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GEM Journal No 40 Neil Herrington GEM Journal No 40 1 Nelson, Narrative and National Identity A Contested History?

Tanya Wilson

The parameters are changing for whom we To begin with, it is first necessary to assess venerate and why. Monuments still stand to the accusation of ‘white supremacy’. Horatio historical figures whose actions, policies and Nelson, hero of the Battle of Trafalgar (1805) attitudes are condemnable by our contem- - a decisive naval victory against the threat porary standards. As part of a global protest of invasion from Napoleon Bonaparte - has movement to bring down statues that ‘reinforce been memorialised across the country with racism’, (Stiem, 2018) attention has turned to ‘quasi-religious veneration’ (Petley, 2018). The British monuments, among them Admiral Lord sentiments of national pride and British naval Nelson. In an article written for the Guardian prowess that surround his name have left in 2017, Afua Hirsch argues why, in light of the little room for any other interpretation of his confederate statues being pulled down in the legacy. And yet, a fact largely overlooked US, she believes Nelson’s column in Trafalgar in most accounts of his life, the Admiral Square in London should be next. Labelling used his power and influence within the the naval hero a ‘white supremacist’, she claims House of Lords to speak out against William that Nelson is just one part of a bigger prob- Wilberforce and the Abolitionist movement. lem Britain has with facing its colonial past. As In a letter to Samuel Taylor, an owner of the darker side of British colonialism within the Jamaican plantations and the lives of over heritage industry comes increasingly under 2000 slaves, Nelson wrote: the spotlight, the ways in which we interpret this heritage are being questioned and chal- I have ever been and shall die a firm friend lenged. In this article, using the British heritage to our colonial system. I was bred, as you surrounding Nelson as a point of focus, I know, in the good old school, and taught intend to examine how and why there are to appreciate the value of our West India calls upon the heritage sector to reconsider possessions; and neither in the field or the ways in which colonialism is interpreted. in the senate [House of Lords] shall their Upon a closer examination of heritage sites interest be infringed whilst I have an arm including Trafalgar Square and the National to fight in their defence or a tongue to Maritime Museum in Greenwich, we might launch my voice against the damnable then establish how, if at all, these issues are and cursed doctrine of Wilberforce and his being addressed. hypocritical allies. (Petley, 2018)

46 GEM Journal No 40 Tanya Wilson Taylor was a powerful voice among those when addressing the colonial past, and that who spoke out against the abolitionists Imperial legacy is still prevalent today (Snow, and was a close ally to those conservative 2017). That much would seem evident in the members of parliament who moved to block articles that criticise Hirsch, unwilling to give Wilberforce’s calls to end the slave trade. credence to evidence that would besmirch Although Nelson’s views were not in keeping a national hero. The trouble with this school with the rising humanitarianism of his time, he of thought is that, as a nation, by dismissing was not alone amongst his fellow British naval crimes of the past as ‘of its time’ that would officers in valuing ‘West Indian possessions’ otherwise contest this image of heroism and over human lives. In fact, at this time, the British greatness, we are shaping the narra- Royal Navy was intrinsically connected and tive to fit a national ideology, ignoring that dependent upon Britain’s ‘colonial system’. which does not fit, essentially constructing a Slave-produced sugar from the colonies was national identity built upon a false narrative. Britain’s ‘most valuable import’, the import duties of which helped to fund the defence of Tyler Stiem, also writing for The Guardian in the realm and, by extension, the Navy’s war 2018, explores in some depth what he labels fleet. Additionally, trade depended on British ‘Statue Wars’, looking at the broader picture ships and British mariners who could be of the protest movement surrounding prob- pressed into the navy at times of war. (Petley, lematic statues that has spread from South 2018) What this tells us is that evidently, Africa to the United States and now to Britain. Nelson was pro-slavery, for it was the slave He would go so far as to argue that this false trade that upheld the colonial system that narrative - ‘that the moral failures of the past became the foundation of British greatness are, in fact, the triumphs we once thought that Nelson so patriotically defended. The they were’ - created the nostalgia that has issue then is that by celebrating Nelson, we influenced current affairs such as Brexit as are upholding sentiments of British greatness well as Donald Trump’s ‘Make America Great that are now inextricably connected to colo- Again’ (Stiem, 2018). While we don’t have the nialism, and by extension, slavery. room here to explore the political nuances of such current affairs, it is certainly valuable to Considering this, the question arises: how consider the broader question of how such should we interpret this contentious herit- statues are not only reflective of the narra- age? Afua Hirsch would argue that Nelson’s tives and national identities from the time column must be pulled down. Surely there is that they were built, but can also shape and no question to bringing down a statue that influence contemporary thought and politics, elevates racist thought? The issue, however, and thus, why it is essential that this issue is is considerably more complex. Foremost addressed. is the backlash Hirsch faced following the publication of her article. Talking with Dan Stiem identifies three possible approaches Snow on his podcast History Hit Toppling to such statues. Firstly, ‘conservatism’; to Statues, Why Nelson’s Column Should be leave the statues alone. Secondly, ‘agonism’; Next with Afua Hirsch, (2017) Hirsch tells of modifying statues to ‘reflect contemporary how she came under attack by numerous sensibilities’. And finally, ‘antagonism’; the tabloids, criticising both her and her arti- removal of the offending statues. Ignoring cle. The ubiquitous sentiment was that ‘the the issue and leaving statues as they are is past is the past’, and that Nelson was ‘of his clearly no longer an option as statues are time’. However, Hirsch argues that the real- being defaced and protests turning violent, ity is quite the opposite. She argues that as was the case in Charlottesville, Virginia, there is an ‘intellectual laziness’ within Britain resulting in the death of a 32-year-old woman

46 GEM Journal No 40 Tanya Wilson Tanya Wilson GEM Journal No 40 47 (Black, 2018:27). The ‘antagonistic’ removal but that’s as far as agonism goes’ (Stiem, of statues is equally problematic. As we 2018). Though apologetic, it would appear have already seen, in Britain there is an to be a limited solution, even tokenistic, as evident reluctance to do so, not only with has been suggested by responses to the regards to Nelson’s column, but with other newly proposed plaque on Colston’s statue statues that have similarly come under fire, (Parkes, 2018). I would agree that the narra- including a statue of Cecil Rhodes in Oxford tive surrounding Nelson and the part that and Edward Colston in Bristol (Black, 2018). he played countering the Abolitionists must In such debates, phrases such as ‘cultural be ‘contextualised’, but in order to do so, we terrorism’ have been thrown around, with must go deeper than simply a plaque and comparisons being drawn to the cultural look to the bigger picture of the heritage cleansing undertaken by the Islamic State sector and its many platforms and how it can and earlier the Taliban on ancient sites in the offer a counter narrative. Middle East (McInkstry, 2017). While perhaps this is an extreme example, the essential To begin with, we must first look to museums, motives are comparable; the removal of and how they approach contested histo- heritage that does not conform with contem- ries and have themselves become contested porary values. Another issue that pulling heritage sites. The concept of contested down the column would present is that in history is deeply embedded within the doing so, we completely erase this conten- history of modern museums as we know tious history, thereby erasing both good and them. From the age of Enlightenment to bad from public memory. This, too, would an era of postcolonial, postmodern new be problematic as there would be no point museology, there has been a shift in the for discussion, removing challenging history, ways in which history is being presented and even ‘white washing’ history as Subhadra interpreted within museums (Kidd, 2014:3). Das, curator of UCL Collections, argues (Das The modern museum, born out of the age in Black, 2018:28). Where would it end? How of Enlightenment, has always had education many statues must fall? at the heart of its function. This education, however, was largely didactic, authorial, This leaves us with ‘agonism’, modifying elitist, and passively received (Hein,1998:2, statues in order to acknowledge their histori- Reeve and Wollard, 2014:3). However, over cal truths, essentially reinterpreting them the past twenty to thirty years, as there has to comply with contemporary values. For been a shift towards postmodernist prac- example, such modifications might include a tise within museums in which individual and plaque, as has been proposed for Colston’s social meaning-making is at its core, the statue in Bristol, highlighting his involve- authorial voice of the museum has been ment in the slave trade (Cork, 2018). Afua undermined (Reeve and Wollard, 2014:4). As Hirsch in conversation with Dan Snow, simi- a result, museums have become ‘live sites larly recognises this option (Snow, 2017). of struggle’ (Kidd, 2014:3), in which groups Backtracking somewhat from her initial and individuals now question the ‘authority, article for The Guardian, Hirsch suggests authenticity, ownership, voice, absence and that pulling down Nelson’s column is not silence’ of the museum (Kidd, 2014:3). The necessarily the solution. Rather, it must be historical ‘truths’ presented by museums are contextualised, as currently, elevated above being contested. I use the term ‘contested Trafalgar Square, there is nothing to offer history’ loosely. As Jenny Kidd identifies, a narrative that counters Nelson the Hero. there is no common terminology within the However, as Stiem would argue, such a modi- sector and many different terms have been fication might ‘perform a kind of apology, used within the same context, from ‘chal-

48 GEM Journal No 40 Tanya Wilson lenging’ to ‘difficult’, ‘sensitive’ or ‘emotive’ tion to Contested Histories in Public Space: (Kidd, 2014:2). For the purposes of this article, Memory, Race and Nation (2009). They posit I use the term relating to histories that are that monuments, museums and other public challenging or being challenged or revised history sites in Western democracies are in light of this new museology; relating to the representative of national identity, but that contested historical narrative that Admiral as multiculturalism and identity politics have Nelson is a National Hero. challenged these national identities, they have become sites of struggle between The scope of this museological shift is vast ‘modernist notions of a unified nation-state’ and complex and at the heart of much and postmodern, postcolonial interrogations museum theory, but for the purposes of this of race and national identity (2009:2). Such discussion, what I believe is important to take public spaces imply a singular ‘public’ with a away from it is the focus on the individual, collective voice, yet as we have already seen, which is necessary to explore in more depth. and as Knauer and Walkowitz stress, in multi- In the introduction to Hot Topics, Public racial and multiethnic societies, there is no Culture, Museums (2010) Fiona Cameron collective set of values, and therefore factors explains the necessity for museums in the such as race, class and gender, shape one’s 21st century to engage with what she terms individual relationship to the public sphere ‘hot topics’ as an extension of the museum’s and the narrative of national identity. Further, role of ‘representing diversity and pluralism’ Knauer and Walkowitz highlight a period of (Cameron, 2010:1). Introducing John Rawls’ New Left and other social movements in the political theories, she demonstrates how the 1960s and 1970s that looked to the voices very nature of diversity is inherently political and histories of ‘minority’ groups (2009:3). as “the political culture of a democratic soci- It saw an expansion of historical knowledge ety is marked by a diversity of opposing and ‘beyond the ivory tower’, giving a voice to irreconcilable religious, philosophical and those that had previously been silenced. moral doctrines” (Rawls in Cameron, 2010:2). The counter response to this, however, was As a result, according to cultural theorist the fear that history was being destabilised, Zygmunt Bauman “morality in a postmodern even discredited, particularly in the eyes world… has become re-personalised and of politicians and state actors, who sought individual rather than based on a consensual, to revive the histories and achievements of collective morality, all traits characteristic of ‘Great White Men’, resulting in what is often modernist institutions” (Cameron, 2010:4). referred to as ‘the culture wars’ (Knauer and Further, as Jenny Kidd argues, museums Walkowitz, 2009:4). What we see here, is that are no longer sites that simply explore past our ‘Statue Wars’ is evidently an extension of identities, but are sites that in which indi- ‘the culture wars’. By challenging Nelson on vidual identity is constructed (Kidd, 2014:4). his column, we are destabilising the notion However, in a postmodern world of indi- of Nelson as a Great White Man,and the vidual identity construction with ‘opposing sense of national identity that has been built and irreconcilable’ moral doctrines, points of around him. Yet, by celebrating him, we are contention are inevitable. silencing the voices of the ‘minority’, exclud- ing their individual national identity. These points of contention are particu- larly loaded throughout much of the sector With this in mind, we may now look to the as it has moved away from 18th and 19th National Maritime Museum in Greenwich, century values towards 21st century soci- London, and how, if at all, the museum etal demands, as Lisa Maya Knauer and has addressed this contested history in the Daniel J. Walkowitz explain in their introduc- Nelson, Navy, Nation gallery. I want to first

48 GEM Journal No 40 Tanya Wilson Tanya Wilson GEM Journal No 40 49 draw attention to the title of the gallery. The Trafalgar. It’s almost like a shrine. There is no tidy and succinct alliteration perfectly encap- mention of Nelson’s sentiments or involve- sulates all that the gallery intends to cover; ment in countering the Abolitionists. Instead, ‘The story of the Royal Navy and the British he is portrayed, as quoted in a promotional people, 1688-1815’. (See Fig.1) video for the gallery, as ‘a hero and a saviour for the British People, elevated beyond mere From bustling dockyards to ferocious sea mortality and into a god’. (Nelson, Navy, battles, it brings to life the tumultuous Nation Gallery (n.d.)) 18th century, exploring how the Royal Navy shaped everyday lives as it became It is perhaps impossible for a contemporary a central part of society and turned sea- mind to ever fully comprehend the threat of faring heroes into national celebrities. invasion from Napoleon Bonaparte and the (Nelson, Navy, Nation Gallery (n.d.)) extent to which Nelson really was a saviour to the British people. The gallery aims to convey The gallery leads us on a journey through that narrative and how Nelson and the Navy the story of the British Navy during the built a national identity, as evidenced in the height of its power, building up towards the gallery’s name. It is an important story to tell, Napoleonic Wars, The Battle of Trafalgar as Nelson’s actions have shaped the Britain and, of course, Nelson. In the first half of the we live in today. However, as we well know, gallery we learn how naval ships were not just Nelson was not this untouchable god-like weapons in warfare, but symbols of ‘national figure that history has painted him to be. power and prestige’ (See Fig.2). We are also He was a flawed human being. By choosing told of the hierarchy, discipline and not-so- to ignore this, the museum is not adopt- glamourous life on board. In the second half, ing a postcolonial interrogation of identity, as we reach the Napoleonic Wars, much of but rather favouring a modernist notion of the gallery is dominated by displays and arte- national identity built on the achievements facts relating to Nelson and his Naval career. of the Great White Man, again, silencing There are portraits, letters, jewellery and a the voices of the ‘minorities’, offering no chess set, a case filled with commemorative opportunity for individual interpretation. The memorabilia of the Admiral, fragments of gallery impresses a deeply engrained senti- flags from ships he’d served on, and, taking ment of national pride that still surrounds centre stage, the uniform in which Nelson Nelson and it could be argued that the risk of was shot and killed during the Battle of destabilising this notion is the reason for the

Figure 1. Nelson, Navy, Nation gallery. Figure 2. ‘symbols of national power and prestige’, Nelson, Navy, Nation gallery.

50 GEM Journal No 40 Tanya Wilson evident reluctance to even acknowledge this Atlantic Ocean between the 17th and 19th counter narrative. centuries. In this gallery, we see on the one hand narratives celebrating exploration, but This isn’t to say that the National Maritime on the other, narratives of those exploited Museum completely neglects postcolonial and enslaved by this period, offering a more thought and museum practice. The Tudor critical, multivocal perspective, allowing for and Stuart Seafarers gallery presents mari- individual interpretation. It would therefore time exploration of this period. On a display appear that the National Maritime Museum entitled ‘Encounters’ its reads: is open to postmodern practise and post- colonial theory. However, Nelson, it would Exploration brought Europeans into appear, remains untouchable. How might contact with the peoples of Africa, the the museum be persuaded to confront this Americas and Asia. These encounters contested heritage? sometimes led to diplomatic and trad- ing relationships, but also to hostility and In answering this question, I turn to examples exploitation. From the 1490s Europeans elsewhere in the British heritage sector. It began to establish settlements in these is important to note that the ethnographic regions, hoping to take advantage of the collections that built many of the national rich resources in the ‘new worlds’. The museums of the Enlightenment are them- spread of these European empires often selves contested, much of it having been had a devastating effect on indigenous acquired during the period of colonial populations and continues to shape the conquest, often immorally or without native world we live in today. permission, further implicating museums (See Fig.3) within the narrative of colonialism and post- colonialism (Thomas, 2018). As such, these This might seem somewhat tokenistic given national museums have become “important the scale of exploitation and devastation that sites of struggle for groups seeking redress followed the exploration of the European for past wrongs” (Knauer and Walkwoitz, empires. However, a further gallery: The 2008:8). The British Museum in London is Atlantic Galley: Slavery, Trade, Empire, one such example. Objects within its collec- addresses this exploration and exploitation tion have become the centre of heated in much more depth, looking at the move- debates surrounding repatriation. In 2006, ment of people, goods and ideas across the the then director of the British Museum Neil MacGregor said ‘repatriation is yester- day’s question’ (Thomas, 2018), and yet it is still a hot topic today. Only in December 2018, performance troupe BP or Not BP? led an unofficial ‘Stolen Goods Tour’ around the British Museum where activists from around the world called for the repatria- tion of cultural artefacts acquired during the colonial period (Polonsky, 2018). An Act of Parliament from 1963 prevents the British Museum from deaccessioning objects within its collection and therefore the question of repatriation is beyond the immediate control of the museum, however, the tour demon- Figure 3. ‘Encounters’ - Tudor and Stuart Seafarers strates a movement of mounting pressure gallery.

50 GEM Journal No 40 Tanya Wilson Tanya Wilson GEM Journal No 40 51 upon museums to address contentious but what these tours have already achieved connections to colonialism. is the opening up of discussions surrounding contested histories, allowing the opportunity In a similar manner, in 2017 MA student Alice for individual interpretation and meaning Procter began leading free and independ- making, challenging the modernist authorial ent ‘Uncomfortable Art Tours’ in which she voice of the museum. addressed the role that colonialism played in shaping and funding the national collections Another way we might address such contested of the National Gallery, National Portrait history, and the counter narrative of Nelson, Gallery, British Museum, Victoria and Albert is rather than looking to redress the past, we Museum, Tate Britain and Queens House might look to the future. Rather than looking at the National Maritime Museum (Procter, to rewrite the past according to contempo- (n.d.)). Her website, The Exhibitionist, rary values, we ought to celebrate those who features portraits of famous British figures, live up to and embody such standards. For defaced by bright red spray painted accu- example, Hirsch in conversation with Snow sations. For example, across the Armada raises the issue that the majority of statues Portrait of Queen Elizabeth I is emblazoned across Britain, and particularly in London, are ‘slaver’, across Queen Victoria; ‘thief’. Nelson of white men, often military figures, embody- also features across which is written ‘white ing imperial power. According to The Public supremacist’ (Fig 4,5,6). Both the ‘Stolen Monuments and Sculpture Association, of Goods Tour’ and the ‘Uncomfortable Art the 828 statues they have recorded across Tours’ share a similar purpose in challeng- the country, only 174 of them are female ing the narratives that are being presented (Reality Check, 2018). However, earlier in within these national institutions, calling upon 2018, a statue of suffragist Millicent Fawcett the institutions to consider these conflict- was erected in Parliament Square, becom- ing narratives and provoking public debate ing the first woman to be represented in the surrounding such issues. Both tours were square (Black, 2018:27). As Stiem suggests, highly popular events and reached the atten- part of the issue surrounding ‘statue wars’ tion of the media, for better and for worse. is a matter of representation (Stiem, 2018). If Whether these museums will act on the calls more efforts such as this are made to vener- being made upon them is yet to be seen, ate people from ‘minority’ groups as earlier

Figure 4, 5, 6. Alice Procter - https://www.theexhibitionist.org/

52 GEM Journal No 40 Tanya Wilson discussed, a more diverse representation and African identity. Being the first black and celebration might encourage a change artist to secure a commission for the Fourth of focus away from the modernist, colonial Plinth, the Dutch Wax prompts complex national identity upheld by such imperial associations with ‘colonialism, industrialisa- military monuments, embracing a postcolo- tion, emigration, cultural appropriation, and nial individual identity. the invention (and reinvention) of tradition’ (Royal Museums Greenwich (n.d.)). It can be Another example of looking forward may seen as both a celebration of multicultural- be seen in Yinka Shonibare’s Nelson’s Ship ism yet also as a consideration of colonialism, in a Bottle (Fig. 7). Commissioned in 2009 allowing for the artist to construct his own by the Great London Authority for Trafalgar identity as a black British man within this Square’s Fourth Plinth, the installation is a narrative. The Ship in a Bottle has since corked glass bottle, within which is a scaled been acquired by the National Maritime down replica of HMS Victory, the flagship Museum where it is now a permanent fixture on which Nelson served during the Battle and has become part of a social media of Trafalgar (Art Fund, 2012). In place of campaign, encouraging visitors to ‘grab a what would have been white sails however, selfie’; #ExploreGreenwich (Royal Museums are sails made from colourfully patterned Greenwich (n.d.)). This demonstrates Kidd’s Dutch Wax fabric, a trade mark of the artist argument that ‘our understanding of the past and commonly associated with African dress (and what is challenging about it) is informed

Figure 7. Nelson’s Ship in a Bottle, Yinka Shonibare (2010) https://www.artfund.org/supporting-muse- ums/art-weve-helped-buy/artwork/11795/nelsons-ship-in-a-bottle

52 GEM Journal No 40 Tanya Wilson Tanya Wilson GEM Journal No 40 53 by the performance of heritage being played makes no mention of Nelson’s sentiments out across other media’ (Kidd, 2014:4). Not toward the abolitionists, there is very little to only have we seen challenging history taking offer a narrative other than absolute glorifica- place within the museum, and in public tion. The trouble with this is that this narrative spaces, discussion and debate has been upholds and celebrates a national identity of addressed in the media, through podcast British Greatness deeply rooted in colonial- and protest movements as well as in social ism that we know was built on exploitation media. What this demonstrates is a vast and enslavement and so should not be glori- and expanding network of platforms across fied as it once was. which history, heritage and identity are being confronted and constructed. The question remains if and how this chal- lenging history should be reinterpreted. Ultimately, what is apparent is that in ques- Britain cannot deny its colonial history. For tioning how we might reconsider and better and for worse it has shaped the Britain reinterpret the heritage surrounding Admiral we know today. Therefore, erasing points of Lord Nelson, we enter a much larger discus- contention such as problematic statues like sion concerning the heritage sector and the Nelson’s column risks erasing such history parameters that are changing in addressing from public memory, or at least as a point contested histories. I believe there is no of discussion. It falls to the heritage sector doubt that this damning evidence implicat- and the many platforms through which herit- ing Nelson as a white supremacist should age is constructed, to offer a more balanced be addressed more so than it currently is. representation and narratives open to indi- Granted he served his country dutifully and vidual interpretation, embracing postcolonial achieved great things, but given the evidence, theory. We have seen such examples in the he should not be upheld with untouchable unofficial tours we earlier explored and the veneration. However, as we have seen, there contemporary efforts to embrace diversity is an evident reluctance to acknowledge the in Shonibare’s Nelson’s Ship in a Bottle and evidence that would destabilise the portrayal the statue of Millicent Fawcett in Parliament of Nelson as a National Hero and the reason Square. National institutions however, appear for this helps us to establish what this means to remain reluctant to fully embrace postco- for interpretive practice. It would appear that lonialism, evident in the representation of there are two conflicting approaches within Nelson at the National Maritime Museum. the heritage sector; the outdated modernist But perhaps if more positive efforts are made practise that projects an authorial and abso- across other heritage platforms to embrace lute identity, verses a postmodernist practise this ideology of diversity and individual- that embraces individual voice and identity ism, interpretive practice surrounding such and postcolonial ideology. In a time of diver- contested history will itself become more sity and multiculturalism, museums ought to positive and constructive, embracing ever favour such postmodern practise. However, evolving ideologies to suit contemporary from what we have seen at the National values. Maritime Museum in Greenwich, the ideol- ogy may be present in some aspects, but the practice is arguably lacking. Regardless of the fact that the Nelson, Navy, Nation gallery

54 GEM Journal No 40 Tanya Wilson Royal Museums Greenwich (n.d.) ’Grab a Selfie Bibliography Art Fund (2010) ’Nelson’s Ship in a Bottle’ at at Nelson’s Ship in a Bottle’ at www.rmg.co.uk/ www.artfund.org/supporting-museums/art-weve- see-do/we-recommend/attractions/grab-selfie- helped-buy/artwork/11795/nelsons-ship-in-a-bottle nelsons-ship-bottle (accessed 27 January 2018). (accessed 27 January 2018). Royal Museums Greenwich (n.d.) ’Nelson, Navy, Cameron, F. and Kelly, L. (eds) (2010) Hot Topics, Nation Gallery’ at www.google.co.uk/search?q=m Public Culture, Museums. Newcastle upon Tyne: ultivocal&oq=multivocal&aqs=chrome..69i57j0l5.2 Cambridge Scholars Publishing. 034j0j8&sourceid=chrome&ie=UTF-8 (accessed 27 January 2018). Cork, T. (2018) at www.bristolpost.co.uk/news/ bristol-news/wording-second-plaque-proposed- Snow, D (2017) ‘Toppling Statues, here’s why edward-1810137 (accessed 27 January 2018). Nelson’s column should be next with Afua Hirsch’ in History Hit [Podcast] at https://play.acast.com/s/ Hirsch, A. (2017) at ‘Toppling statues? Here’s why dansnowshistoryhit/topplingstatues-whynelson- Nelson’s column should be next’ at scolumnshouldbenext-afuahirsch (accessed 27 www.theguardian.com/commentisfree/2017/aug/22/ January 2018). toppling-statues-nelsons-column-should-be-next- slavery (accessed 27 January 2018). Stiem, T. (2018) ‘Statue wars: what should we do with troublesome monuments?’ at Kidd, J (et al.) (2014) Challenging History in the www.theguardian.com/cities/2018/sep/26/ Museum: International Perspectives. Farnham: statue-wars-what-should-we-do-with-troublesome- Ashgate. monuments (accessed 27 January 2018). Knauer, L. and Walkowitz, D (eds) (2008) Contested Thomas, N. (2018) ‘Should Colonial Art be Returned Histories in Public Space: Memory Race and Nation. Home?’ at www.ft.com/content/6c61c6e6-f7ed- Durham and London: Duke University Press. 11e8-af46-2022a0b02a6c (accessed 27 January 2018). McInstry, L. (2017) ‘Nelson’s Column: The Left’s purge of statues is absurd - who’s next?’ at www.express.co.uk/comment/columnists/ leo-mckinstry/845142/nelson-column-trafalgar- square-left-agenda-absurd (accessed 27 January 2018). Parkes, P. (2018) ‘Edward Colston: The Slave Trader Dividing Bristol’ at www.bbc.co.uk/news/ uk-england-bristol-42404825 (accessed 27 January 2018). Polonsky, N. (2018) ‘Hundreds Attend Guerrilla, Activist-led Tour of Looted Artifacts at the British Museum’ at https://hyperallergic.com/475256/ hundreds-attend-guerrilla-activist-led-tour-of- looted-artifacts-at-the-british-museum/ (accessed 27 January 2018). Petley, C. (2018) ‘Lord Nelson and Slavery: Nelson’s Dark Side’ at www.historyextra.com/period/ georgian/lord-nelson-slavery-abolition-william- wilberforce-dark-side/ (accessed 27 January 2018). Procter, A. (n.d.) ’The Exhibitionist’ at www.theexhi- bitionist.org/ (accessed 27 January 2018). ‘Reality Check: How Many UK Statues are of Women?’ (2018) at www.bbc.co.uk/news/ uk-43884726 (accessed 27 January 2018)

54 GEM Journal No 40 Tanya Wilson Tanya Wilson GEM Journal No 40 55 ofJournal Education in Museums

1 Editorial 36 Rocky road to chocolate fudge cake 40Neil Herrington How do we change the outcomes for children across a whole city? 3 Editorial Kate Fellows Nicola Wallis, Kate Noble and Lawrence Bradby 46 Nelson, Narrative and National Identity: A Contested History? 8 Museum and Gallery Learning in the Tanya Wilson Early Years Manchester Art Gallery: Co-designing and space for early 56 The learning value of a fashion years children and service delivery. exhibition Katy McCall and Ruthie Boycott- Dr Eleni Kostarigka Garnett 64 The CWGC Experience: how a 16 Embodied Learning in Museums: much-loved institution at the heart of exhibit design for preschool scientists remembrance has found a new way Jamie Menzies, Dr Zayba Ghazali- to tell its story to the next generation Mohammed, Dr Sharon Macnab, Peter Francis Susan Meikleham, Graham Rose and Dr Andrew Manches 72 GEM Conference 2019 Devon Turner, Helen Henley, 26 Curiouser and curiouser: exploring Kathrin Lewis and Becky Russell what makes an effective EYFS visit to a museum or gallery in the Tees Valley 79 Book reviews Claire Pounder and Jo Graham Lauren Mihaljek, Ruthie Boycott- Garnett