit lost.’ CineMuseSpace was to ensure that the research was accessible and relevant to The potential of the connection with the NML’s audience. Making the connection Lady Lever Art Gallery remained distant between the complex concepts and ideas throughout the process, and Mark behind the CineMuseSpace project and the struggled to include the Gallery in the film community was one of the challenges set in a process led by residents’ lives and by NML: interests. Despite the physical location of the gallery at the heart of the community ‘I think it’s about connections isn’t it? and the involvement of the Gallery in one Having voices in there that are our of the Workshops, Mark found it difficult audiences’ voices and how you distil some to find a connection between the gallery of those themes into something that is and the residents involved in the film, who realistic for anyone who doesn’t know lots had quite different relationships with the about architecture or film history… How Lady Lever. Valarie visited the gallery does something that perhaps seems so very regularly, but it was not until seeing the academic, how does it relate to our own film that Hannah realised how important a knowledge and interest in our built world, resource she had on her doorstep: ‘The the spaces around us and how we use night that they showed the film at the art buildings?’ gallery, I think I said it to you, we quite 47

Giving the residents of Port Sunlight a about the future direction of the village. voice through the creative film-making Furthermore, through the workshops, process was critical to that process – it Heather had been exposed to some of the treated (as Mark did) the residents as the residents’ anxieties about living in Port experts, they were the ones who were Sunlight, which she was surprised to hear: ‘knowledgeable and know about this architecturally important village that they ‘I’ve always thought that I was the heritage live in and appreciate the function of their police with a smile on my face and a carrot homes.’ For Sandra, the voice of the in my hand rather than a stick and a frown, community – their experiences, needs and but in the end, Port Sunlight Village Trust interests – came out strongly in the holds the restrictive covenants…. It was finished film. really compelling to hear their anxiety about that. Even down to maintaining For PSVT, the CineMuseSpace project their hanging baskets. I tried my best to sit arrived at an exciting stage in their thinking there and be quiet, but at one point I was about the sustainability and significance of like please don’t feel this way. This is your Port Sunlight. For Heather, the project home.’ resonated with many of the issues that had been raised during the development of It helped to strengthen the relationship PSVT’s Strategic Plan- ‘what was the between the Trust and the community: significance of Port Sunlight? What is its ‘The process of doing it brought out so place in the world? Does it matter and if many wonderful stories and reflections so to whom?’ The project fitted well into a and encouraged people to speak up and to longer term vision to develop academic say things. Even things that perhaps we partnerships as a way of exploring their didn’t want to hear like we feel anxious most pressing questions: about living here. All of that is really good stuff to hear. Definitely a positive thing ‘I have such a long wish list of academic for Port Sunlight Village Trust and for the research partnerships I wouldn’t even community.’ Port Sunlight was going to know where to begin. This opened doors ‘have to change. It cannot stay the way it certainly for me… There is the question of is… it’s going to have to evolve’ (Heather) Port Sunlight’s place in the world, it’s place and research was part of preparing for the in the pantheon of planned process of change. communities… Then there are questions around the community’s resilience and A beautiful but realistic film that what has enabled Port Sunlight to sustain celebrates the everyday in Port Sunlight and thrive… Then there’s questions around sustainable heritage site Participants that saw the finished film management. What does it mean to have a agreed that it was a success, an evocative community based heritage site?… What snapshot of life across the village, that can we afford to do?’ (Heather Alcock) revealed both the public side – the grandeur of the heritage, the visitors and Whilst the project would not transform tour guides – and the hidden world of the their approach to the community, Heather community – of bell ringers and bat walks, recognised that it would help build the print club and games group, and the relationships and understanding. By intimacy of people’s homes and enabling residents to see themselves, and relationships. From the creative process their community, in a new light, it would emerged what Sandra (NML) described as connect to the Trust’s work in thinking a ‘beautiful’ but ‘realistic’ film that 48

showcases everyday life in Port Sunlight. juxtaposition between the public side of The celebratory event at the Art Gallery the village, represented by the formality of was a critical part of the process of ending the heritage, visitors and the global the project in a special way, giving the reputation of Unilever, and the private residents the opportunity to share their side, the community groups, intimate experience of the project, and their moments and glimpses of the modern reactions to the film: interiors inside the properties. It explored the relationship that the residents have ‘For those who lived in the village who with their everyday space, which also took part in the film, what was evident happens to be a popular visitor attraction. both within the film but also with the What does the process of making the film questions and comments that came after tell us about peoples’ relationships with, its screening was that sense of pride in the and experiences of, Port Sunlight? village… [A] lot of the residents understand that they live somewhere that A unique, intentionally designed space: the is quite unique and special and they legacy of William Hesketh Lever participate in that’ (Sandra, NML). Lever set out to create a community For the residents, seeing the film was an through intentionally designed space, but emotional experience. Feeling that it the community that he created continues captured the magical, special quality of the to have a momentum that has transcended village, Steve wanted it to be longer: ‘I his original intentions. The community’s actually fell in love with it as a piece of relationship with Port Sunlight is the film… it had qualities that I found quite legacy of Lever’s vision for the village, emotional… very endearing in a way.’ itself a juxtaposition between the forward- Hannah’s reaction was also emotional. thinking act of providing welfare, housing, Because of her experiences of life in Port education and ‘self-improvement facilities’ Sunlight, she often struggles to connect to for his workers with the rigid, paternalistic the place but seeing the film helped her to need for control through a restrictive see it in a new light, through the eyes of her covenant. It created a community but a son, for whom it was home. certain vision of a community, one steeped in particular (19th century) views on PSVT have plans to use the film in a morality and acceptable behaviour.27 number of ways; possibilities include using it as part of a new, on-line exhibition, on Today, the Trust do not dictate who can their website, and as part of PSVT’s bid to live in Port Sunlight, and are actively the UK’s World Heritage Site inscription, seeking greater diversity within the should the Trust proceed with that project. community. However, the covenants can still seem restrictive and whilst some things Port Sunlight, a place of contrasts have been modernised (bathrooms, kitchens), residents are not able to The project explored Port Sunlight as a modernise any external aspects of their place of contrasts: heritage site/home; houses, for example windows are single- public/private; tranquil/energetic; work/ glazed and poorly insulated, making it ‘cold leisure; visitors/residents; heritage/ and draughty’ (Hannah, Resident). contemporary life. At its heart was the Kathryn was concerned that people did

27 D. J. Jeremy, 1991, ‘The Enlightened Paternalist in Action: William Hesketh Lever at Port Sunlight before 1914,’ Business History, 33 (1): 58-81 49

not really understand the realities of living the spirit and the sentiment of the place in the village, or whether this had come lives on through the residents.’ across in the film. As Heather (PSVT) pointed out, it is ‘a very manipulated, Juxtaposition between the formality of the intentionally designed space,’ although heritage village and the everyday most residents did not see the village this way. Instead, they praised Lever for being The unique juxtaposition in Port Sunlight ahead of his time or ‘liberal’ (Hannah, between public and private – the formality, Valarie). Residents saw it as a privilege to history and grandeur of the public spaces live in Port Sunlight, citing the close-knit contrasted with the private, modern and community, the spotless environment, the intimate lives inside people’s properties – amazing facilities: ‘Well, people who live in was a key theme in the film that Mark the village, treasure the village. To me, it’s wanted to convey: ‘How I set out to shoot an honour that I do live in the village… I [the film] was… one from the visitor don’t think I could possibly live anywhere perspective, one from the resident else’ (Valarie, Resident). perspective… [There’s] points where those two collide that I think does get a sense of For Valarie in particular, it gave her the what it’s like to have hoards of people safety and security she needed (no come past your house all the time.’ vandalism, people to talk to, the Trust are on hand if you need help or have Sandra (NML) agreed that the film handled questions), it was maintained beautifully, this contrast very well, contrasting the she could see her favourite painting in the buzz and the energy of the visitor gallery, and the village continued to spark experience with the quieter scenes within her curiosity: ‘although I have lived here the houses: ‘People making cups of tea; for eight years I am interested in hanging up their coats; wiping their feet as architecture and every time I go out I can they came through the doors. Within this see something different.’ People special model village, people’s daily lives appreciated that it took lots of work to are going on and you got a real sense of maintain the village in this way and there these places as homes.’ Port Sunlight is was a sense that because people choose to unique because it is both public and live in Port Sunlight, they become part of private, everyday life is how the heritage is maintaining the legacy: ‘we do try a bit experienced by both visitors and by the harder. The neighbours seem to welcome people who live there. People have their you because they know that you’re going everyday routines but tourists and coaches to be a nice neighbour. You’ve chosen to are also part of the everyday: ‘That’s the live there for a reason’ (Kathryn, Resident). thing about Port Sunlight, it’s not one or Lever’s legacy lived on in the sense of the other. It’s not a National Trust site. It’s community that existed in the groups and not a strict conservation area that you go between residents (everyone described it as through. It is a visitor destination and a friendly place). As Mark explained, Port always has been’ (Heather Alcock, Sunlight was ‘built on community respect, Heritage Conservation Officer). equality to some degree and I think a lot of those themes, even though the change has A prerequisite for living in the village was shifted so much, the values are still there in accepting this situation, it was an inevitable the place…. The visitors, the residents part of life: ‘If you live in the village… project the legacy of the place to a you’re almost agreeing to be part of that… degree… I think that’s really powerful that Like a public museum in a way’ (Sandra Penketh, Director of Art Galleries and 50

Collections Care). People tried to protect is just my everyday life. I suppose I do their privacy where they could (and Claire forget that.’ has seen increasing reluctance to take part in projects or open village events from Whilst the other residents sometimes felt residents), which was challenging when that they were ‘on show’, they did engage visitors wanted to see behind the heritage with visitors: ‘Usually, I just chat if I’m facade. There is a sense of artificiality and going in and out of the house… … [My theatre about the place, and part of the house is] very photographed because it’s appeal of the film was that it portrayed the right next to the gallery… You do realise ‘real’ community which was not, as yet, that your daily comings and goings, locking represented in the ‘offer’ to visitors: ‘It’s the door and fiddling about with the important really to show that it is alive, and plants, people are there photographing us’ it isn’t just a museum… that people do live (Kathryn, Resident). here’ (Claire Bates, Community Engagement Officer). In particular, there Steve had actively made the choice to live is a concern to reveal to visitors what in Port Sunlight and did not mind living in houses are like inside, for example that a tourist village, to him it was ‘endearing.’ they have modern interiors, kitchens and As a lecturer, he was used to being ‘on bathrooms. This is an idea that many show’ and did not mind giving visitors a visitors struggle to conceive: performance: ‘people will stop you if they see you coming out of your house and say, ‘…the thing that people want to know oh, do you live here? What’s it like?… I most of all is what is it like to live here… don’t dislike it. I think if you’ve been a to really get inside the homes and see university lecturer, then you’re on show all what’s behind those pretty Edwardian the time in your job and that’s the bit that doors…. that’s why we opened the I miss, really’ (Steve, Resident). Valarie worker’s cottage, but the worker’s cottage described herself as an exhibitionist, she has been interpreted to 1913, so it’s not was always talking to visitors: ‘If I see a what it’s like to live in Port Sunlight today. tourist I always stop and ask them where I thought the film could really capture that, they’re from and tell them about the and I think it does.’ (Heather, Heritage village. Sometimes I ask them inside my Conservation Officer) home which my sister doesn’t approve of.’

What does it feel like to live in a space A strong sense of community at the heart where you are watched as part of your of Port Sunlight everyday life? Residents coped with this aspect of Port Sunlight in different ways. Without people wanting to live in Port Hannah, who had not, like the older Sunlight it would not survive. One of the residents, chosen to live in the village but questions that PSVT want to answer is why had moved there because of a relationship, does Port Sunlight continue to survive – seemed to cope with it by shutting it out. and thrive – despite many similar villages She focused on her everyday life to the disappearing? The film gives an answer to extent of forgetting that there are tourists this – it is the people that make it, the sense outside the window: ‘You so often forget of community that is part ‘designed’ that there will be these coach loads of through the intentions of Lever, but one people, particularly in the summer, that that lives through the real connections that come and descend onto the village. You people make with each other: ‘We need think why are there so many people Port Sunlight to remain relevant: if we here?… That’s when you click and think it don’t have our community, we don’t have 51

Port Sunlight’ (Heather Alcock, Heritage film set out to rectify this, to show a Conservation Officer). Yet people who snapshot of life in the 21st century: ‘I come to live in Port Sunlight are prepared would like it to show a moment in time, a to put the effort in because their effort is moment in Port Sunlight now… We don’t rewarded in a safe, clean and friendly place have anything that shows Port Sunlight to live. Colin felt that the community had how it lives now, how people work and hidden depths, and he was fascinated by function around the village and use it’ the people who he met through the film (Claire Bates, Community Engagement project, people who he would not Officer). ‘normally have an opportunity to meet or get to know… The number of people that, However, there was a less welcoming side when you actually do take the time to get to the community that was absent from the to know them, you find out all sorts of film, implied in Hannah’s experiences of things that you never would have feeling like an ‘outsider’ in the village: ‘I get imagined.’ asked all the time where are you from. You’re not from around here. That Both Colin and Kathryn were keen to be accent’s not local. I’m from America. Why integrated into the community, although as would you move here? They’ll say which they were still working it was hard to one do you like better.’ This seemed to always find time. There was a sense that if disrupt the otherwise friendly and someone had an interest, they would welcoming atmosphere hinted at by other always find someone else to share it with, residents, who were all from the UK. a point that Kathryn thought came across well in the film: ‘I think it came across… Overall, the film transforms conventional how much there is to do if you look into heritage perspectives of Port Sunlight. It is it… Downstairs at the moment, my next not a place ‘frozen in time’ but a ‘modern door but one neighbour’s running a living working village.’ It is not only the painting class.’ This element of the heritage that makes it special, but the community is currently absent from people who live in it, and care for it. visitors’ experiences of the site, and the

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A local ‘celebrity’ – Valarie

Valarie, aged 84, has lived in Port Sunlight for ‘eight years and eight months’ and is a bit of local celebrity: ‘All the Trust know me.’ Before moving to Port Sunlight in her later years, she has lived and worked all over the UK. Her connections to Port Sunlight, however, go back to when her granddad ‘worked for [Lever] as a boy in the cellar in the shop for his father… He wrapped soap in the cellar. That’s what mum told me.’ As a child she would visit the art gallery with her parents, and still visits it regularly today. Mark and the participants in the film were all fascinated to meet Valarie, she is a very positive person with a great spirit of curiosity and love for people. She has always taken chances in her life, moving to Port Sunlight came from a difficult time in her life but she found somewhere special to live out the rest of her days in ‘tranquility.’ Valarie has lots of interests, she likes to keep busy and cannot bear to sit still – ‘that’s a waste of my time and life!’ She does charity work, takes part in the bat surveys, and has become well known in the village: ‘everybody says hello… And they all know me!’ Valarie wanted to be in the film because it would be ‘another experience for me at my age. I think I was very grateful for it.’ She enjoyed going to the first workshop and listening to the experiences of other residents, ‘because everybody lives differently.’ Although the film did not change her perspective on Port Sunlight, which was already very positive, she enjoyed the experience and was happy to contribute, and it gave her the opportunity to think about what she loves about Port Sunlight.

Windows and doors – the threshold and obtain access into usually hidden between public and private, the past and spaces. Claire (who had not seen the film present at the time of interview) was keen for the film to show ‘both sides of the doorway’, A key theme to emerge from the filming the inside and outside, and the ‘footprint’ process was the role of windows and doors of residents through the village, ‘how they as thresholds (or barriers) between the use it and interact with it.’ public and private spaces, heritage exteriors and modern interiors in Port The theme itself emerged from the Sunlight; the carefully managed public CineMuseSpace project (and as Mark heritage spaces outside and the informal suggests, links in with a history of using experiences of everyday life that go on windows and doors in film to frame behind closed doors. Residents of Port action) but takes on a new significance Sunlight are continually crossing these within the context of Port Sunlight. Mark thresholds but visitors cannot. The film was interested in the idea of visitors allows us to see behind the closed doors looking into the houses through the

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windows and the residents looking out. and they have a rumble of a sound… [They The windows themselves are part of the open in a certain way]. The outer casing, door heritage fabric that cannot be changed, casing. Seeing that in the film, almost you implying a very different relationship that were in the gallery and it was that time of most people have with their houses and day because that is an everyday thing, just outside spaces. Not everyone involved like making a cup of tea at home in the with the film understood the significance morning.’ (Sandra Penketh, Director of of windows and doors to the filming Art Galleries and Collections Care) process, but Colin was able to reflect deeply on why the idea of windows was so There was also a back story to the shutters important to mark the contrast of the in the art gallery, and Mark talked about different relationship that visitors and wanting bits of ‘heritage’ to intrude into residents had with the village: the narrative of the film, rather than it being the focus: ‘It’s by no means apparent ‘Mark said that one of the things he wanted but there’s this whole back story of Lever to do was maybe look at the idea of when having incorporated the shutters into the visitors come to the village, they’re looking gallery after he got attacked by Suffragettes in through the windows, and then he was at another property of his, at home, and it taking lots of shots of residents looking was a legacy of that, to put these safety out through the windows. It’s people that blinds in.’ are in the same place, but have a different view of it depending on what their status Everyday relationships with Port Sunlight is, whether or not they’re residents or not residents. Here’s all of us living in the A key part of the CineMuseSpace research village, enjoying the views, and looking out was to generate insights, understandings over the dramatic sunsets and the beautiful and awareness of our everyday life and views and everything, and then there’s how this plays out in specific people that are actually out in those environments and social settings. Through beautiful vistas that are looking at the the process of creating the film, and houses and thinking, “I wonder what reflecting on it during the interviews, they’re like inside.” It’s two people looking residents revealed elements of their through windows, but with entirely everyday relationships with Port Sunlight. different aspirations and expectations.’ Everyday life in the heritage village was both familiar and different, recognisable The idea of thresholds was also key to actions such as making a cup of tea, going including the Lady Lever Art Gallery in the for a walk, or pottering about in the garden film, which Mark had initially struggled are taking place against a unique heritage with. The heavy doors of the gallery being site teeming with visitors. opened in the mornings had an evocative image and sound, the sense of ritual in the Everyday life is familiar, but incredibly action fitting in with the scenes of everyday different, in a heritage village life taking place across the village: People who live in Port Sunlight are the ‘There were those shots of…opening the same as ‘everybody else’ but at the same doors between each gallery room. Which time, their everyday experiences are of course happens every morning incredibly different to most people’s: ‘It’s religiously and similarly in the evening simply the fact that there’s not many places before we close that happens…. It is a that you can live in where you’ve got trees ritual… They’re quite heavy metal doors all through the village, everybody’s gardens 54

are beautiful, they’re very, very picturesque did often for both work and leisure. Mark cottages, and a huge variety of them’ wanted to film her during a typical day at (Colin, Resident). You can go out of the home but Kathryn found it a challenge to door and visit a gallery or a heritage centre. define what a ‘typical’ day would be, she Everyday life in Port Sunlight is full of does a different activity depending on the surprises, from Valarie always noticing day: ‘For example, Tuesday I might go to something new in the architecture despite aqua aerobics in the local pool. Monday I living in the village for eight years, to may go to Zumba, but I may not.’ Heather explaining that everyday life in Otherwise she would be catching up on Port Sunlight means, ‘Something new… chores: ‘I’ll be cleaning the kitchen…. that’s the beauty about what I do, you doing the washing… chopping my always get surprises in Port Sunlight. You vegetables, that sort of thing. I’ll be on my never quite know what’s going to happen.’ computer sorting out my next trips.’ Reflecting on her everyday experiences, Mark’s insight into peoples’ lives through Kathryn did wonder if mundane activities the filming process identified several such as washing and cleaning took her elements of everyday life that connected away from the things she liked doing: people across the village. Firstly, the importance of tea to UK culture in general, ‘It did make me think is this domestic a defining routine in every house he situation we all live with, does it overtake visited: ‘the first thing they’d do would be sometimes? Do we spend so much time to stick the kettle on and make a cup of with our cooking, cleaning, washing, prep, tea.’ that we forget to enjoy ourselves? You start to analyse a little bit… … They take a Another observation was the way in which lot of time. Some things are essential. We people entered their houses, everyone had have to be clean and tidy. We have to eat.’ a characteristic way of coming in through the front door: ‘I found that really interesting… You take your coat off first, put the keys down first, wipe your feet first, everyone has their first [action].’

The third element that Mark noticed was the focus on the garden as a private space away from the public areas. Everyone had a ‘beautiful garden’, which residents would see, ‘as a place of refuge to relax… the back gardens [in particular] you got this sense of escape from the tourists as well.’ Colin, in particular, enjoyed the peace and quiet of his garden: ‘I can sit out in my garden at night, and I can’t hear the traffic or anything. You’d think you were in the middle of the countryside.’

What did residents appreciate about everyday life in the village? For Kathryn, it was somewhere nice to come home to when she has been travelling, which she 55

A difficult relationship with Port Sunlight – Hannah

Hannah’s relationship with Port Sunlight was wrapped up with her personal experiences of loss and separation, of distance from her family back in the US and the collapse of a personal relationship that had first brought her to the UK 11 years previously. She had a difficult relationship with the place. Reflecting on her experience of living in the village was intensely personal and emotional, but seeing the film helped her to have a new perspective on both the village and her own attachment to it.

Hannah was keen to take part in the film, it was something positive and different to do, reminding her of her childhood connection to the arts: ‘I grew up dancing… I was really involved in theatre and things like that when I was younger.’ For Hannah living in Port Sunlight has been ‘tumultuous’, and she has experienced depression being away from her family in the US: ‘I left my family and… my friends to be married… It was a real whirlwind. It was a real leap of faith.’ Since her separation from her husband, Hannah has started to miss her home even more, ‘I think I’ve just had an awful lot of resentment for what I gave up and the things that I changed… There’s just been a lot of frustration’. Hannah has never thought of Port Sunlight as home, the possibility of going back to live in the US made it feel temporary, ‘it’s just never felt permanent… Not to get too connected to people or things because it can all change so quickly.’

But watching the film made Hannah more hopeful that Port Sunlight could feel like a home, particularly when seeing their life through the eyes of her son: ‘Watching the film and seeing the interactions between my son and I, seeing the fact there are a lot of people that still live here and have lived here their entire lives… This has been their whole life. This has always been the only homes that they’ve known, so it made the difference for me to be a bit more accepting of it. If not for me, definitely for my son.’ It made her realise that it was the only home that her son has ever known, and it is as meaningful for him as her childhood home is back in the US: ‘He’s old enough now, and he will be able to look back and remember everything about this home… That’s where all his memories will be.’ Despite her battles with depression, the film made her realise that not everything about Port Sunlight was negative, she could see warmth in the interaction with her son: ‘to have seen that brought to life and see the everyday interaction between my son and I, it hasn’t all been bad.’

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For Hannah, everyday life in the heritage conversation about the village was infused village was no different to anywhere else in with a real love and enthusiasm for it. the UK: ‘It looks very ‘museum’…like look but don’t touch, and the reality of it is What draws people to Port Sunlight? there’s kids running around all over the place. People are just living their The residents who participated in the completely normal day, day in and day out.’ interviews had come to live in Port Hannah’s everyday revolves around her Sunlight for specific reasons. They had not son and interacting with him when he been born in the village and it was an comes home from school, with activities opportunity to explore what might draw such as playing board games and cooking people to come and live in a heritage together, which were captured by Mark: village. For the majority, reasons for ‘Some of it was routine things like boiling moving to Port Sunlight included tangible the kettle, walking in the front and putting elements, such as the beauty of the heritage the key in the front door. Some of it was and sense of community spirit, and less very individual about what do we do on a tangible reasons, such as the status and Tuesday evening when he comes home prestige attached to the place. from school.’ Yet personally for Hannah, living in Port Sunlight has been different to Colin’s connections to tourism initially her previous life in the US, she experienced introduced him to Port Sunlight and, as it as a ‘culture shock’: Mark (Film-maker) mentioned, there was a sense of ‘theatre’ that he liked about the ‘I’ve only ever lived in this heritage village place. After living in the village for nearly in England, so I don’t have any 4 years, his perceptions of it had changed. comparison to any other neighbourhood At first he had moved into the village for or street as far as neighbours and things… the ‘views’ of the landscape, ‘and maybe I don’t really have anything else to the status and the prestige of living there’ compare it to other than life in America. It (based on the idea that houses very rarely is absolutely shocking how two countries come onto the market), yet living in the can be so different even though you have village made him realise that life there was a lot of similar history and speak the same ‘actually… really pleasant.’ language, there’s still a culture shock.’ There was also a great deal of history about In contrast to Hannah’s focus on her son, the place that he had not realised: ‘I think and Kathryn’s focus on her work and it’s simply because I thought, You know travel, Valarie had embraced the everyday what, there’s a special area that is very close reality of Port Sunlight, including the to me, so if I’m going to live anywhere, heritage aspects, and was an integral, and that’s where I’m going to live…That’s well-known, part of the community. She really what attracted me.’ The landscapes, was involved with the community hub, gardens and green spaces around the liked talking with, and giving information village were also very appealing to Colin, to, visitors about the village, enjoyed particularly the ‘Dell’ where he liked to helping others, and was clearly known to spend time after work: ‘if I’ve come back the Trust as someone who was willing to from work and I’m a bit tired and I feel like take part in initiatives such as the film being uplifted… I walk through the Dell, project, and an earlier photography project because it’s a beautiful windy path. It goes that saw her photograph exhibited in the through the trees and under the bridge, National Portrait Gallery. Her and it’s just very peaceful… It’s just beautiful, and it just gets you away from 57

everything just for a while.’ Colin liked the ideas that the village is only for older idea that he lived in an urban area ‘but you people, conservative, and it’s not suited for can go out some places and not see a single younger families, which can make people soul in the evening.’ think that the village is not for them: ‘That’s where we’re going, trying to aim at Kathryn had lived in Port Sunlight for 2 a younger crowd if possible and to families, years, she wanted to downsize to a smaller to keep the future of Port Sunlight alive, to house but needed good transport links for keep it moving forward… we’re not this work. She knew some people who lived in old-fashioned, fuddy-duddy village… the village and was aware of the good We’re ever changing’ (Claire Bates, community spirit, something which Community Engagement Officer). Even appealed to her: ‘I knew that if I could find Claire had a very different view of the the right property and the nice neighbours, village before she moved there: ‘I thought I would be able to lock up and leave and I was moving to God’s waiting room, as I know that they’ll help me look after my called it. People moved here to die. There house while I’m gone.’ was no one around… I very soon realised that wasn’t the case… It was very different Steve was also looking to downsize but to what I expected.’ there ‘was something’ about Port Sunlight that attracted him. Similar to Colin, he Although Unilever is a global brand, liked the green spaces and feel of a ‘garden Hannah did not think that many people village,’ but he was also attracted to the from outside the UK have ‘heard of Port character and quirkiness of the 19th Sunlight village.’ Colin grew up on the century properties. Valarie fell in love with Wirral and had known about Port Sunlight, the house she lives in as soon as she saw it, it ‘was just down the road from where I describing it as wonderful: ‘I have got a was born and raised, well about six miles beautiful maple parquet floor… You know down the road, it’s one of those places I when you look at these places and you look always took for granted.’ He had grown up at these things you think, ‘Good gracious, with lots of preconceptions about the 130 odd years old.’ And the floor is place, it was odd, ‘maybe a little bit quaint, absolutely perfect.’ As soon as she stepped a little bit weird, there was always those through the door she knew that the house rumours of, those people at Port Sunlight, was for her: ‘By the time we’d finished I they’re a bit weird if they live there.’ It was just said to the estate agent, Right. Let’s go. not until he got to know about the place Let’s get it done.’ Although Valarie did not through work (tourism) that he began to ‘choose to come here’, she has ‘never appreciate and value it. However, he regretted one minute’ of living in Port acknowledged that there was something Sunlight: ‘My life has been in blocks. slightly ‘sinister’ (as well as reassuring) Wherever I’ve been I have been led there about the perfect nature of the village, it by…that part of my life. Now I’m in the reminded him of the TV series ‘The end of my life and I’m in tranquillity.’ Prisoner in the 1960s… It’s the same sort of place you could imagine that being, but Looking in from the outside – what ideas in reality it isn’t.’ do people have about Port Sunlight? Like Colin, Steve’s preconceptions about There are many preconceptions about Port the place had turned out to be equally Sunlight that shape what outsiders and misguided; he thought that properties were visitors think about, and expect from, the much more expensive than they turned out place. PSVT is keen to challenge outdated to be and ‘you had to have some rite of 58

passage, like going in front of a committee or something, to be allowed to live here if you didn’t work in the factory.’

Mark’s experience of Port Sunlight went through different stages. Initially, he was ‘blown away by how idyllic it is, how much of another world it is… even for me in Manchester.’ Then he came to associate it with being a stressful place, ‘because I didn’t know what I was doing in the film.’ However, by the time he came to finish the film, he was feeling a sense of loss: ‘I’d spent so much time there and it was such a regular thing and you’re seeing these people all the time. I suddenly thought I’m not going to be going there anymore, at least not as often.’

Returning for the screening at the art gallery drew him back into the village’s uniqueness: ‘Its grandeur is seductive.’ To see everyone at the event, in one place, with the gallery doors open and looking at the view down the Boulevard was magical: ‘That was magic, that was amazing. I think to see everyone in one place, all the residents, that was incredible, the last experience of the whole project.’

Yet, he could also recognise a feeling of oppressiveness about the place, very similar to Colin’s comments about it feeling sinister, depending on his frame of mind: ‘I think the oppressiveness is steeped into that impression you have of very beautiful places that you have all through life… it has some sense of structure that you feel like you need to be careful and watch what you’re doing.’ Mark’s overriding opinion of Port Sunlight, however, was its magical quality, especially when the sky was blue, ‘the sun’s coming down and it does look magical… you’re by the fountain and the sun’s shining through the spray… it’s an incredible place.’

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7 Port Sunlight Conclusions

think [the film is] the future of Port Sunlight Exploring the everyday life of Port and it’s that open door into what Port Sunlight through the eyes of the residents gave the film its momentum Sunlight is, and not what people’s and power. expectations or perception of Port Sunlight is’ (Claire Bates, Community Engagement Officer). Port Sunlight is familiar to many as a heritage site – it is architectural beauty and fantasy, a relic of the industrial past, The film offers everyone invested in developed by a paternalistic employer that Port Sunlight, a new perspective on was trying to give his workers a better life, this unique heritage village. whilst boosting his own ambitions. The film gives an alternative perspective – the everyday life of the people who live there The film plays a dual role in presenting a now in the 21st century – many of whom new perspective on Port Sunlight to no longer work for the company residents (both long-term and new), (Unilever) but are passionate and visitors and organisations that have a stake committed to the Village’s survival and the in the site. It gives visitors a glimpse continuation of its community spirit. Its behind the heritage facade that is the focus focus is not on the buildings or the past but of the visitor attraction, revealing the the people who make the village. It shows community at its heart. To residents, it the threshold between public (outside) and shows them their real place in the village, private (inside), marked by the door their significance to the ‘everyday’ of a (escape from the public into the private) heritage village – they are the people that and by windows (visitors looking in, make it a living, breathing community. As residents looking out). Heather Alcock explained, perspectives on Port Sunlight tend to show it ‘standing still’ The rituals of everyday life – making a cup whereas the film shows, ‘this is meant to of tea, looking out of the window, where be how life in Port Sunlight is.’ Beautifully people put their keys when they enter their shot, the film was successful in capturing houses – make up the daily rhythms of the the contrasting experiences of the village: place for residents. Most importantly, the ‘To have all the different viewpoints and village is the location for myriad human experiences, both public and private, of relationships. Port Sunlight inspires strong Port Sunlight was really lovely and quite feelings – loyalty, passion, love – there is emotional’ (Heather Alcock, Heritage nothing bland or forgettable about the site. Conservation Officer). It was important to The way that people feel about it has get this perspective across to the residents sustained the place, long after many other and to the Trust, as part of the process of industrial towns and communities have seeking to understand the village’s place disappeared. The community endures now and in the future. because of the connection to place that people make in the village – and this is perhaps the key to the village’s future: ‘I 60

somebody around’ (Kathryn, Resident). The everyday experiences of This sense of community was another residents can feed into discussions around the future sustainability of the element of Port Sunlight that might not village. always be evident in other places, and Mark highlighted how some people were starting to think that our culture of individualism, Sustainability is a live issue at Port the ubiquity of smartphones and other Sunlight, particularly in the light of its devices, was not necessarily a good thing. functions as a heritage site, community and People wanted to go back to the kind of visitor destination. All of those three community that was found in Port aspects have different needs and solutions, Sunlight: which could potentially come into conflict. In particular, the population of the village ‘The obvious things are you see people was ageing (in line with the surrounding living more individually, communicating area) and the challenge was to attract through devices more, not as strong sense younger families to live in, and visit, the of community and I think they’re all things village. It was recognised by the Trust that which are occurring but I think people are the heritage fabric (as it stands) is not willingly trying to combat them as well. I always suitable for the needs of modern think there’s awareness that people want families, nor was the site that engaging for more sense of community.’ children. Although they understood the need to diversify the village, the experience Perhaps there are elements of Port of the residents was that it would be Sunlight that could have a positive impact challenging to attract younger families for on the future design of towns and cities? the same reasons – houses were relatively small (many with only two bedrooms), Contemporary collecting: representing a expensive and with quirky features that living heritage place gave character but did not use the space within the properties very effectively. The focus has always been on the heritage of Port Sunlight for visitors and for the Heather (PSVT) questioned whether an Trust, which is thinking about the ageing population was actually a ‘problem’, contemporary relevance of the village. considering that it reflected the Whilst the heritage will always be demographic of the wider area: ‘Is Port important – as Heather Alcock pointed Sunlight exceptional for where it is? The out, ’while it’s not a small object in a case, answer is no, not necessarily. It actually is [Port Sunlight] is something precious that quite in line with the community in this we have to look after’ – the film had particular part of the country.’ Kathryn did reinforced the importance for the Trust of not think that it was necessarily a negative addressing, and representing, the thing either, it helped to create a sense of contemporary experience of living in the community. Because people are retired and village, which was an issue of curiosity (and do not work long hours, they have time to confusion) for visitors. The film, driven by set up, or take part in, groups, work on the the ideas behind the CineMuseSpace project, allotments, and take care of their was the start of telling the story of the neighbours: ‘I think it gives you some modern community, something that had security… people do look out for each not been attempted before by PSVT. The other because they’re not so busy with this positive response to the film – and the hard commuter office work that does possibilities for its use – suggests that it is affect a lot of the country… there is always 61

something that will be front and centre in the Trust’s thinking from now on: ‘And also for us in terms of our collection, we’re looking at contemporary collection, so collecting what Port Sunlight is now, in the future, so this is gold dust to us. To put that in our collection, to pull that out in 50 years’ time and say, This is how people lived 50 years ago. Now look at us.’ (Claire Bates, Community Engagement Officer).

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8 CONCLUSIONS

The installation at CFCCA and the class discrepancies highlighted in the films, filmmaking process and outcome at Port and the need for radical change in the Sunlight provide two contrasting examples future to ensure that cities can be for of what universities refer to as ‘research everyone. dissemination’. In very different ways, these two public-facing elements offered For the Port Sunlight Village Trust, the opportunities for visitors and, at Port film-making process prompted reflections Sunlight, residents, to engage with some of on sustainability and how they can do their the big ideas behind the research and asked best for the community of Port Sunlight as them to reflect on everyday life and spatial they plan their work for the future. Seeing cultural differences. the emotional responses of residents and the impact of living in a heritage The research prompted wide ranging environment on their lives, has supported reflections on our day-to-day actions and the team at the Trust to become more environments aware of the emotional lives of residents. These discussions point to the value of Across both case studies, the research did projects such as CineMuseSpace for design enable visitors to reflect on their day to day decisions in the future. PSVT will draw on actions and the environments. Visitors and the film and the intimate view of everyday participants became more conscious of the life and humanity it offers, as they move spaces they inhabit and the rhythms that forward with their plans for the village. comprise their lives and strong themes emerged around how space helps us to feel Interestingly, whilst both the CFCCA safe and secure and is implicated in how installation and the film-making process we look after and express ourselves. In prompted a wide range of reflections on Port Sunlight, for the majority of day to day actions and environments from participants, their sense of identification everyone involved, this reflection was at with the place they live and the emotional no point undertaken using the language of importance of that, came out very strongly spatial cultural differences, an observation in the research. At CFCCA, many visitors which raises questions around research, reflected on how their use of space was academic language and the changes part of their search for meaning required once that research is reinterpreted (navigating 21st century stresses, feeling within the public realm. safe and secure, ensuring health and wellbeing) and was a fundamental part of Emotion and human relationships how they expressed themselves and their identity. Going beyond the personal, some A central theme to emerge in the visitors, and particularly older participants, interviews at CFCCA and in the discussed the political implications of our experiences of participants in the film- day-to-day actions and use of space in making process at Port Sunlight, was relation to issues of land ownership and emotion and human relationships. gentrification in urban areas, gender and Mundane routines and functional 63

environments were not what excited focus on individual needs and wants in the visitors to CFCCA. They hoped for West. something more fulfilling, with many reflecting that they tried to get their The film-making process, with its routines completed as quickly as possible emphasis on life in Port Sunlight, so that they could prioritise other, more generated less focus on the cross-cultural meaningful activities and relationships. For aspects of the CineMuseSPace project. The the residents of Port Sunlight, they were topic of everyday life in Port Sunlight was mainly drawn to the village for its beauty, of deep interest to participants and, rightly, complex details, for its people and the dominated discussions; conversations promise of sociability. The houses were about the film clips and about varied often unsuitable for life today, but cultural representations of the everyday, residents adapted, hooked by the material, repeatedly returned to life in Port Sunlight. age and beauty of the place. The film captured a sense of this lived experience The cultural institutions demanded and the humanity of life in the village. different strategies to reveal the relevance of the research Cultural difference and same-ness At CFCCA, the Gallery team were very The installation at CFCCA was successful comfortable with the CineMuseSpace team’s in generating reflection on cross-cultural research-led approach and desire to share spatial differences though the interviews some aspects of the research in the Gallery; also revealed some interesting differences to convert some of the research into an between visitors’ perceptions of cultural exhibition format and open it to visitors. difference; international visitors were far The theme of the research over-lapped more aware of cultural differences than with a planned exhibition on Future Cities UK participants who tended to focus on and so the team were able to slot into an same-ness. These visitors tended to regard existing programme. the cultural differences they saw in the films as relatively superficial or At Lady Lever and in the context of NML, representing stereotypes (supported by the relevance of the research was harder to their reading of the film), preferring to locate. What mattered most to NML was focus on the similarities in everyday the experiences of those involved in the activities as evidence of a universal human project and the relationships with local experience. Conversely, this was partners such as the PSVT. In this context, reinforced for some young people by CineMuseSpace was of less interest in its increasing cultural diversity in the West, own right, but provided inspiration for which they saw as flattening human reflection on life in Port Sunlight. This experiences rather than encouraging process of reflection, facilitated through difference. the film-making process, proved highly productive for those involved – for the For non-UK visitors, and those with non- participants in different ways, the project UK heritage, cultural differences were reinforced their love of Port Sunlight and rooted in an understanding of the deeper made them more aware of the physicality meanings behind those apparently of Port Sunlight and how they and others superficial differences, particularly use the local environment. attached to ideas of family and communal living, which were contrasted with the

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The limitations and possibilities of film

Participants in the research enjoyed the Future Cities exhibition and the ideas it prompted. The research highlighted the possibilities, and limitations, of using film as a mirror to reflect everyday life. Whilst the film clips acted as a stimulus for most visitors to explore and understand their day-to-day actions and use of space, for others, they struggled with the mundane tasks and often gendered roles represented in the films. Visitors would have benefited from some additional support to understand the concepts behind the films. This raised questions about the use of film as an archive of lived experience and how the archive might be usefully expanded.

In Port Sunlight, the prioritization of the lives of residents ensured that participants and partners felt confident that the film represented the contemporary lives of people in the village. The participatory film-making process was unknown for both residents and film-maker and became a real exploration for those involved. It prompted deep reflection on life in Port Sunlight and made a significant con- tribution to the building of relationships between village residents and key partner organisations NML and PSVT. The project reveals the huge potential of film- making as a mechanism for unearthing and reflecting on spatial needs and as a powerful tool for design, especially in the light of challenging environmental concerns that demand radical changes in how we use and understand space, enabling everyone to live well.

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Appendix 1: List of participants, CFCCA

Name Date Description Visited CFCCA before?

Cara and 15/09/2019 Couple from the UK Yes, usually visit a couple Sam of times a year Cara has a background in design, is creative and likes visiting art galleries

Sam has a background in music and music technology, visits art galleries regularly

Mariam 15/09/2019 From Morocco. On holiday in the UK First time to the CFCCA

Works in communications, with hobbies in music, graphic design and illustration

Fauziya 17/09/2019 Architectural background Yes – visits regularly

Runs a magazine called ROOT-ed

Friends with Tiffany Leung who works at the CFCCA

Laura 17/09/2019 Psychiatric nurse Visited once before

Interested in art and the differences between Asia and China

Chinese step-grandfather influenced her interest in China

Ryan 17/09/2019 Artist – live video art Visits the gallery around once a year From the UK, Spalding originally but now lives in Manchester

Tiffany 17/09/2019 Museum curator at the CFCCA, both Works at the CFCCA personal interest and her research background, which looked at artist run spaces in Hong Kong (MA)

Leads on exhibition projects, works with local and international artists

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Peter 17/09/2019 Works with East Asian Art, Cambridge First time to the CFCCA but visits art galleries Teaches at a Japanese cultural centre regularly e.g. Kettle’s Yard, Cambridge Studied Chinese Art

Eamonn 17/09/2019 Leads the MA in Architecture at First time visitor to the Manchester School of Architecture CFCCA – interested in the exhibition

Edwin, Fe 17/09/2019 Visitors from the Philippines, returning First time visitors to the and to Manchester in over 20 years CFCCA – found it on the Gwen Internet Edwin was born in the UK but has lived in the Philippines for 14 years. He previously worked in Saudi Arabia

Kai and 18/09/2019 Kai is an artist (film, animation) Elle has visited before – Elle likes to visit art galleries Elle is an artist (videos, contemporary to see how artists present technology), currently unemployed. their work (digital in Elle’s mother is from the Philippines. particular) and interact with each other

Similarly, Kai likes to visit art galleries to reflect and see what other artists are doing

Nathan 18/09/2019 Lives near Liverpool and works across First time to the CFCCA the UK whilst in Manchester for a meeting Event organiser for a series of events based on Pan-Asian contemporary culture

Benjamin 18/09/2019 From Boston, USA but living in First time to the CFCCA – Germany did not know anything about Chinese art and Works in a Japanese restaurant was interested to find out more Visiting his girlfriend who lives in Birmingham, visiting Manchester for the day

Roza 18/09/2019 Artist, lives in Manchester Visited many times before

Currently between jobs – wants to make art but finds it difficult

Interested in art and film art

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Charlie 18/09/2019 Interior design student at the Visited the CFCCA once Manchester School of Art before, doing research for a project around designing gallery space

Emmy 18/09/2019 Both are from Belgium (spoke Flemish) First time visitor to the and Jan CFCCA Jan a civil servant in IT

Emmy a former Art teacher for children

On holiday – interested in Chinese art after seeing the collection of Uli Sigg in the Netherlands

Giulia 19/09/2019 Student from Italy, but lives in Munich First visit to the CFCCA, looked it up on the Teaches English and Italian, and studies Internet Chinese

Working as an au pair in the UK

Leo 19/09/2019 Erasmus student from Geneva, based First time to the CFCCA – in Manchester for a few months was looking for something to do and saw the Studies Biology website

Erika 19/09/2019 From Spain, lives in Madrid First time to the CFCCA – has been writing a lot so Studying for a PhD which explores the wanted some time to look relationship between writing and death around Manchester

Visiting researcher in Manchester

Harvey 20/09/2019 Young couple living in York, recent First time visitor to the and Fynn graduates in their 20s CFCCA – were in the Northern Quarter and saw Harvey is from Hull, he studied English the Centre so decided to Language and Linguistics and is now visit working. Fynn is from Dusseldorf, Germany – he studied Politics, Philosophy and Economics, and is now doing a Masters. They met at university in York.

Raman 20/09/2019 Based in London, both in their 20s First time to the CFCCA – and Trish they are on holiday in Raman studies Nursing, likes going to Manchester museums and football. Indian background or heritage.

Trish is a nurse, she likes museums and art, she comes from an Asian background.

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Natasha 27/09/2019 Natasha started a Masters in textile First time visitor to the and Tom practice, family from France CFCCA – found out about it on the Internet. Both Tom has finished a degree in music are on a date performance

Visit museums and galleries regularly

Clara 27/09/2019 From France First time visitor to the CFCCA Studies fine art and art history at Manchester Metropolitan University

Ed 28/09/2019 Studied Fine Art at the Manchester Regular visitor to the School of Art and now based at the CFCCA – first time he had Glasgow School of Art been to the exhibition

Adrian 28/09/2019 Tyler, a medical student, lives in Tyler has visited CFCCA and Tyler Manchester, was born and grew up in several times, it is Adrian’s China first time

Adrian, a medical student, lives alone

Mykola 15/09/2019 From the Ukraine First time to the CFCCA but visits art galleries Lives in Germany regularly when travelling

Software developer

Aged 39

Likes contemporary art

Tanith, 15/09/2019 Father and his two daughters – Tanith Simon and one of his Simon is at University and shares a house with daughters has been and Kira Kira before

Kira is in-between things at the One of Simon’s friends moment lives above the CFCCA so has known about it for a Studied Fine Art at Leeds (Tanith or long time Kira)

Studied Physics (Tanith or Kira)

Simon works in Telecoms

Ben 15/09/2019 From the UK Visits the CFCCA regularly – at least once a month Works in an admin job and visits art galleries in his lunch breaks

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Phil and 15/09/2019 Phil is a law student First time visitor to the Beth CFCCA – went in because They both like sport, especially Cricket of curiosity, not really into contemporary art Getting married in the Summer

Jennifer, 15/09/2019 Jennifer is studying Fine Art and First time visitors to the Lucy and volunteers at The Turnpike, a gallery in CFCCA – Jennifer saw a Abigail Leigh. Lucy and Abigail came to have a leaflet at another gallery look at the CFCCA

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Appendix 2: CineMuseSpace at CFCCA, Visitor questions and prompts

Intro The Cinematic Musée Imaginaire aims to build new understanding of spatial cultural differences. The project is a collaboration between University of Cambridge, National Museums Liverpool and RCMG. This intervention, forms part of the CineMuseSpace research project. We are carrying out visitor research and are keen to find out more about visitors’ experiences of CineMuseSpace and the intervention. We are asking a few questions and we would like to record the interview so that we can be sure of your exact words – the findings will be used in a research report which will be available online. [Overarching research question: How does the project/intervention generate new insights, understanding and awareness of our everyday environments and the routines that shape our lives?] Interview/ 1. Why did you choose to visit the Centre for Chinese Contemporary Art today? Focus Group (Probe – local/not local? In a group/on your own?) Qs a. Were you particularly interested in something? What? b. Have you visited before? c. How often do you visit? We do things every day, like getting up, washing, preparing food, cleaning, lounging around, and we give very little thought to these.

General Intro Qs 2. We don’t often think about everyday space and actions, the spaces we use on a daily basis, that we live our lives in doing everyday things, yet they are a critical part of our lives. How would you describe your everyday space and actions? (Home not work. Clarify by giving examples – getting up in the morning, etc.; breaking down into small actions) a. How does this relate to what you have seen in the exhibition today?

3. Having looked at the clips on display, what are your first impressions? What did they make you think about?

Stimulus Material and Reactions 4. [Stimulus material – Choose] 5. How did the clips resonate (speak to your experience) with you? 6. How did they make you reflect on the way you use space yourself? a. What about how people from other cultures use space?

Reflections on how you use space 7. [Stimulus material about same activity in different cultures, e.g. eating] Do the films / installation give you insights into understanding cultural differences? If so in what ways?

8. The films are shown here in the context of an exhibition about Future Cities. How does this help you think about everyday environments and how we want to live in the future?

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Appendix 3: List of participants, Port Sunlight

Name Date of Title / role Interview

Claire 10 09 2019 Community Engagement Officer, Port Sunlight Village Trust. Lives Bates in Port Sunlight with her family.

Sandra 11 09 2019 Director of Art Galleries and Collections Care, National Museums Penketh Liverpool

Kathryn 11 09 2019 Resident. Lived in Port Sunlight for 2 years. Works as an exam Harris invigilator and for the National Betting Agency.

Valerie 11 09 2019 Resident Paterson Retired (varied career including florist, Senior Night Sister, aromatherapist). Has lived all over the UK and is well travelled, now 84 years old and has lived in Port Sunlight for nearly 9 years. Twice widowed.

Colin 11 09 2019 Resident. Worked in Tourism, currently applying for jobs. From the Bordley area and has lived in Port Sunlight for 3 years.

Steve 11 09 2019 Resident. Retired art lecturer. Interested in film from a young age. Hardstaff

Mark 02 10 2019 Film-maker Thomas

Heather 9 10 2019 Heritage Conservation Officer, Port Sunlight Village Trust Alcock (by phone)

Hannah 10 10 2019 Resident. Full time student and single mother of 10 year old. English Originally from the USA.

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Appendix 4: Port Sunlight, questions and prompts

Residents 1. How were you involved?

2. What role did you play and why were you interested in the project?

3. Did you attend any of the workshops with Mark?

4. What was most interesting about them?

5. What reflections has it prompted on your surroundings in Port Sunlight?

6. What is it like living in a heritage village?

7. Did the film capture this?

8. What about the premise of the project and the idea of spatial cultural differences?

Sandra Penketh 1. Why did you get involved in the project?

2. Why is such a project, which seeks to build a partnership between the Gallery and the Port Sunlight Village Trust important?

3. What was the significance of the film?

4. What reflections has the project prompted on academic research and how it might support the work of NML?

5. What are the challenges of this?

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