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Situating LGBTQ Voices in National Trust Historic Houses

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Situating LGBTQ Voices in National Trust Historic Houses Queer activism begins at home: situating LGBTQ voices in National Trust historic houses Sean Curran UCL Institute of Education Supervisors: Professor Pam Meecham & John Reeve I, Sean Curran confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 1 _______________________________________________________________ _______ 2 Abstract Despite a growing body of literature and practical examples of lesbian, gay, bisexual, trans and queer (LGBTQ) interventions in museums, there is a dearth of research in equivalent initiatives in historic houses, specifically in those owned and managed by the National Trust. My research aims to address that gap, by using a creative intervention in the form of an exhibition for LGBT History Month. This queered action research involved curating an intervention, using a crowd-sourced exhibition, at the National Trust’s Sutton House in Hackney, London. The exhibition and the process of curation is the primary case study in my thesis. The exhibition 126, saw 126 LGBTQ identified volunteers submitting smartphone recordings of Shakespeare’s Fair Youth Sonnets and short video portraits of themselves as contributors. These were edited into a film, and exhibited at the first ever ‘Queer Season’ at Sutton House in February and March 2015. While feedback from visitors and contributors was analysed, the video portraits formed the primary data in the thesis. The videos are presented as a means through which LGBTQ people have chosen to represent their queer identities in a National Trust property. The results are noteworthy for the diversity of ways that LGBTQ people choose to visually signify their queer identities when given autonomy to do so. Evident in the videos were performed gender identities as well as rejections of gender, parallels with ‘coming out’ video blog tropes, direct responses to the themes of invisibility and representation, and a suggestion of the radical potential of vanity, and of ‘selfies’, in historic buildings. My research concludes that queer identities, having been systematically repressed in historic houses, manifest themselves most authentically when the communities themselves are given the autonomy to represent their own queerness. The participants become stakeholders in facing the challenge of presenting LGBTQ identities to audiences unfamiliar with them, and take on a variety of roles, as co- curators, content creators and queer heritage activists. 3 Impact Statement Queer encompasses a vast range of identities, and is an evolving and contested identifier. But queer also offers an alternative way of looking at things, of understanding things, and of reimagining things. My thesis offers new ways to conceptualise PhD research, and demonstrates an unwavering commitment to ensuring the construction of the PhD, as well as its content, is queer. The National Trust was established for poor and working class people to have access to green spaces. The Trust now proudly boasts ‘for ever, for everyone’ as its mission statement, but questions still remain about who historic buildings are being saved for. Are they being rescued for the historic families that remain in them? Or for the public? And if the latter, who do the Trust consider the public to be? As my relationship with Sutton House developed throughout my research, my thesis became a call to arms of sorts that suggests that the most authentic display of LGBTQ lives and voices is one that situates the community itself at its centre, and advocates for co-production and co-curation of original material for marginalised communities. In December 2016, the National Trust announced that it was to be running its first National Public Programme in 2017, and the theme would be Prejudice and Pride, looking at LGBTQ histories to mark the 50th anniversary of the 1967 Sexual Offense Act, which was a partial decriminalisation of homosexuality in England and Wales. The National Programming team deferred to us at Sutton House regularly when preparing, given our experience of delivering high quality experiences for LGBTQ audiences. Throughout the year, the programme revealed institutional homophobia and transphobia within the Trust, and while the Prejudice and Pride programme won the Third Sector Equality Award at the Pink News Awards in 2018, it demonstrated that this work was just the beginning, and that further work needed to be done to unpick some of the more subtle institutional problems. Sutton House could and would not have embarked on a programme as ambitious as Sutton House Queered if it were not for the success and scale of 126. The exhibition 4 shifted the way in which Sutton House operates. While it has always put community at the centre of its work, 126 has encouraged a move to using Sutton House as a platform, and an amplifier for marginalised voices. The ripple effect of Sutton House’s practice is already internally being recognised, as Sutton House is championed as one of the Trust’s diversity properties. The exhibition ultimately made it difficult for the National Trust to continue with business as usual when it comes to recognising and including marginalised communities. As a result of the project, I served as an expert consultant on a number of ground breaking LGBTQ collecting projects and exhibitions, including Twilight People: Stories of Faith and Gender Beyond the Binary and Speak Out! London. I have shared my research internationally at museum conferences, including in New York, Taipei and Amsterdam, and part of my research has been published in Museums and Activism (Sandell & Janes, 2019). I was also invited to speak about my research on the National Trust podcast series to accompany Prejudice and Pride, which had almost 20,000 downloads in its first year. Perhaps the most lasting legacy of the project are the videos created by LGBTQ people, and their lasting visibility beyond the scope of the exhibition. The videos, available to view on Vimeo, have had almost 7000 views. 5 Acknowledgements Hugest gratitude to Pam Meecham, John Reeve and Josephine Borradaile for their unwavering patience, enthusiasm and support in my work, and for being inspirational fountains of knowledge. Thanks too to Judith Brocklehurst and Alex Long for their generosity and for sharing their immense artistic talents to help realise my ideas. Jan Pimblett from the London Metropolitan Archives is my absolute heritage idol, thank you for all that you do for the LGBTQ community and for me. Huge thanks also to Alan Cusack, Annie Davey and the rest of the Art, Design and Museology department for humouring me, and to the IOE Library and Archives staff for their practical (and emotional) support. To the wonderful team at Sutton House, thanks specifically to Christopher Cleeve and Gemma Bending, who have entirely helped me to shape my career and more recently to Lauren Sweeney, Katy Parry and Ann Smith who have helped me further it. Thank you also to my other incredible friends for their kindness and solidarity: Emma Jones, Ellie Lewis-Nunes, Mark Hollingworth, Adele Twohig, Surat-Shaan Knan, Claire Hayward, Sophie Metcalf, E-J Scott, Jess Winterson and David Pittard. Special thanks to Alice Kirke and Kyle Crossett for proofreading my work. I’m most grateful to all of the contributors who took part in Master-Mistress and 126, it can be really exposing and nerve-wracking to take part in a project like this, but I was bowled over by the generosity of time and creativity, and also by all of the beautiful people in the community I love the most. This research was funded by the AHRC, I am grateful for the funding, and that research around queer identities in the heritage world is taken seriously. Finally thanks to my parents for instilling in me a love of the National Trust and nosing round other people’s houses, and to my extended queer family for instilling in me a sense of anger, social justice and fabulousness. 6 Contents List of illustrations ............................................................................................... 9 Terminology ...................................................................................................... 13 Introduction ....................................................................................................... 16 The research process .................................................................................... 17 Queering the PhD .......................................................................................... 20 Hunting for ghosts: navigating and preserving queer spaces ........................... 24 Cruising for community .................................................................................. 27 The digital cruiser .......................................................................................... 34 Mapping moments ......................................................................................... 38 The power of storytelling ............................................................................... 43 Spatial displacement and blurred lines .......................................................... 46 A visit to a historic house ............................................................................... 51 Crumbling piles: historic houses and the National Trust ................................... 63 The Destruction of the Country House… ....................................................... 64 Preserving historic houses ...........................................................................
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