Evaluation Report Creating the Past: An Evaluation of Cultural Programming Inspired by Heritage within Hull UK City of Culture 2017

Hull UK City of Culture 2017 CONTENTS EXECUTIVE EXECUTIVE SUMMARY 3 SUMMARY 1. USING ART TO EXPLORE HERITAGE 33

2. MOMENTS OF CELEBRATION 76

3. USING MUSEUMS, GALLERIES AND ARCHIVES 122

4. ROOTED IN PLACE 155

5. PROCESS LEARNING 193

6. CONCLUSIONS AND RECOMMENDATIONS 207 In 2017, OVER THREE-QUARTERS of local residents attended a museum, gallery or other historic attraction

INTRODUCTION ART & HERITAGE IN NUMBERS

As holders of the UK City of Culture title in 2017, Hull • 365 days of transformative culture • 70% of residents agreed or strongly agreed rose to the challenge, using art to explore history, that Hull’s year as the UK City of Culture 2017 heritage and untold stories within its 365 day • Presenting the city’s heritage from the 18th was having a positive impact on the lives of programme of transformative culture. Century to the present day local people • 93% of audiences agreed using art-based Levels of participation amongst residents reached • 94% of audience members agreed or approaches to present the history and strongly agreed that they had an enjoyable 95% through attendance at over 2,000 events and heritage of Hull made it more interesting activities at 250 venues. Between 2013 and 2017, the experience and 84% of participants reported feeling happier as a result of their percentage of local people who were proud to live in • 66% of Hull residents and 74% of East Riding participation. the city rose by 66% to an all time high. residents said their knowledge of the history and heritage of Hull had increased Heritage was positioned as a cornerstone of the year with museums, galleries, archives and historic • 95% of residents attended or experienced a buildings playing a crucial role in achieving the wider cultural event or activity as part of the UK’s aims and ambitions. City of Culture 2017 • By the end of 2017 there had been over 2,000 The evaluation of activities inspired by and involving activities at over 250 venues the history and heritage of the city demonstrates the successful delivery of key outcomes for heritage, for people and for communities.

4 HERITAGE EVALUATION REPORT EVALUATION REPORT 5 PURPOSE & OUTCOMES HULL 2017 OVERARCHING AIMS AND OBJECTIVES

This report summarises the key outcomes from the full Heritage Lottery Fund (HLF) Evaluation Report, which provides objective analysis and evaluation of how the HULL 2017 AIM 1 Hull UK City of Culture 2017 programme delivered Objective 1: 365 day programme that is 'of the city' yet against 10 HLF outcomes: outward looking and includes 60 commissions High quality programme of arts, culture and heritage Objective 2: Improve understanding of Hull's heritage Outcomes for heritage

Heritage will be:

• Better interpreted and explained Objective 3: Increase total audiences for Hull's arts, • Identified and recorded HULL 2017 AIM 2 cultural and heritage offer

Outcomes for people Develop audiences Objective 4: Increase engagement and participation amongst Hull's residents People will have: Objective 5: Increase diversity of audience for Hull's art and heritage offer • Learnt about heritage • Changed their attitudes and behaviours • Developed skills • Had an enjoyable experience • Volunteered their time HULL 2017 AIM 3 Objective 6: Develop the city's cultural infrastructure Outcomes for communities through capacity building and collaborative work Develop the cultural sector undertaken by/with Hull 2017 and its partners • More people and a wider range of people will have engaged with heritage • Local areas/communities will be better places Aim 7: Improve wellbeing through engagement to live, work or visit and participation • The local economy will be boosted Objective 7: Enhance positive media coverage of Hull's Objectives: HULL 2017 AIM 4 arts and heritage offer Each of these 10 outcomes can be demonstrated to • Engage volunteers from Hull and beyond through Improve perceptions of Hull both Objective 8: Increase in Hull residents who are proud varying extents across 14 case studies: three on art the Volunteering Programme internally and externally to live in Hull and who would speak positively about forms, four on major Hull 2017 projects, three from the • Increase levels of happiness and enjoyment as a the city to others city’s museums, galleries and archives and four taking result of engaging with the arts and culture place-based themes highlighting key elements of • Increase levels of confidence and community Objective 9: Improve positive attitudes towards Hull as Hull’s heritage. cohesion among local audiences and participants1 a place to live, study, visit and do business

These projects were designed to contribute to Hull Aim 9: Demonstrate exemplar programme 2017’s overarching strategic aims and objectives (see delivery and partnerships, establishing Hull 2017 page 5 opposite) including a number which include a as a blueprint for successful delivery focus on heritage. HULL 2017 AIM 5 Objective 10: Increase visitor numbers to Hull Objectives: The insights from the full report will be used to Strengthen Hull and East Riding Objective 11: Delivering economic benefits for the city improve and enhance future project planning and • Demonstrate Hull is a best practice exemplar of economy and the city region delivery for the company which will continue from Hull how to successfully deliver a UK City of Culture 2017, as well as future UK City of Culture title holders. • Ensure partners are satisfied with their Hull 2017 In addition, there are plans to share key findings, partnership experience. conclusions, lessons learned and recommendations with other cultural organisations (both locally and HULL 2017 AIM 6 nationally), so they can benefit from knowledge Objective 12: Support new investment and 1 Aims 6 and 8 of the overarching strategic aims were not applicable transfer. to this specific project. Increase investment and regeneration in the city regeneration

6 HERITAGE EVALUATION REPORT EVALUATION REPORT 7 HULL 2017 OVERARCHING AIMS AND OBJECTIVES (CONTINUED) HOW WE EVALUATED MADE IN HULL

The evaluation included desk research, supplemented by primary data collection with a range of project stakeholders at different points within the lifecycle of individual projects and the programme as a whole. This HULL 2017 AIM 7 Objective 13: Engage volunteers from Hull and beyond enabled expectations and intentions to be measured, as well as the outputs and outcomes of the Hull UK City of through the Volunteering Programme Culture 2017 programme. Mixed methods were used, as shown in Table 1. Improve wellbeing through Objective 14: Increase levels of happiness and Table 1: Methods used to evaluate projects featured in case studies engagement and participation enjoyment as a result of engaging with the arts and culture Stakeholders consulted Research methodology applied Projects using method Objective 15: Increase levels of confidence and community cohesion among local audiences and Pre-event online survey 3 / 19 participants Core Project Team (CPT) Post-event online survey 7 / 19 Post-event depth interviews 14 / 19

Pre-event online survey 2 / 19 HULL 2017 AIM 8 Objective 16: Engage with all Hull-based primary and Artists Post-event online survey 4 / 19 secondary schools, providing all school age children Post-event depth interviews 9 / 19 Increase aspirations, abilities with the opportunity to engage with arts and culture Pre-event online survey 5 / 19 and knowledge of residents Objective 17: Delivery of training and development Peer Assessors Post-event online survey 5 / 19 opportunities to local residents through arts and culture initiatives Post-event CATI1 surveys 6 / 19 Post-event online survey 18 / 19 Audiences and Participants Walk and talk groups 2 / 19 Focus groups 19 / 19* HULL 2017 AIM 9 Objective 18: Demonstrate Hull is a best practice exemplar of how to successfully deliver a UK City of Delivery Partners Post-event online survey 3 / 19 Demonstrate exemplar Culture programme delivery and Objective 19: Ensure partners are satisfied with their partnerships, establishing Hull 2017 partnership experience. Hull 2017 as a blueprint *One focus group included audience members from across all case study projects, in addition to six project for successful delivery specific focus groups involving audiences and participants.

All the data collected was analysed for these 19 artistic projects and used to create the 14 case studies presented in this report. The evaluation focuses on both process and outcomes, measuring impact, capturing learning, and building understanding of what worked well and where improvements can be made.

8 HERITAGE EVALUATION REPORT EVALUATION REPORT 9 DELIVERY OF HERITAGE LOTTERY FUND OUTCOMES OUTCOMES FOR HERITAGE

93% of audiences agreed that using art based Hull’s year as the UK City of Culture 2017 saw the approaches to present the history and heritage of Hull involvement of museums, galleries and archives, made it more interesting and 94% stated it made it each utilising new approaches to interpretation. The easier to understand. Maritime Museum challenged itself to go beyond its comfort zone through new forms of exhibition. Ferens Art Gallery reopened following a refurbishment at the start of the year and utilised loans and temporary ATTITUDES AND exhibitions co-located alongside their permanent BEHAVIOURS collection to offer new interpretations. And, as well as proving to be a rich resource for artists' research CHANGED IN 2017 People are prouder to live for their new commissions, Hull History Centre P in Hull responded to the themes of the year and seasons in its programming, whilst also collaborating with Hull 2017 to archive the year and ensure this part of the city’s heritage can be well interpreted in years to come. Hull Truck Theatre has been able to better interpret and explain Hull’s heritage through its ‘Year of Four place-based narratives have been amplified Exceptional Drama’ including: the exploration of through the arts. The Humber Bridge has been Civil War heritage in The Hypocrite; the Northern celebrated and interpreted through its use in a series

Case Study Better interpreted and explained Identified and recorded Learnt about heritage Changed their attitudes and behaviours skills Developed experience enjoyable an Had Volunteered their time More and wider range people of engaging Better places and work live, visit to The local economy will be boosted Broadsides production of Richard III; highlighting of projects and the arts have been used to explore Art form: of the story of Barbara Buttrick (the first female and better interpret Hull’s connection to water, rivers Theatre professional boxer) in Mighty Atoms; and a site- and the sea. Trailblazing women of Hull, who have specific production focusing on the life of Lillian often been overlooked took centre stage, with their Art form: Visual Billocca at Hull Guildhall, amongst others. stories explored through several art forms. While the Arts narrative of Freedom within the city was deepened Commissioning new work by artists for art installations and broadened through explorations of the city’s Art form: Music in the public realm and for music festivals proved to be connections to anti-slavery work, freedom of speech successful mechanisms for interpreting and explaining and freedom of expression. Project: Made in a timeline of the city’s heritage from the 18th Century Hull to the present day.

Project: LGBT50

Project: Larkin 346,000 visitors came through the Project: 7 Alleys Maritime Museum in 2017 – that’s a record number Venue: Maritime Museum Venue: Ferens UNTOLD Art Gallery stories explored themes of bridges, water, women Venue: Hull and freedom History Centre Theme: Humber Bridge A series of lesser known histories were also interpreted and explained for a much wider range of audiences Theme: Water in interesting and engaging ways through the arts: Made in Hull began the year by telling a breadth of the cities stories; LGBT50 highlighted local queer histories; Theme: Women Larkin: New Eyes Each Year sought to deliver a new in Hull portrayal of the famous poet; and 7 Alleys shared Theme: local oral legends of the Preston Road Estate with new Freedom generations and other communities.

10 HERITAGE EVALUATION REPORT EVALUATION REPORT 11 HERITAGE WILL BE IDENTIFIED AND RECORDED OUTCOMES FOR PEOPLE The framework of the four seasons stimulated artists, Made in Hull identified and recorded a variety of People will have learnt about heritage creative partners and practitioners to explore heritage stories from the city; LGBT50 found queer histories; themes with increased flexibility and freedom. Key Larkin: New Eyes Each Year engaged with the Arts events within the Hull UK City of Culture 2017 defining factors that have been referenced, include: dispersed collections of the Phillip Larkin Society; and programme have performed well in encouraging 7 Alleys performed local oral legends from the Preston audiences to learn more about heritage: • Simple and easy-to-understand themes Road Estate. • A clear story and narrative arc over the course • 66% of Hull residents and 74% of East of 365 days Hull History Centre is involved in the archiving of Riding residents reported that their overall • Rooted in the city, capturing the personality Hull’s UK City of Culture year and as such is identifying knowledge of the history and heritage of Hull and character of the place and recording the heritage as it is happening and increased as a result of the Hull UK City of • Open and accessible – made available for produced. Culture programme. everyone to use • 77% of respondents to audience surveys felt that they had learnt a lot about history or One example of the effect this has on audiences is The heritage (scores of 7 to 10/10) as a result of Hypocrite at Hull Truck Theatre: Humber Street Gallery, Hull’s new attending an individual event. contemporary art • 92% of audiences stated it made them feel gallery, was visited more connected with the stories of Hull and its by over 120,000 people and 7 in 10 audience members stated it people in 2017 Between TWO-THIRDS AND introduced them to the historical character Sir THREE-QUARTERS John Hotham for the first time of local people • Over half of the audience stated they had or planned to undertake their own research into The Humber Bridge was recognised this year with LEARNT ABOUT the events presented following attending the listed building status, and the Deadbod artwork was HERITAGE play. reclaimed from its riverside location and documented as a result of for its display in Humber Street Gallery. the Hull 2017 Heritage has been identified and recorded in the programme development of projects including: the telling of Lillian • 60% of the visitors to Humber Street Gallery in Bilocca’s story through theatre; the use of visual arts to the first three-months stated one of the main mark the historic first wind turbine blade produced in reasons behind their visit was to see and learn Theatre, visual arts and music have all been used to Hull; and the spotlight thrown on key figures in Hull’s more about Deadbod. both enable audiences to learn about heritage, and music history, like Basil Kirchin. also to inspire them to undertake their own further 2017 also brought to light the histories of unknown research. or under-represented women. An example of this is the story of Ethel Leginska, unknown to many, but a People learnt about heritage through the arts: famous Hull female conductor and composer whose from large outdoor audiences at Made in Hull to story was discovered by the creative team and told to craft workshops at LGBT50, from writing within an audiences through a concert. One audience member exhibition environment at Larkin: New Eyes Each Year stated: to performing within a community cast at 7 Alleys.

I had attended a revolutionary Whilst more traditional environments for learning “ makers workshop and wanted to about heritage, new approaches at the Maritime Museum, Ferens Art Gallery, Hull History Centre and The Last Testament of Lillian Bilocca, do more as I'd really enjoyed being for exhibitions at Humber Street Gallery have helped the new play by Maxine Peake, more people to learn and in different ways. achieved sell out performances with creative and the idea of craftism. I'd never heard of Ethel Leginska which 55,905 is why I attended the piano concert attendances and four-star reviews and exhibition about her life ”

12 HERITAGE EVALUATION REPORT 13 People will have developed skills

In one example, Made in Hull, every member of the Core Creative Team built new relationships with individuals and/or partner organisations they had not come across before as a result of delivering the project. Several Heritage Partners on the project also reported that the event has made them look at exploring new ways of presenting archive footage in public places.

The success of some events within the programme has not been solely driven by audiences but instead the new national partnerships formed to tell untold stories of the city to a wider audience. A key example of this was Mind on the Run, a music festival celebrating the life and work of Basil Kirchin. The creative process for this show involved collaboration and research with incredible musicians and performers from across the UK and beyond. However, one of the key impacts of the project was the extent to which national and People will have changed their international media coverage featured extensive editorial exploring the contribution of this individual to attitudes and behaviours the development of the music industry.

• Civic pride is at the highest level on record Through Made in Hull and Larkin: New Eyes Each Year having grown from 45% of residents being artists and project teams developed their skills. While proud to live in Hull in 2013 to an impressive LGBT50 and 7 Alleys engaged with members of the 75% by the end of the year. community to develop their artistic and transferable • Participation in culture has also seen a similarly LGBT50 life skills. dramatic increase to 95% of residents having highlighted local queer histories, it attracted over participated in the cultural programme within Each of the Maritime Museum, Ferens Art Gallery and the UK City of Culture Year. Hull History Centre worked extensively with Hull 2017 • 76% of Hull residents and 84% of East Riding 95,000 volunteers and members of the public to develop their residents attended a museum, gallery or other audience attendances and nearly skills through training opportunities. As a result of historic attraction during 2017. 40% of Hull attending a masterclass training at Hull History Centre: residents and 52% of East Riding residents had 3,500 attended on three or more occasions during community participants • 93% of volunteers learnt how to access the year. information to support local history research • 83% learnt how to use microfilm machines The opening event Made in Hull was fundamental • 79% learnt how to undertake archival research to the engagement and behavioural change of local 7 Alleys formed part of the wider Land of Green Ginger audiences in the first six-months of the UK City of project which sought to change perceptions of many Offenders at HMP Hull developed their skills by Culture celebrations. This event saw both artists and of Hull’s local neighbourhoods as well as attitudes exploring the story of Amy Johnson and recreating audiences motivated by a desire to get behind the towards arts and culture: the 7 Alleys case study ‘Jason’ her gipsy moth plane. city, challenge any negative perceptions that might be demonstrates how this was achieved in East Hull and held towards it, and celebrate the city with friends and with the Preston Road community. family. Using arts-based approaches at the Humber Bridge Similarly, LGBT50 foregrounded the celebration of encouraged the use of this listed landmark for leisure 93 the 50th anniversary of the partial decriminalisation activities. The Women in Hull and Freedom themes people wrote handwritten of homosexuality in parts of the UK and provided running throughout the programme scratched the letters to Philip Larkin whilst opportunities to challenge prejudices and for surface on more deeply rooted attitudinal change visiting the Larkin: New individuals to openly celebrate their heritage and related to gender equality and social justice. Eyes Each Year exhibition - identities. attended by… 12,000 people

14 HERITAGE EVALUATION REPORT 15 People will have had an enjoyable experience

Hull 2017 projects have created strong emotional responses for individuals and audiences, re- connecting them with the city whilst inspiring a new- found sense of community pride.

The detailed evaluation of Made in Hull reports that focusing the project within ‘living memory’ and using the city's architecture as a canvas enhanced the connection and engagement with audiences. 94% of audience members • 37% of audiences attended Made in Hull more agreed or strongly agreed than once – 27% visited twice; 8% visited three that they had an enjoyable times; and 2% four or more times – indicating experience. Made in Hull provided them with an enjoyable experience.

Across all events, 94% of audience members agreed or strongly agreed that they had an enjoyable experience and 84% of participants reported feeling happier as a result of their participation.

People will have volunteered their time 84% of volunteers state they have gained skills The end of year evaluation is currently underway with Based on Heritage Lottery Fund Guidelines and our through the training offered that can be used in volunteers, including a focus on exploring the impact indicative breakdown of skill-level, this has a value that other areas of their life. Seven in 10 volunteers have of Hull UK City of Culture 2017 on those individuals. is in excess of £5.4million: also reported improved self-esteem and increased Volunteer satisfaction is high with 9 in 10 volunteers confidence as a direct result of taking part in the having enjoyed the experience so far in the mid-year • 337,000 hours equates to approximately programme. survey and 93.5% of volunteers seeing their role as 45,000 days (7.5hours) vital to the success of the UK City of Culture year. • 50% of all hours on unskilled labour @ £50 per There were significant outcomes for individuals day = £1,125,000 from volunteering on specific projects including By the end of 2017, supporting the UK City of Culture • 40% of all hours on skilled labour @ £150 per Made in Hull, LGBT50, Larkin and 7 Alleys. A strong programme were 2,404 volunteers ranging in age day = £2,700,000 theme that emerged is the varying personal benefits from 16 to 84 years old, with 25% of volunteers under • 10% of all hours on professional labour @ being realised by individuals through the volunteer the age of 35 and 46% aged 55 or older. Together £350 per day = £1,575,000 programme, including life changing increases in they speak over 60 different languages and their • Total estimated value of £5.4m confidence to take part. geographic spread represents all wards across the city of Hull, as well as further afield into the East Riding and The Maritime Museum, Ferens Art Gallery and Hull beyond. History Centre have enabled more and different people to take up heritage volunteering and gain new 71% of our volunteers are female and one in 20 heritage skills in the process. identify as being disabled, although we believe this to be higher, due to the percentage of volunteers At the Women of the World Festival: volunteers were experiencing some form of mental health illness, but celebrated in the Trailblazers exhibition, utilised their who choose not to disclose. From the start of the volunteering programme sewing skills to complete the Revolutionary Makers exhibit and gave up their time to represent a variety of By the end of 2017, volunteers had undertaken through to the end of 2017, over 2,400 volunteers the city’s voluntary organisations in preparations, on over 84,000 shifts with a total level of volunteering panels and in the marketplace. exceeding 337,000 hours. undertook over 84,000 shifts. That’s a total of 337,000 hours valued at £5.4m

16 HERITAGE EVALUATION REPORT EVALUATION REPORT 17 OUTCOMES FOR COMMUNITIES Local area/communities will be better places to live, work or visit More and a wider range of people will have engaged with heritage Hull 2017 projects based on history and heritage have helped to increase the likelihood of residents engaging The use of local stories at the core of Hull 2017 projects in conversation with individuals from a different resulted in an increased sense of ownership amongst generation. On average for projects delivered in the residents, and a direct impact on participation first six months of the year, four in five residents stated levels. The success of large-scale public events and that events inspired them to talk to people from other promotional activity has significantly grown audiences generations about the stories presented. for the city’s existing museums and collections, re- introducing them to residents. Media relations has Civic pride is at the highest level on record having been a key tool to extend the reach of the Hull stories grown from 45% of residents being proud to live in Hull being presented through artistic projects, taking these in 2013 to an impressive 75% by the end of 2017. events beyond buildings to a wider national audience. Projects exploring the city’s heritage have enhanced the desirability of Hull as a place to live, work or visit. • 95% of residents have attended or Significantly, all the visiting artists involved in art from experienced a cultural event or activity as part case studies, rated very highly: the welcome they of the Hull UK City of Culture 2017 activity received in Hull, the richness of the city's heritage and • Over 1.4 million visits to events, exhibitions, or the professional support from all project partners they activities as part of the first season of Hull UK worked with. Artists involved in some projects have City of Culture 2017 activity already relocated to Hull to live and work. • By the end of the year there had been over 2,000 activities at over 250 venues. • 70% of residents agree or strongly agree that Hull UK City of Culture 2017 is having a positive impact on the lives of local people.

Hull Truck Theatre saw an average of 40% of first time bookers for its programme, which included key productions exploring heritage, such as The Hypocrite, Richard III and Mighty Atoms. Pride is at the highest level on record. It’s risen from 45% in 2013 to Similarly, Look Up installations and Humber Street at the end of 2017 Gallery used heritage to engage new audiences with 75% the visual arts and the PRS New Music Biennial has brought audiences to new music genres. 95% OF Community casts were RESIDENTS The seven-day spectacle of Made in Hull (the opening integral to Hull Truck’s attended or event) attracted more than 342,000 visits to Hull City productions in 2017 involving experienced a Centre from 1 to 7 January 2017 and was successful in cultural event or engaging diverse communities. 265 PARTICIPANTS activity in 2017 During the year, there was over 1.3 million visits to museums and galleries in Hull. Ferens Art Gallery and 94% of Made in Hull audiences agreed that the event Hull Maritime Museum saw year-on-year increases of had made them feel more connected with the stories 70% OF over 300% and it is suggested that 2017 was easily the of Hull and its people, and the Maritime Museum, most successful year ever for the service in terms of Ferens Art Gallery and Hull History Centre made a RESIDENTS visitor numbers. said UK City of significant contribution as free, permanent venues underpinning the cultural offer of the city. Culture is having The evidence indicates a key driver for the 95% a positive impact participation figure is the connection with local people By amplifying narratives that are rooted in place across on the lives of local achieved through a strong opening event and a people the UK City of Culture year residents and visitors have programme of activity that was both high quality and come to understand their local heritage in new ways also rooted in the stories of local people. and feel more connected to their city.

18 HERITAGE EVALUATION REPORT EVALUATION REPORT 19 The local economy will be boosted

The activation of areas of the city centre, including Queen Victoria Square, through large-scale public events and free venues played a role in boosting footfall and associated spend. This increased footfall can be seen across some of the major projects including:

Poppies: Weeping Window received OVER 720,000 visits making it the most popular venue to host the poppies since the tour began in 2015

• The opening event Made in Hull which saw over 342,000 visits over seven-days • The 10-week installation of Blade which saw 420,000 of the 1.1m visitors to Queen Victoria Square interact with the work (and found that 50.5% of the audience stated Blade was their main reason for visiting Hull city centre that day) • The iconic sculpture Poppies: Weeping Window, by artist Paul Cummins and designer Tom Piper, which received over 720,000 visits outside the Maritime Museum in Hull, making it the most popular venue to host the poppies since the tour began in 2015.

After the first week of the year, awareness of Hull as the UK City of Culture 2017 was at 66% nationally and 74% in the North. For residents, this translated to increased visitors and improved reputation: 78% perceived that ‘more people have visited the city’ since the start of Hull’s UK City of Culture year and 72% perceived that the amount of national and international coverage has increased.

At Hull Truck Theatre, ticket sales and associated visitor spend for heritage-inspired productions offered a boost to the local economy. Whilst elsewhere, the Visual Arts delivered economic impacts as artworks in the public realm increased footfall in the city centre and the Humber Street Gallery has aided the development of a pocket economy in the Fruit Market area.

Year-long programmes at permanent venues and historic buildings also increased visitors to the city and their associated contribution to the local economy.

20 HERITAGE EVALUATION REPORT EVALUATION REPORT 21 Moments of Celebration

Within the Hull UK City of Culture 2017 programme, Larkin: New Eyes Each Year was a three-month long four large-scale projects provided moments of exhibition at the University of Hull’s Brynmor Jones celebration: enjoyable experiences which enabled Library, offering a new way of approaching the life more and a wider range of people to engage with and work of Philip Larkin, who has been described as history and heritage. Many of these events focused on Britain’s favourite poet. The exhibition was a creative, history and heritage stories which are still within living multi-sensory and immersive display of personal memory. items, clothing, letters, photographs, drawings, music and film and was visited by around 12,000 people. The opening event of Hull’s year as UK City of Culture 2017 and the first season, Made in Hull was a large Most of the objects in the exhibition had never been scale and comprehensive celebration of the city. Its shown in public. It was a unique opportunity to aim was to challenge preconceptions and show people consider Larkin’s sense of self and how he controlled what Hull is really made of and the many incredible his own image, reflected in his rarely seen letters, things Hull has made for the world. The Made in photographs and doodles. Hull opening event used large-scale projection on buildings, illuminated skylines, soundscapes, shop Each of these moments of celebration reached windows and live performance to celebrate the last wide and diverse audiences, though also provided 70 years of life in the city. A spectacular trail saw life-changing opportunities to a smaller group of the streets speak and buildings tell stories. From the individuals. Participants at 7 Alleys reported a huge IN SUMMARY boost to their self-esteem and confidence; LGBT50 devastation of the Second World War, through the good times and the hard times, this was an exploration offered hope and reassurance to individuals from the Using Art to Explore Heritage of Hull’s heritage and its characters at work and play LGBT+ community; and Larkin: New Eyes Each Year with over 340,000 audience attendances. supported the creative development of young people Using art to explore history and heritage with Hull’s Visual art in the public realm and free venues enabled involved in its creation. UK City of Culture programme has drawn upon an increased recognition of the city’s history and Land of Green Ginger was a citywide project – a series the strengths of individual art forms and delivered heritage and encouraged people to pay attention to of acts of wanton wonder, popping up in unexpected outcomes across all six of the HLF’s heritage themes. the historic buildings and spaces within the city centre. places in unexpected ways – which began with Act I: 7 Within this evaluation, case studies explore in more Alleys. This Act was created by outdoor performance depth the outcomes achieved through theatre, visual The music programme successfully tapped into a company, Periplum, and took over East Park for four arts and music. popular appetite for listening to and making music nights with a fusion of music, fire, live performance in the city by working with artists who were keen to and pyrotechnics. The ambulatory performance Hull Truck Theatre received grant funding and mine the musical heritage of the city. In developing brought an East Hull urban legend and local heritage strategic support from Hull 2017 to deliver a year of the programme, music choices focused on a range myth to life for 11,000 audience members. The project exceptional co-commissioned work for the stage. The of quality new work, rather than playing safe with a offered opportunities for a group of community theatre normally produces four or five productions a populist offer. However, attendance was still high. participants to discover a love of performance and an year, but for Hull's year as City of Culture Hull Truck 1,389 tickets were sold for Mind on the Run: The Basil ambition to participate in other opportunities within doubled its output, producing nine productions Kirchin Story and 5,995 attendees were recorded at the year. in total. Six of these drew explicitly on history and the New Music Biennial. A live rendition of The Rise heritage. These six heritage-inspired productions and Fall of Ziggy Stardust & The Spiders From Mars LGBT50 was a nine-day festival of events in July reached total audiences of over 56,000. The year saw an audience of 3,524 attenders. Hull 2017 chose celebrating the 50th anniversary of the partial provided opportunities for Hull Truck Theatre to to take creative risks and push the boundaries of decriminalisation of homosexuality in England and transform their ways of working, with an overall people’s experience of contemporary music through Wales, with further activities extended throughout increase in scale and ambition. new commissions and composer residencies that the summer months. Duckie’s 50 Queers for 50 Years responded to different heritage themes and embraced invited the local community to participate in the Visual art played a central role in the Hull 2017 the local music folklore revealed by local communities creation of 50 icons in the run up to the festival, each programme. This involved a raft of projects from a diversity of backgrounds. telling a story from the past 50 years of LGBT+ history. designed to harness and build on the city’s cultural The festival itself recorded over 90,000 audiences and infrastructure including a new contemporary art Across these art forms, projects within the Hull UK City participants. gallery, Humber Street Gallery, specially commissioned of Culture 2017 programme brought in artists from exhibitions at Ferens Art Gallery and Look Up, a year- across the UK and the world to explore local heritage long programme of artists’ works made specifically and to tell national and international history stories. for Hull’s public places and spaces. During 2017, These projects also contributed to the development over 120,000 people visited Humber Street Gallery, and expansion of the city’s arts and cultural sector and nearly 520,000 attended Ferens Art Gallery and over infrastructure. 665,000 saw one or more of the Look Up installations.

22 HERITAGE EVALUATION REPORT EVALUATION REPORT 23 Hull Maritime Museum sought to take more risks and to offer almost continuous activity throughout 2017. Six main exhibitions and associated programmes allowed them to deliver a high quality experience for existing audiences and new visitors alike. The overall appeal of this programme is evident in the nearly 350,000 visitors who came through the museum during 2017 – a record number representing a 393% increase on 2016. The museum also hosted the 14-18 Now installation Poppies: Weeping Window, and trialed arts-inspired interpretation strategies in Bill Bailey’s Cabinet of Curiosities (comedy and creative writing) and Offshore: Artists Explore the Sea (visual arts). Offshore and Turner and the Whale, which coincided with the Turner Prize at Ferens Art Gallery, represented a new approach to complimentary programming across the two sites which are both located in Queen Victoria Square in Hull city centre.

The UK City of Culture title in 2017 presented the opportunity for these three venues to engage with heritage in new and different ways, growing Using Museums, Galleries and their audiences through their participation in the Archives programme.

Hull’s museums, galleries and archives played a Staff at Hull History Centre have also been leading significant role in providing year-round access to high on a project to archive Hull’s time as the UK City of quality exhibitions exploring the city’s history and Culture 2017 by capturing the records that reflect the heritage. Three venues received significant support to how, what, when and why for the 2017 programme, increase the scale and ambition of their programmes which already includes over 86,000 digital files as during 2017. well as objects from projects that took place within the year. History Centre staff have discovered new The Ferens Art Gallery reopened its doors to the items within their archives and trialed new approaches public on 13 January 2017 and presented a year-long to interpretation, engaging volunteers in creative programme of exhibitions and events as part of projects with the potential to attract wider audiences. Hull’s UK City of Culture year. Prior to this the gallery had been closed for 16 months whilst it underwent a £5.1m refurbishment that included the installation of new environmental controls. With renovated spaces, In 2017, Hull ...It normally additional funding and other opportunities presented History Centre hosts one by the UK City of Culture title year, the Ferens Art hosted Gallery contributed to eight heritage outcomes. Nearly FIVE 520,000 people visited Ferens Art Gallery in 2017 - exhibitions from thought to be the most successful year in its 90 year the medieval history – representing an increase of 309 percent period up to the compared to 2014. modern day...

During 2017, Hull History Centre produced three exhibitions, hosted two externally produced exhibitions and ran a range of workshops and outreach activities. This represents a significant increase in programming from previous years where the Centre would usually only put on one exhibition per year. Exhibitions displayed materials from the archives ranging from the 13th century right up to the 21st, including items which had never previously been on display, and reached over 38,000 visitors.

24 HERITAGE EVALUATION REPORT EVALUATION REPORT 25 Rooted in Place

Hull has a rich and varied history, though many By exploring the theme of water and associated perceptions of the city are based on a few areas of its heritage throughout the Hull 2017 programme, history. As such, within the Hull UK City of Culture 2017 audiences have been given the opportunity to deepen programme, there was a concerted effort to explore and broaden their knowledge of the city’s history new narratives and previously untold stories across through a variety of interpretations and discover new several themes. narratives.

The history and heritage of the Humber Bridge has Similarly, the year’s programme has been able been celebrated and interpreted through a number to shed light on previously under-represented of projects that have used the ethereal landscape of women’s stories within the history and heritage of the Humber estuary and the physical structure of the the city. Existing dominant narratives pertained to bridge as a creative source to inspire or stage work. Amy Johnson or ‘headscarf revolutionaries’ – often The Height of the Reeds, initially a month-long project depicted as a group of women, not as individuals. that had its run extended twice due to popularity, This presented an opportunity to use Hull's year as encouraged a greater use of the Humber Bridge for the UK City of Culture as a way of making a more leisure as well as an increase in the appreciation of it as rigorous exploration into women from Hull who have a historic structure amongst more than 6000 people challenged norms and acknowledge and celebrate who immersed themselves in the soundscape. Voices their achievements. Women of the World Festival Hull Across the Humber brought together 900 individual encompassed live debate, music, film, comedy and Cosey Fanni Tutti was part of artist collective participants from choirs on both sides of the river activism in celebration of what women and girls have COUM, and featured in a seminal exhibition of work and included a music repertoire which celebrated the achieved, and a showcase of the many inspirational presented at Humber Street Gallery. Eliza Carthy’s anniversary of the structure first opening. trailblazing women of Hull. In addition, other events new piece Rivers and Railways commissioned for and projects across the year told the stories of several the PRS New Music Biennial explored the theme of Hull is Yorkshire’s Maritime City. Its maritime heritage notable women from Hull. Barbara Buttrick’s life was what makes a city what it is when it is perched on and the waterways are central to the local landscape celebrated in the new play, Mighty Atoms, written by the edge of a place, a port, a destination, an identity. and sense of place and the city’s water-related heritage Amanda Whittington. Lillian Bilocca’s influence on safety reform in the was directly explored in many projects across the fishing industry was portrayed in two plays – Lil by duration of the year. One piece of heritage, the ‘Dead Val Holmes and The Last Testament of Lillian Bilocca Bod’ art work was rescued and put on display as a by Maxine Peake. Amy Johnson was a pioneering permanent exhibit at the Humber Street Gallery where engineer and aviatrix who flew solo across the world. it has since been visited by over 120,000 people. Her life was celebrated by the Amy Johnson Festival in 2016 and the creation and display of a replica model of her aircraft, ‘Jason’ by sculptor Leonard J Brown and learners at HMP Hull in 2017. Mighty Atoms was the Hull’s connection to histories of freedom has first Hull Truck production often been discussed in relation to the life and to have an ALL-FEMALE work of William Wilberforce, but has been more cast, female composer and widely explored through a number of projects. female lighting designer Freedom Festival 2017 took place over three days with 59 events exploring the theme of freedom of expression, and was attended by over 140,000 people. The festival supported the local economy with 43% of businesses surveyed reporting a positive impact.

Through these four themes, a range of projects within the Hull UK City of Culture programme sought to promote and develop awareness of a wider range of Hull’s history and heritage stories.

26 HERITAGE EVALUATION REPORT EVALUATION REPORT 27 PROCESS

Through the evaluation of heritage-inspired projects within the Hull UK City of Culture 2017 programme, several learnings have been drawn from the process of delivering heritage-inspired arts projects. These can be used to build an understanding of what worked well and where improvements can be made and fall under four themes: partnerships and collaborative working; artists working with heritage; marketing and communications; and volunteering and community engagement.

By working with artists, heritage professionals were able to see their collections through new eyes and create new possibilities to stimulate meaningful engagement. In return, working with heritage provided artists across all artistic disciplines with huge inspiration. Teams of artists, core project teams and volunteers were able to work together in ways that made everyone feel equal and valued.

Overall, Core Project Teams suggested that the quantity of activities delivered and the time scales involved both impacted on elements of the process which they would seek to do differently in future. However, working at a much more ambitious scale of projects, but ensuring that they were rooted locally has created a very distinctive and memorable cultural year for the city. This has required extra capacity and resource to match that high level ambition along with the space and time to develop work in partnership with others. An extraordinary level of trust from all partners and stakeholders and audiences has been invested in Hull 2017, resulting in a new belief about what the city can achieve in the future.

of Hull 76% residents and of East Riding residents attended 84% a museum, gallery or other historic attraction during 2017

In 2017, there were over 1.3 million visits to museums and galleries in Hull

28 HERITAGE EVALUATION REPORT EVALUATION REPORT 29 CONCLUSIONS

Overall, the Hull UK City of Culture 2017 programme delivered across 10 Heritage Lottery Fund outcomes, including outcomes for heritage, outcomes for people and outcomes for communities. This evaluation has demonstrated the value of investing strategically in a place and in projects which join together arts and heritage.

• The majority of audiences agreed that art-based • Attitudes and behaviours have changed, most • Audiences had enjoyable experiences throughout • Resident’s pride in their city is also testament to approaches to present the history and heritage notably pride to live in Hull (from 45% in 2013 to the year and participants on average felt happier Hull being a better place to live, work and visit. of Hull made it more interesting and easier to 75% at the end of 2017) and participation in arts as a result of their participation in a heritage- Other indicators suggest improved community understand, delivering the ambition for heritage and cultural activities (reaching 95% in 2017). Over inspired project. cohesion and 70% of residents would speak highly to be better interpreted and explained through the three-quarters of local residents had also attended of the city. year’s activities. a museum, gallery or other historic attraction • By the end of 2017, there were 2404 Hull 2017 during the Hull UK City of Culture 2017 year. volunteers still volunteering their time to ongoing • Finally, through the year-long programme, the • Heritage has been identified and recorded projects across the city, having proved to be an local economy has been boosted. Full economic through several projects: from discovering new • Project team members, artists, volunteers and invaluable resource during the delivery of the year impact analysis is yet to be completed, though items within a collection to establishing a new one participants have developed their skills across a itself. there are indicators showing a positive impact documenting the year, as well as the capturing of wide range of areas and specialisms through their such as increased hotel occupancy rates and local heritage stories through artistic approaches. work and participation in the programme. For • Throughout Hull’s year as the UK City of Culture increased numbers of visitors to the city. some individuals, this has had life changing results 2017, there were more and a wider range of • Between two-thirds and three-quarters of local as their knowledge and confidence has grown. people engaging with heritage. The use of local people have learnt about heritage as a result of stories at the core of Hull 2017 projects enabled an the Hull UK City of Culture 2017 programme, and increased sense of ownership amongst residents, three-quarters of those attending events with and had a direct impact on participation levels. a direct heritage connection reported that they learnt a lot.

30 31 1. USING ART TO EXPLORE HERITAGE

History is not sitting, necessarily, over “ dusty old books. It might be for some people, but it's how that history informs who you are, and who we are, and the identity of a place, and people. We've made it our business… to dig those stories out of the ground. ” Core Project Team Member 1.1. INTRODUCTION

Using art to explore history and heritage within Hull’s UK City of Culture 2017 programme drew upon the strengths of individual art forms and delivered outcomes across all six of the Heritage Lottery Fund's (HLF’s) heritage themes. This chapter presents case studies that help to explore the HLF outcomes achieved through commissioning artists and new creative partnerships based in theatre, visual arts and music.

KEY FINDINGS

• Working with artists in a non-prescriptive • Visual art commissions in the public way succeeded in uncovering new heritage realm and in free venues provided new stories, as well as delivering high quality interpretations of history and heritage that commissioned works that connect with both are ultimately accessible to a diverse range residents and visitors. of people.

• Theatre, as a storytelling medium, • Music projects in Hull tapped into a popular was successful in creating empathetic appetite for listening to and making music in connections with history and heritage. the city to enable audiences learning about the city’s musical heritage. • Hull’s love of history was an effective tool for supporting the development of new and • Working with the right partners, including existing audiences. artists who were keen to mine this strong musical heritage, was important for the • Productions led audiences to experience, success of projects. think about and connect with buildings differently, both the theatre and other • The portability of music as an art form historic buildings through site-specific enabled works connected to the history and productions. heritage of the city to be performed and broadcast nationally. • Visual art installations in the public realm were successful in establishing or prioritising place-making narratives.

• The establishment of a new contemporary art gallery in Hull created opportunities to explore the 20th Century art history of the city that didn’t previously exist.

In 2017, OVER THREE-QUARTERS of local residents attended a museum, gallery or other historic attraction

34 HERITAGE EVALUATION REPORT EVALUATION REPORT 35 1.2. THEATRE 1.2.1. Outcomes for Heritage

Hull Truck Theatre received grant funding and Hull Truck Theatre was one of the key delivery strategic support from Hull 2017 to deliver a year of partners for City of Culture. Having come through exceptional co-commissioned work for the stage. a very challenging period at the theatre, the organisation’s restructure and appointment of its Several productions within the programme used new leadership team, envisioned Hull 2017 as an theatre to commemorate a range of stories from Hull’s opportunity to re-position the company and mark a past. Hull Truck Theatre normally produce four to break from recent troubles. five productions a year, for City of Culture Hull Truck doubled its output, producing nine productions in Collaborating as a delivery partner with Hull total, including: 2017 encouraged Hull Truck to take a bold step in positioning 2017 as a ‘year of exceptional drama.’ It set • The Hypocrite – Written by Richard Bean and itself bold artistic goals: directed by Phillip Breen, The Hypocrite was set in Hull in April 1642, and followed the story of Sir • re-positioning the theatre within an international John Hotham and the Royalist siege at Beverley context; Gate. • firmly rooting Hull Truck Theatre to the historical, social and cultural context of its home city Hull; • Richard III - An anniversary production of the same play by Northern Broadsides - their first play, • establishing new audience and partnership which was staged at the Marina Boatshed in Hull relationships with theatre. 25 years ago. Hull Truck had previously worked with local heritage • Mighty Atoms – Written by Amanda Whittington. themes, led by the Artistic Director. The theatre’s Hull Hull’s own Mighty Atom, Barbara Buttrick, pioneer Trilogy started in 2015 as a three-year project which of women’s professional boxing and former world was planned to develop through City of Culture. champion, was the inspiration for this new play. • Our Mutual Friend – World Premiere production by Hull Truck Youth Theatre, Our Mutual Friend The 2017 programme at Hull Truck was adapted by Bryony Lavery from the original harnessed Hull’s love of history, novel by Charles Dickens. The production was including its own, to help interpret directed by Tom Bellerby. and explain stories from Hull’s past. • The Suitcase – Adapted and directed by James Ngcobo, from the original book by Es’Kia Mphahlele, The Suitcase told the story of a young The Hull Trilogy had previously tackled themes in newly married couple in 1950s South Africa. relation to the Blitz and fishing communities. The third • The Last Testament of Lillian Bilocca - Written play in the trilogy in 2017 was Mighty Atoms and it was by Maxine Peake this production retold the identified as a way to portray the role of women in story of Lillian Bilocca and the other ‘headscarf Hull’s history. revolutionaries.’ We basically saw this ... Lots of very “ strong women in Hull, who over history, had led the city forward, but had not been acknowledged for it … So Mighty Atoms became an amalgam of the spirit of Lil, the spirit 94% of Barbara Buttrick, Amy Johnson, of audience members the Hessle Road women. agreed or strongly agreed ” that they had an enjoyable Core Project Team Member experience. Building on the Hull Trilogy, writers recognised City of Culture as an opportunity to record Hull’s heritage through theatre.

36 HERITAGE EVALUATION REPORT EVALUATION REPORT 37 Richard Bean grew up in Hull and remembers meeting Bean was also introduced to Dr Andrew Hopper, his friends on a Saturday night by the remains of Associate Professor in the Centre for English Local Beverley Gate. Having only a partial knowledge of the History at the University of Leicester. Hopper advised historical significance of the site, it still held an appeal, Bean on the historical background to The Hypocrite. Barrie Rutter selected Mat Fraser for the lead role along with other historical influences that made him All of the material gathered by the writer was then for Richard III in 2017. He wanted to create a better proud to be from Hull. Richard Bean pitched the idea of crafted into a piece of theatrical entertainment for the portrayal of Richard III by moving away from past writing a farce about Sir John Hotham and the incident stage at Hull Truck. representations of able-bodied actors playing a at Beverley Gate to Gregory Doran, Artistic Director disabled Richard III on stage. Mat Fraser was cast not at the Royal Shakespeare Company in 2014. The RSC Defiance, a new play directed by Tom Bellerby and only for his skilled acting ability, but also because he is had very good education links with Hull through its Rupert Creed was born from the idea of creating a an accomplished percussionist and Barrie Rutter used Associate Schools Scheme but they had not previously response piece to The Hypocrite. The cast included Mat’s drumming in the production as an emblem of staged much work at Hull Truck Theatre. Hull Truck’s 16+ Youth Theatre and Act III over 55’s Theatre Makers. Their starting point was to explore war, which sat at the heart of this history play. The City of Culture year was identified as the synergy what these two different generations (Generation Z Mighty Atoms, by Amanda Whittington about Barbara to create a unique partnership between Hull Truck and Baby Boomers) would stand up for. Buttrick – Hull’s pioneering world champion boxer Theatre, the RSC and Hull 2017 to produce a new play and “the mighty atom of the ring” - was the final part for the Hull Truck stage, The Hypocrite. This would Richard III by Northern Broadsides celebrated the in the theatre’s Hull Trilogy. Hull Truck were keen to engage audiences with Hull’s involvement in the company’s 25th anniversary and the first staging of commission the play because Barbara’s life story was English Civil War. Richard Bean drew on many different this production in a boat shed on Hull’s Marina. Barrie unknown and untold; this was an opportunity for sources of information in researching his play, looking Rutter, Northern Broadsides’ Artistic Director, stated in Hull Truck to record and celebrate the life of one of at books on the English Civil War, researching online the programme, ‘There is a sweet circularity to this Hull Hull’s ‘trailblazing women’ through the eyes of young and consulting historical experts including Alec Gill homecoming.’ Richard III was programmed as part of women in Hull today. through Hull History Centre. the Roots and Routes season. Northern Broadsides is committed to “reclaiming Shakespeare for the In researching the play, Amanda Whittington met He also met local historian and author, Ronald Fairfax, people” and one way of ensuring that a wide range with Barbara Buttrick herself. Mighty Atoms depicts author of the graphic novel on Hull and the English of audiences connect with their work is through the Barbara Buttrick’s story inserted into the present day civil war, Defiance. actors cast for the theatrical roles. in a women's boxercise class that becomes a licensed They met in the much celebrated, ‘plotting parlour’ in fight night. the Grade II Listed Building, Ye Olde White Harte2 pub.

38 HERITAGE EVALUATION REPORT EVALUATION REPORT 39 Working with the local gym, the Vulcan Centre, In researching and developing the play, Maxine Amanda Whittington developed real character-based Peake spent time in Hull capturing the memories pieces for the ‘mighty atoms’ in the story that were of the surviving ‘headscarf revolutionaries’, Yvonne very familiar, recognisable women with ordinary, Blenkinsop and Mary Deness, as well as those of other everyday issues, challenges and lives. The boxing members of the fishing communities local to Hessle brings them together, but was also used as a metaphor Road. The writer and director brought an ‘outsider of how young women overcome whatever challenges perspective’ to the story. The Last Testament of Lillian and problems and insecurities they have. Bilocca was a bold and political piece of theatre designed to tell the world about how Lillian Bilocca The Suitcase was additional to the core 2017 had struggled in her fight for changing the working programme, made possible by Hull Truck setting conditions of trawlermen, which has since led to many up a Strategic Touring Partnership project and fisherman’s lives being saved worldwide. As a result of securing funds from Arts Council England. Bringing City of Culture, Lillian Bilocca’s story is influencing the Johannesburg company, The Market Theatre to Hull city’s future. helped Hull Truck contribute to the Freedom season and Freedom Festival celebrations. The story is much better known…. The Last Testament of Lillian Bilocca was a new play written by Maxine Peake who came across Lillian “ As far as I understand it, it’s on Bilocca from Brian Lavery’s book, The Headscarf the young people’s curriculum. Revolutionaries. Delving into this woman’s life If you ask young people now …, and what she had achieved in Hull for its fishing community, Maxine Peake found that she wanted they will know this story. I think to tell this story. Joining together with her long-time that’s a legacy of Hull 2017, rather collaborator, Sarah Franckom, they pitched the idea than the project. I guess like any of the new play about Lillian Bilocca to Hull 2017. A Hull 2017 producer worked with them to reveal new performance, it is kind of locked in perspectives about this chapter in Hull’s heritage to the memory of those who stood record a fuller and more truthful portrayal of Lillian in those rooms and watched that Bilocca’s life. performance…, it was a kind of moment in time.” It wasn’t a story I was familiar with at ” “ all, so it was really interesting to me, Core Project Team Member considering that really I should have known it very well, I didn’t know it at all, because I’m from the other side of the city. Also, them being outsiders to that story, they weren’t coming to it kind of in a way a pre- conceived idea of what it was based on, kind of years of being told it. It was kind of quite fresh information, and it was about going to all those different sources, and hearing it for themselves. ” Core Project Team Member

40 HERITAGE EVALUATION REPORT EVALUATION REPORT 41 1.2.2. Outcomes for People The Hypocrite was seen by 12,624 audience members I found out that she (Lillian Bilocca) at Hull Truck Theatre and 15,385 audience members at the RSC in Stratford. 54% of audience survey “ was a woman who really stood up respondents reported that they learnt new things for the fishing industry and made about Sir John Hotham, the Siege of Hull (1642), and Across the diverse programme, the theatre productions have created poignant connections a change, you know, throughout, Hull’s role in the start of the English Civil War. 52% for people with different chapters of history, some of which have been within people’s living planned to undertake their own research into Sir John not just in Hull, but throughout the memory, whilst others have brought a distant history to life. Hotham and the events presented in the play. fishing industry in the country, in 8,592 audience members attended Richard III at Hull the world, you know. When I saw Truck Theatre and this was acknowledged by Barrie that there’s a play about it, I was like Rutter to be the first time he has successfully run three wow, you know, I have to take in and So knowing the Beverley Gate, I weeks of Shakespeare in Hull. 79% of audience survey “ kind of knew the story but I learnt a respondents agreed or strongly agreed that the event know more about this…to be part lot more by watching the play and 93 introduced them to or expanded their experience of of such a thing that really made a following it up because I’d enjoyed people wrote handwritten Shakespeare’s plays. change in history because as we letters to Philip Larkin whilst “Richard III was the first time I had ever appeared are living we are making a mark in the play. visiting the Larkin: New Eyes on stage… It was the first time I had ever really read history, yeah, whether we know it or ” exhibition – an exhibition Shakespeare. It was a fantastic experience…. It was a Audience member which was attended by very interesting experience working with Barrie Rutter not, yes we are. especially. He was a very meticulous director. He ” involved everybody in the production… they treated Community Cast member 12,000 us as part of the cast and made us really welcome and people involved, as did the rest of the cast.” Community cast member

Of the Richard III audience survey respondents, 77% I've been to Hull Truck over the plan to attend more theatrical productions of William “ years but I would say for 2017 I’ve Shakespeare’s plays and 96% agree or strongly agree that using art based approaches to explore / present just been so many more times than the history and heritage of Hull makes the history and usual…this year, it’s been a case, heritage more interesting. ooh see what’s on next, see what’s “Seeing Richard III it made me want to read more on next. Getting this one a couple about history to get the rest of the story. So it opened of days ago was like ooh see what’s more doors there.” Audience member on in 2018 and oof I fancy that, The Last Testament of Lillian Bilocca introduced the fancy that. And that’s quite a shift I history of the triple trawler disaster and the headscarf revolutionaries to many people for the first time. It was think. There’s been so much more a sell-out success for the theatre, with 3,082 people excitement about what’s going on at attending the performance at The Guildhall for its two- Hull Truck and the plays that have week run. been on this year. ” Audience member Hull Truck’s 2017 programme has created a truly voracious appetite for theatre amongst its audience members as well as appealing to the tastes of new audiences.

When asked about how theatre enabled people to learn about heritage, theatre audiences and participants expressed how powerful and insightful they found the storytelling to be and how this created a positive effect on their ability to take on board new and detailed historical knowledge.

42 HERITAGE EVALUATION REPORT EVALUATION REPORT 43 People have become more informed about Hull’s Local nuance has also helped audiences to take an Theatre was described as having a unique capability heritage through their experience at the theatre during interest in more ‘classical’ theatre which they might to engage people with different chapters in history. Hull’s year of culture. The use of theatre has created have ignored otherwise. Of audience survey respondents who had seen The an authentic experience for people with productions Hypocrite, 98% agree or strongly agree that using art unpicking urban myths and leading people to learn for based approaches to explore and present the history themselves how to distinguish fact from fiction. It was great to hear Hull accents on and heritage of Hull makes it more interesting. Live “ stage. The performance was full of drama has proved to have a powerful effect on how little local Hull references that made people have learnt about history through City of I’ve had two meals in what’s Culture. “ known as the plotting room (Ye it and I think that people know the importance of what happened with Engaging with people’s imagination through drama, Olde White Harte) and I had the over and above verisimilitude, has helped enhance wrongest idea that that’s where Charles at Beverley Gate but to see people’s understanding of history as well as change they plotted to keep the King out. it, you know, put on a national stage their expectations of theatre productions that are and to know that after Hull it was about history. At the end of Richard III it was the power And it’s only in the last month or and effect of drummers on stage that evoked the final two that I’ve discovered that wasn’t going to the RSC at Stratford where battle scene in the play. what they were plotting there. And it was also extremely well received The Hypocrite bought that to my and so that was great. attention properly. ” Audience member ” Audience member

Richard Bean was determined to get the casting right for The Hypocrite audiences in Hull, but he had to fight for this, since not everyone recognised the integrity of putting the Hull voice in the performance. In 2017, Hull Truck Theatre It's about constituency. People like to DOUBLED “ go to the theatre and see their own its output, producing nine lives on stage. That is what happens. productions – six drew on history and heritage If you go to Liverpool, you'll see plays about Liverpool. If you go to Newcastle, you'll see plays about It was also significant that rehearsals took place locally. Newcastle. And that's not the only Rehearsing locally helped to ensure that the cast I saw Richard III and thought way to do it because the human became fully acquainted with the local environment “ this isn’t going to work. This can’t condition is universal and if a play is and culture and this also helped to spread the possibly work in the way that this message about Hull 2017. Caroline Quentin, cast good enough it will work anywhere. member performing in The Hypocrite, became known is being done. People wear modern That's the pleasure I took from The as the “queen of tweets” because she took to the city day clothing when you’ve got Hypocrite working in Stratford. so positively. Richard III…and it’s the matter of the There was no one in Stratford sat next scarf that goes you do realise there thinking oh, that's my life on that person is gonna die…And I just stage. By evoking the impact of history on thought again the way it worked, it ” people’s lives, past and present, these was amazing. I’d say full marks to Artist theatre productions have managed to increase people’s interest in history. Hull Truck. ” Audience member

44 HERITAGE EVALUATION REPORT EVALUATION REPORT 45 448 people experienced the site-specific production, Hull is known traditionally more for its music than its Community participation has been integral to Hull Defiance, in The Guildhall. The Hypocrite and Defiance theatre, and so Hull Truck cleverly integrated music Truck’s programme this year and is one of the key together got people thinking about Hull’s relationship Staging theatre in site-specific contexts centrally to productions as a way to connect people success stories the theatre proudly talks about. to Parliament. Using Hull’s seat of power as the setting was a new experience for many people with theatre. Richard Bean observed how introducing Community casts were integral to most of Hull Truck’s for Defiance gave it a political currency concerning and created the first opportunity for some music into drama is a much-used theatrical device productions in 2017 involving 265 participants. the recent national referendum, which people also to set foot in Hull’s historic Guildhall. these days too, with very few big plays not having Working with community casts and a community connected to The Hypocrite. some kind of musical element to them. He included a chorus has enabled non-professionals to work with song at the end of every scene of The Hypocrite. The professional writers, directors, actors, musicians and live music by Adrian McNally and The Unthanks as technicians. This has given people a much greater

part of The Last Testament of Lillian Bilocca was also sense of ownership throughout City of Culture and One of the big things I've learned The site-specific nature of productions including a successful way for audiences to understand this has opened-up new casting opportunities for theatre “ since being here, this city's got a Defiance and The Last Testament of Lillian Bilocca play as being more than a piece of historical theatre, producers. created much more of a memorable spectacle big appetite for politics. For politics but one with strong folk traditions connecting it to the for people. This has generated a much greater city’s relationship to fishing. The use of folk music was through art. It seems to matter much appreciation of Hull’s heritage. more, really. And if you do a sort of also an effective device to help portray the political truth about Lillian Bilocca’s experience as a woman thing with a political edge to it, then The Guildhall is this incredible trying to defend the rights of trawlermen in an era people are interested. So they kind “ building that not many people have when women’s voices were not heard. of want their art to be in some way been in. So there's this real ... It plays Overall, people felt that their experiences with Hull relevant. a character in the show in itself, Truck were more fun and engaging than methods ” normally used to convey history. Live music and Core Project Team Member so that people have been saying ... percussion, local dialect and character, non-period I've grown up in the city all of my costume and extruding the traditional stage into the life and I've never set foot in this full extent of the Hull Truck building, as well as into Hull Truck Theatre's programme developed a greater other locations specific to the story being told, created awareness of and respect for social equality issues; incredible building. a much more immersive, theatre experience for the role of women in Hull’s heritage was recognised ” everyone. in particular. 4,369 people went to see Mighty Atoms. Core Project Team Member This was the first Hull Truck production to have an Directed by Tom Bellerby, Our Mutual Friend involved all-female cast; female composer and female lighting 49 members of Hull Truck’s youth theatre. This was the designer. first time the youth theatres of all ages came together and performed on the main stage in the theatre and the young people gave up their entire summer holiday to be in that production. Hull Truck Theatre benefited It's affirmed Barbara's status as a by the building being alive with young people for “ really important historical figure in five weeks and the young volunteers developed Hull. Somebody that everybody's professionally as well as developing more of an interest in classic texts. proud of. I think Hull Truck as a company is becoming a much more There's something amazing about Participation has been key. I mean, female-centered or at least gender “ doing a period piece with kids of “ the volunteer scheme is, like, the balanced company now. that age. Because...let alone the biggest example of that, of people ” Artist amazing costumes that they get to being invited to be part of, and wear, and stuff like that, it was about contribute to, the year. And for me

Audiences have been pleasantly surprised by what them totally throwing themselves it's one of the greatest successes of Hull Truck Theatre managed to deliver in terms of its into a story that they probably the year, and has been visible and scale of ambition for 2017 and this has encouraged wouldn't have heard before, or wonderful. …there's not a sense that them to take an interest in seeing more theatre. chosen for themselves. But they Hull Truck owns this story. It's a absolutely adored it. sense that we all do, so we all should ” be part of putting it on. Core Project Team Member ” Core Project Team Member

46 HERITAGE EVALUATION REPORT EVALUATION REPORT 47 1.2.3. Outcomes for Communities Hull Truck successfully gained trust within local Actually watching Yvonne watching 1.2.4. Learning for the Future communities by inviting them to private rehearsals or “ herself was probably one of the readings to see or hear the play at an early stage and Putting Hull Truck Theatre into the City of Culture taking on board their feedback in the next stages of highlights, of seeing her telling spotlight has successfully helped audiences to developing the productions. people in the audience, “That’s appreciate Hull’s role in history, and to take more of an Finding local stories for its Hull Trilogy interest in theatre going forward. and City of Culture programme has me up there.” Her granddaughter meant that Hull Truck Theatre has been Some of these people would say, came, who doesn’t go to theatre, During 2017, many new creative relationships on a significant learning journey and “ "Oh, no, no one would ever have never goes to theatre, never has developed. Partnerships enabled Hull Truck and this includes a journey in developing the artists it commissioned to work at a much more audiences for new productions. There said that," and kind of giving this that opportunity, absolutely loved ambitious scale and adventurous level. In developing has been at least a 5% increase in new really real voice to some of the it so much that originally I’d called The Hypocrite, the RSC funded workshops involving audiences recorded for Hull Truck plays. Then when you hear the final them and said, “Can Yvonne come?” the production team and cast members to test out Theatre. The Hypocrite was a sell-out how the comedy elements of the new play would success in Hull and had to extend its draft of things, you're like, "I know and she said, “Well, I’ll have to ask work. The City of Culture and RSC partnerships also run by two weeks to satisfy audience exactly where that line came from." somebody to bring me.” She brought helped the Hull Truck team to develop their skills, as demand. her granddaughter, so just the two of well as benefit from significantly enhanced capacity And it rings so true, to the point during 2017. Working at scale, rooting work locally where, when we've got to the final them came. Within a week, another yet exploring this within a wider international context product, these communities, I think, eight of them had come because her became the distinctive features that helped shape the success of Hull Truck Theatre’s extraordinary year. Hull Truck committed to working with local by and large, have been with us on granddaughter had gone home and communities by involving community casts in the that journey, and are then positive said how fabulous it was. majority of productions this year. The Goodwin Trust advocates for the work, and pleased, ” The wins are quite substantial, but it has been vital to making connections with local Core Project Team Member “ has also come with a lot of learning communities and the production team has enabled and proud. the conversations with different community groups ” from us, really, about how you match to really influence the new work produced. Hull Truck Core Project Team Member ambition to capacity and resource. have been very respectful of the many different And when we do rely, really, really communities they have worked with, endeavouring to be as truthful as possible to their local histories. The process of consulting with the two remaining heavily on the brilliance of this team members of the ‘headscarf revolutionaries’, Yvonne and their willingness to go above Blenkinsop and Mary Deness was handled extremely Each time we've told a story that's sensitively by the whole production team in order to and beyond. create an authentic story about Lillian Bilocca. This ” “ important to Hull, and to some really Core Project Team Member engendered significant support from the families of specific communities, and it's been a those fishing communities. The Hull 2017 producer for journey each time of initial mistrust, The Last Testament of Lillian Bilocca was in touch with of "What are you gonna do with the families of the fishing communities throughout the whole production process. They were invited to Community casts were integral to my story?" And this sort of sense of rehearsals, to speak to the writer, Maxine Peake and to Hull Truck’s productions in 2017 people not wanting to be used, or meet the actors playing their relatives. involving misrepresented. 265 PARTICIPANTS ” Core Project Team Member

Doubling its production output during 2017 put an enormous amount of stress and strain on Hull Truck Theatre, but the organisation also recognises the valuable learning and growth that has been achieved overall.

48 HERITAGE EVALUATION REPORT EVALUATION REPORT 49 We have upscaled the organisation, “ don't get me wrong, and I think a Working with and in historic buildings, learning point for me is also about as well as giving the fabric of the city a where I put some of that capacity. personality as part of the productions, And the fact that we got more has created an effective way to forge new and powerful connections between local assistant-level, there were more communities and their heritage. people, but actually I think looking back I'd have put someone in at a slightly higher level as well, to take some of the decision-making The partnership with The Guildhall has worked responsibilities as well, because I because Hull City Council and the building managers have been “open hearted” about the opportunity. think that's been challenging, with such a volume of work. ” Core Project Team Member

The core project team gained an appreciation of how to use heritage to create better empathetic connections with audiences, capturing people’s imagination and taking them on a journey in a moment in time from start to finish.

Commissioning artists to research and develop the stories that they discovered has resulted in an impressive range of new work for the stage. From the The great question is what is stories that have surfaced, writers chose to focus on re-creating the experiences of individual characters “ history? So, history is not sitting, who have made Hull the place that it is today. The necessarily, over dusty old books. dramatic interpretation of these lives has been both It might be for some people, but it's innovative and engaging, creating many surprises for audiences about what they thought they knew about how that history informs who you theatre and heritage, whilst holding firm to Hull Truck’s are, and who we are, and the identity local roots. of a place, and people. And certainly …. We've made it our business, I think that one of the big reasons haven't we, with our Hull residencies “ why this project works is it was led strand, to dig those stories out of by artists who found a story they the ground. Why would we tell wanted to tell, and decided to tell it. I them now? Not just because they're think if we’d have gone to somebody interesting historical things, but and said, “Write a play about this,” because they mean something. it wouldn’t have been the same They help us understand who we project. are, really. ” ” Core Project Team Member Core Project Team Member

50 HERITAGE EVALUATION REPORT EVALUATION REPORT 51 1.3. VISUAL ART 1.3.1. Outcomes for Heritage

Visual art played a central role in the Hull 2017 Hull UK City of Culture 2017 was central to the Public Working with artists afforded an programme. This involved a raft of projects Realm Strategy produced for Hull City Council which opportunity to re-present Hull; and the designed to harness and build on the city’s cultural advocated for the role of public art in attracting City of Culture was a unique context infrastructure including a new contemporary art visitors to the city and boosting the local economy. The that provided a timely intervention to gallery, Humber Street Gallery and Look Up, a year- City’s Planning Guidance4 referenced in the strategy share and commemorate Hull’s rich long programme of artists’ works made specifically for acknowledged the value of public art as helping to: cultural heritage and to respond to it Hull’s public places and spaces. afresh by commissioning new works ‘Create humane, entertaining and stimulating from contemporary artists. The curatorial New visual art commissions provided many surprising environment. Art is an attraction to visitors and a team deliberately chose not to prescribe and entertaining public interventions - ranging from source of pride for residents and users. It helps how artists should respond to the city, the intimate and personal, to the large-scale and mass- to create a sense of identity, which is important in but gave them a free reign to explore participation experience. Visual artists, architects development.’ it for themselves, bringing their own and designers were invited to respond to the city as a perspectives to the programme. The brief5 for Look Up positioned the artist stage and subject for their work. They were asked to commissioning process within the context of ‘the create new artworks that would engage a wide range historical evolution of Hull, its sequence of dynamic of audiences, giving them opportunities to explore, spaces and the ways in which, over time, artists had understand and relate to Hull’s heritage from many imaginatively contributed to the look and feel of the different perspectives. Some commissioned artists had an existing city.’ relationship with the city, whilst others were new to it. Programmed across all four seasons, four projects By inviting artists who had not visited Hull before to Freelance curators were contracted to curate the Look within two strands are used to illustrate how Heritage respond to the city for Look Up, the curatorial team Up projects, working through an iterative collaborative Lottery Fund Outcomes were delivered: hoped to enable people to see the city through a new process with an Executive Producer at Hull 2017. In the and different set of lenses. Ultimately, the projects • Look Up: first instance, the curators invested a great amount of for Look Up were commissioned to make people - Blade by Nayan Kulkarni (8 January – 18 their time in researching Hull and looking in detail at look at and experience the city in new ways. The March); artist practice connected to the city. Historical sources, curatorial team described their idea to stagger the including the city’s plans and records archived at Hull projects across time and space – as “intervention and - The Train Track and the Basket by Claire History Centre and with Hull City Council, alongside interruption rather than invasion of that space” – this Barber (7 April – 31 December); social and cultural reference points supplied by other was purposefully designed as “episodic interventions field experts including David Keel6 and Adrian Jones, - Elephant in the Room by Claire Morgan (8 that would come and go and get people back to the aka ‘Jones the Planner’7 , provided a foundation of August – 15 October); city to see them”. knowledge about Hull, from which the scope of Look • Humber Street Gallery: Up was conceived. In addition, Hull 2017 recognised the need for a space - COUM Transmissions (3 February – 22 for contemporary visual art to be able to put Hull The curatorial team described their vision for Look Up March) on the map and for it to make a contribution to the as one which: region’s visual arts infrastructure, whilst also adding • Is inspired by Hull and the City of Culture’s to and interpreting the city’s canon of art history. commitment to drawing on the past and present Humber Street Gallery opened in February 2017 as of the city in order to define and celebrate its a new gallery space for contemporary visual art. future It rooted itself in the history of contemporary art 96% practice inspired by the city. The building itself had of visitors to • Aims to transform people’s understanding, undergone many transformations over the years but Ferens Art appreciation and enjoyment of Hull through the its heritage has been keenly preserved through the Gallery said the imagination and creative skills of artists invited to efforts of the Hull 2017 Core Project Team. This has exhibitions they make work for and of the city been central to the cultural regeneration taking place had seen were in Humber Street. Scaling the breadth and depth of an enjoyable • Embraces different media and diverse experience Hull’s historical narrative – from its maritime history to experience – from immersive installation to participative, its post-industrial heritage – the temporary exhibitions cumulative work, including day and night-time provided a segue from season to season throughout presence. 2017.

Opposed to simply making the programme about historical representation, they approached Look Up

with the intent for a series of commissioned artworks 4Adopted 2000 to be understood by audiences as part of a continuum 5Look Up Briefing Note 180116 6http://www.humberlep.org/people/david-keel/ of creative practice in the city. 7http://www.jonestheplanner.co.uk/2014/02/hull-city-of-culture.html

52 HERITAGE EVALUATION REPORT EVALUATION REPORT 53 1.3.2. Outcomes for People The brief for Elephant in the Room by Claire Morgan referenced the fact that the Princes Quay Shopping Centre which opened in 1991 was built on stilts above the original Princes Dock, dating back to 1829. Artists were invited to research and develop a work that Look Up helped to place Hull back in the ranking as an industrial city and through association, the responded to the atrium space at Princes Quay. The commissions were designed to ensure that residents and visitors were more aware of Hull’s strong commissioned artist Claire Morgan created a striking tradition of making things. Creating a new narrative for the city was a key imperative. – and conceptually-challenging - large scale work that was suspended in the atrium. The curatorial team recalled how Claire Morgan immediately picked up on the maritime heritage connection with Princes Quay Artist Nayan Kulkarni’s installation took place early Its manufacture in Hull was made possible through and what this might have meant to people in terms on in the Made in Hull season with the dramatic Siemens’ £310m investment into transforming of how local residents felt about whaling being part temporary display of a single turbine blade installed Alexandra Dock, which opened in 1885 to service the of this history and how Hull was perceived by those in Queen Victoria Square. From an art historical export of coal from South Yorkshire collieries, into a outside the city, since a lot of Hull’s prosperity in the perspective, Blade is significant as a readymade. Blade new global facility for the manufacture, assembly and early 19th century was built on the whaling industry. enabled audiences to connect with different aspects servicing of wind turbines. of the city’s heritage, making the link with Hull’s manufacturing and trading heritage, which created a The curators observed how people responded to She went straight to what was strong emotional impact for people. Blade as a physical object – “everybody seemed to want to touch it” – and 403,808 interactions were “ underneath... rather than thinking recorded during its installation in Queen Victoria about the shopping centre itself… This was about helping to re- Square. Blade created a positive perception of Hull, sparked by what used to happen on “ instill that competence about a with 95% of audience survey respondents stating that that dock and the ships that used they agreed or strongly agreed that Blade showed city. There's a sort of collective the aspirations of the city now and in the future. The to come up there...it’s not just about unconsciousness in the city that installation also helped people to see Hull differently: finding something that happened we are the low ebb of managed 92% agreed or strongly agreed that Blade provided them with a different experience of the city; and 84% historically. It’s about the inherited decline of industry. The reality of agreed or strongly agreed that Blade made them think feeling or perceptions of the city and it is something very, very different. about Hull’s contribution to the world. In addition, how you can build on those or bring This sort of helped kickstart all of Blade got people to reconsider their views about art and the public realm: 78% agreed or strongly agreed those out. that… This was about this whole that Blade made them look at Hull’s buildings and ” continuing narrative through the public spaces in a different way; and 70% agreed Core Project Team Member year, which is exploring that and or strongly agreed that Blade challenged their looking for new stories and new understanding of art. narratives and new ways for a city to define itself. ” Core Project Team Member

Commissioned by Hull UK City of Culture 2017 in partnership with Siemens8 and with support of Green Port Hull9, the temporary public installation of Blade in Queen Victoria Square was achieved through partnership with engineering companies Arup10, Pearlgreen Engineering Ltd11 and DB Engineers12. Blade is one of the first B75 rotor blades made in Hull and at 75 metres long it is the world’s largest handmade fibreglass component.

8http://www.siemens.co.uk/ 9http://greenporthull.co.uk/about-green-port 10https://www.arup.com/ 11http://pearlgreenengineering.co.uk/ 12http://dbengineers.co.uk/

54 HERITAGE EVALUATION REPORT EVALUATION REPORT 55 Claire Morgan, together with her team, used 12,000 Claire Barber is a Senior Lecturer in Textile Practice fragments of paper and 4,270 individual threads at the University of Huddersfield. The Train Track and to create the life-size Bowhead whale in full view of the Basket was installed at Hull’s Paragon Interchange shoppers visiting Princes Quay. 32,616 people are Station and conveyed a conceptual approach to estimated to have visited Elephant in the Room. 86% textiles. The artist explored transmigration through of audience members reported that viewing Elephant the idea that craft skills and belongings traverse in the Room was an enjoyable experience. routes of passage, alongside people. She gave specific consideration to the history that is held in Hull’s Paragon Interchange Station and her work added sensitively to the memorials already in situ in Elephant in the Room used the building. The social history evoked by the artist created a value for people who viewed the work in the station; they were keen to share their own knowledge 12,000 about transmigration as part of their engagement with fragments of paper and the work. The reference to different styles of weaving from 4,270 different cultures was central to Claire Barber’s work. individual threads to create The process of double weaving recorded by the artist the life-size Bowhead whale is emblematic of how Claire Barber wished people to in full view of shoppers engage with The Train Track and the Basket as they visiting Princes Quay crossed paths entering into and out of the station.

She looked at the angle that was “ fascinating about styles and The link between the past and the present different ways of weaving that was made with respect to the relationships had been carried from Northern people hold with the places where the Europe right across to the States. artworks are sited, as well as with how they respond to the works themselves. And equally, Claire is from Northern The curators deliberately intended that Ireland, … bringing people from by placing new artworks in public spaces different backgrounds into the place people would take greater interest in and ownership of the spaces where the works gives it another angle. were sited. By revealing different artworks ” in unusual locations across the year, Look Core Project Team Member Up successfully managed to change people’s expectations about what a visit to Hull city centre had to offer. It is estimated that

The role of transmigration in Hull’s history was 73,320 explored in The Train Track and the Basket by Claire people engaged with Barber. The Train Track and the ‘During the period 1836 – 1914 Hull played a pivotal Basket at Hull Paragon role in the movement of ‘transmigrants’ through the Interchange UK. Over 2 million transmigrants passed through Hull at this time, en-route to the US, Canada, South Africa and Australia. The transmigrants originated from Denmark, Finland, Germany, Norway, Russia and Sweden. They would pass through the port of Hull Look Up has given the city a new confidence and then take a train to Glasgow, Liverpool, London or and respect about its image and its cultural Southampton, to the steamship services from these capital as well as adding to its list of heritage 13 ports to their ‘New World’ destinations.’ assets.

13Brief to the Artist – Transmigration Project

56 HERITAGE EVALUATION REPORT EVALUATION REPORT 57 From 3 February until 22 March, Humber Street Gallery 1.3.3. Outcomes for Communities housed COUM Transmissions, the first exhibition14 of materials drawn from the personal archives of Cosey Fanni Tutti and Genesis P-Orridge. Founded in Hull in 1969, COUM was an artists’ collective whose New visual art commissions for Look Up work confronted, subverted and challenged societal and the temporary exhibitions at the new conventions. Humber Street Gallery enabled hundreds of thousands of people to engage with The exhibition presented materials from the personal Hull’s heritage in a very accessible way archives of Cosey Fanni Tutti and Genesis P-Orridge, through its public realm and with the city’s but the creative team did not intend the show to be museums, galleries, collections that are free thought of by audiences as a retrospective. Instead for all to experience. they wished for COUM Transmissions to be seen as a ‘living creative archive’ informing the curation of the Made in Hull season, as well as the future programme Look Up in particular has been highly successful in at the gallery. The importance of recording this raising more awareness about the city centre and particular chapter of art history and telling this story as transforming it through artist commissions across the part of the Humber Street Gallery programme for City year. The public art programme provided a year-round of Culture was vital to documenting and presenting attraction that brought thousands of new visitors into this history as part of an international continuum of the city. practice directly connected to Hull. As well as giving the city centre a complete make over, We opened with COUM the visual art programme has significantly helped to boost the local economy. Blade had an estimated “ Transmissions - which is a story audience of over 400,000 people, with an average that has never been told in the of over 7,000 people visiting the structure each day history of art history –…(it) existed of the two-month period it occupied Queen Victoria Square in the city. Total spend by the Blade audience in a vacuum in post-industrial Hull was over £5m with estimated additional spend in the and the archive which formed the region of £1m. exhibition was not an archive –it For artists Cosey Fanni Tutti and Genesis P-Orridge, A pool of Hull 2017 volunteers were fully briefed on was just in cardboard boxes in the COUM Transmissions created an opportunity for a site and this helped them become very knowledgeable Tate (Tate Britain) … and had not renaissance of their relationship with Hull and the work and enthusiastic about the visual art programme, they produced there, putting this into a contemporary which they then passed on to visitors. Evaluation been seen since the 1960s and context for them. findings15 identified that women and respondents working with Cosey Fanni Tutti as from the most deprived areas of Hull were more likely the artist was not looking at the past to strongly agree or agree that Blade had made them look at Hull's buildings and public spaces in a different and saying “isn’t this great” – Cosey The COUM Transmissions exhibition and way. through an online music magazine COUM’s re-engagement with the city is detailing what happened in Hull provided a valuable new record of their Humber Street Gallery now finds itself in a thriving work, in the light of the fact that much of area of economic regeneration with the Wykeland in the late 1960s and continues to their past work had not survived. Group and housebuilder Beal Homes, coming together inspire the ‘extremes’ of art now – as Wykeland Beal to develop the Fruit Market, working in partnership with Hull City Council. The development entirely framed in post-modernity partners have hailed the launch of the £17m residential and what is happening now. There were 23,509 visitors to the COUM Transmissions scheme as the latest major chapter in the exciting exhibition. From the responses to the audience survey, transformation, building on the momentum of Hull’s ” 16 Core Project Team Member 70% agreed that the exhibition was an enjoyable year as UK City of Culture. experience; 71% agreed or strongly agreed that the exhibition encouraged them to visit more similar exhibitions in the future – indicating the sense of appetite within Humber Street Gallery’s audience for thought-provoking art. Following on from COUM Transmissions, Humber Street Gallery has continued to showcase contemporary art that is strongly rooted to Hull. 14Coum Transmissions exhibition curated by Cabinet, London and Cosey Fanni Tutti 15Hull City of Culture Look Up 1 – Blade - Information by Design, April 2017 16http://www.thebusinessdesk.com/yorkshire/news/2015248-developers- launch-17m-hull-fruit-market-residential-scheme?utm_source=newsletter&utm_ medium=email&utm_campaign=Yorkshire_9th_Jan_2018_Daily

58 HERITAGE EVALUATION REPORT EVALUATION REPORT 59 1.3.4. Learning for the Future

The Core Project Team (CPT) did not set out to curate a Building good relationships with local suppliers was It seems to be about trusting good The CPT were committed to making great art and visual art programme for City of Culture that explicitly essential to the successful realisation of the large-scale “ professional contemporary artists were open to this not always being literally about the linked to Hull’s history. However, they found artists, public realm projects. The production skills and talent city or a certain era in history. Blade for example was once invited to carry out their own exploration and available locally had to be of a high quality calibre to to engage with elements of heritage a readymade artwork that has challenged people to research into Hull, were inspired to create a personal deliver Look Up. as legitimate material, it's not about think about the ideas associated with art and not just response to its local heritage and culture and that they expect visual art to be a visual or structural facsimile of The CPT trusted the quality professional contemporary dressing up. put forward a very strong and diverse set of innovative the world around them. ideas. artists they selected to engage with elements of ” heritage as rich source material to inspire new ideas Core Project Team Member Hull 2017 has changed people’s understanding of It was important for the visual art programme to build for their commissions. Artists were guided by the public art. Investing in temporary installations has on what was already there in Hull – both the cultural briefs set, but were ultimately free to make creative changed and challenged people’s perceptions of and political infrastructure – to engender support for decisions. the city. The changing public realm programme has City of Culture. shifted everyone’s expectations about what is possible and what Hull is capable of; in effect, Look Up was successful in creating a complex, modern and dynamic identity for and about Hull.

60 HERITAGE EVALUATION REPORT EVALUATION REPORT 61 1.4. MUSIC Taking a similar approach, sonic artist Peter Cusack Overall, the PRS Foundation’s New Music Biennial26 was invited to develop a new sound archive using aimed to showcase the talent of the UK’s music sector, In developing the programme, music choices the sounds recorded by members of the public. As raise the profile of composers and performers, and focused on a range of quality new work, rather than Peter states, “you learn a lot about a city by asking present a snapshot of new music across all genres. It playing safe with a populist offer. Hull 2017 chose about its sound” and his project, Favourite Sounds was a free new music festival staged in Hull and then to take creative risks and push the boundaries of of Hull responded to Basil's interest in recording and London. This created a great spin-off for Hull 2017 people’s experience of contemporary music through manipulating music or sounds, creating it into music in that all of the stories told about the history and new commissions and composer residencies that that was uniquely specific to Hull. Peter worked with heritage of Hull were then shared with audiences in responded to different heritage themes and embraced the School of Arts and the Music Department at the London. University of Hull to get the sounds recorded from the the local music folklore revealed by local communities NMB presented 20 bite-sized pieces of new music from diverse backgrounds. suggestions that came forward. Favourite Sounds of Hull got people to think about the sound of their city across two festival weekends – in Hull across nine The music events which have successfully drawn on and document it; the sounds recorded in September different venues (30 Jun– 2 Jul) and at London’s the rich history and heritage of Hull include: 2016 then featured in Mind on the Run. There is now Southbank Centre (7 – 9 Jul), all broadcast on BBC a living sound archive of the city that is housed at the Radio 3 and available for download from NMC 27 • Mind on the Run: The Basil Kirchin Story – A live University of Hull along with Basil’s archive of music Recordings . There was also a Composer Residencies music festival (17 -19 Feb) celebrating the legacy tapes and sound recordings. Programme in Hull designed to enable local of Basil Kirchin, whose work inspired many other communities to spend time and create music with musicians, combining performances, talks and film Although Basil Kirchin’s work was quite obscure at some of the New Music Biennial’s music creators. screenings. the time, it was being discovered, and since, has been rediscovered by a younger generation of musicians. • New Music Biennial (PRS Foundation) – A Basil’s early music years were spent as a teenage This included Jonny Trunk at Trunk Records in London live music festival (30 Jun-2 Jul) comprising drummer playing with his father, Ivor, in The Kirchin who was given permission by Basil before he died performances by composers selected by the PRS Band, a popular big band formed in the 1930s; he then to reissue his material including some of the music Foundation, installations, new commissions and became a film and library music composer in the '60s, he wrote for the films that he scored back in the performances of pieces created by five composers composing the music for cult British movies, including '60s. He also found that Bob Stanley from St. Etienne in residency. The Abominable Dr Phibes24, and then moving on to was a huge fan along with Stereolab and identified recording albums, but without commercial success. that all sorts of areas of the British rock scene that 1.4.1. Outcomes for Heritage The team of co-producers came up with the idea of were growing up through the '70s to the '90s had an “immersive weekend” which combined the whole discovered him. Jerry Dammers of The Specials put Basil Kirchin (1927 – 2005) was described in 2017 as story of his life from the early days through to his more together a DJ set for Mind on the Run to mark this both “the forgotten genius of UK music”17 and “the obscure period in Hull where he was living when he aspect of Basil’s influence. first painter of music”18 but before 2017, his story had died in 2005. Basil’s time living in Hull in the late ‘60s not been told. He was even unknown to people in Hull, was very influential for him and the music he made at This influence was also captured in the PRS the place where he had lived and produced music for this time became known as ‘the sound of the Industrial Foundation New Music Biennial later on in the year about 40 years. North’. with Mercury Prize-nominated, Go Go Penguin, being commissioned by J-Night. Their new commission paid The album, Abstractions of the Industrial North tribute to Basil, drawing on a broad range of influences From an open call, five composers were selected for I mean, nobody in Hull knew about (1966), was typical of the ground-breaking music that from electronic to jazz and including references to the the PRSF Composer Residencies Programme in Hull “ Basil Kirchin. Nobody knew about Basil Kirchin made in the Fairview Studio in Hull. The Northern industrial landscape. 2017. Eliza Carthy, Brian Irvine, Sam Lee, Jason Singh him. It was like, I mean, I spent most album was culled from recordings he was making and Errollyn Wallen MBE were selected in September from natural and industrial sounds and then using 2016. From January until July 2017 they worked of the time talking to the volunteer techniques of slowing down and speeding up tapes of with community participants to create new music and support staff, and telling his the recordings to create their own identity; an identity inspired by the city and rooted in the experience of its that captures the sounds of Hull in the late 1960s. He inhabitants. The extracts from which were presented story. worked with many different artists, musicians and as part of the New Music Biennial weekend also woven ” also included recordings of a choir of autistic children together into a large-scale culmination piece, bringing Artist whom his wife, Esther, worked with. together community participants and musicians from all five residencies for a ‘supergroup’ moment - Roots The three day music event, Mind on the Run: The Basil in the City – created with the support of composer and Kirchin Story, took place at Hull City Hall and was co- workshop leader James Redwood. Roots in the City 19 produced by Serious , who worked alongside BBC was performed in City Hall on 2 July 2017. Radio 320 and Hull-based project partners, J-Night21, 17http://www.bbc.co.uk/news/uk-england-38688135 18 22 https://www.theguardian.com/music/2017/feb/16/basil-kirchin-the-first-painter- Nova Studios , and the School of the Arts, University of-music 23 19https://serious.org.uk/ of Hull . It was a celebration of what Basil Kirchin 20http://www.bbc.co.uk/programmes/articles/3qTzSg8RZZmnRkwBXzJZVgN/the- contributed to music in the UK and internationally, quiet-genius-of-basil-kirchin 21https://www.jnight.org/ where musicians brought alive his story together 22https://www.novastudios.co.uk/ 23http://www2.hull.ac.uk/Faculties/face/arts.aspx 26 through live music and film. 24https://en.wikipedia.org/wiki/The_Abominable_Dr._Phibes http://prsfoundation.com/ 27https://www.nmcrec.co.uk/recordings

62 HERITAGE EVALUATION REPORT EVALUATION REPORT 63 1.4.2. Outcomes for People

The interpretation of Basil’s music recreated for Mind on the Run helped people to learn about his music.

Sean O’Hagan’s new 55-minute composition in five As well as Sean O’Hagan, Mind On The Run involved sections commissioned for Mind on the Run provided artists including Alex Hawkins, Matthew Herbert, a live demonstration of how Basil Kirchin composed, Hidden Orchestra, BBC Concert Orchestra and Sonic moving from “written arrangement to improvised Youth who did not know anything about Basil Kirchin arrangement, very quickly”. Sean was trying to convey but were fired up about the opportunity to get the significance of Basil’s input to the development of involved and find out more about him. music composition by “signposting” Basil’s practice in this new composition. From his online research including the recorded interviews captured by Jonny Trunk before Basil died, Sean learnt about how Basil’s PRSF New Music Biennial 2017 in Hull and approach to experimental music had developed with London created a fantastic opportunity him, not being from a conservatoire, but as a “jobbing for new relationships between artists musician” influenced in one way by the development and the city as well as between different of technology and absorbing this into his broader organisations and artists. By working with the PRS Foundation, Hull 2017 was Each residency was curated and led by a NMB catalogue of experience. able to benefit from the new talent and partnerships, composer, supported by local music leaders, trainee as well as making a larger number of artists aware of student music leaders from the University of Hull and what Hull had to offer. additional professional musicians.

I didn’t know Basil had written music for Phibes. I saw a Jazz ensemble, I think The new commissions in Hull were also deliberately “ there were 12 artists on stage including a concert harp I didn’t know in Jazz you We are the most respected talent given a local influence by setting up the residencies could play a concert harp… and the university organist was on the City Hall “ development and music industry and working with local and national arts and community organisations including BFI National organ and they very carefully and very successfully illuminated him, there funder so we were able to reach a Archive28, J-Night, Open Doors29, Opera North30, Sound was an organ piece on the film, he played it. The big cape, hands like this [waves lot of really influential musicians UK31, Warren Records32 and Yorkshire Film Archive33. arms], it was stunning. Absolutely superb. I didn’t know, I’d never heard of Basil and composers of very different The combination of creative talent involved overall brought about a rich music programme for NMB that Kirchin, but was intrigued by his story and really pleased that it plugged a bit backgrounds and get them was truly evocative of the heritage of the host city, into one of my favourite films. stimulated in thinking about a city Hull.

” that they may not have otherwise Eliza Carthy is a traditional folk musician and Audience member thought about. composer. She is the winner of five BBC Radio 2 ” Folk Awards and currently Associate Artist at Sage Delivery Partner Gateshead. Commissioned by Hull’s Freedom Festival her new piece, Rivers and Railways was a collaboration with celebrated sonic artists, Moulettes; it explored the Twelve months ahead of the New Music Biennial idea of what makes a city what it is when it is perched in Hull, the PRS Foundation convened a Composer on the edge of a place, a port, a destination, an identity. Gathering of all the participants and this helped to Touching upon themes of migration, Hull’s industries embed the relationships between creatives and and history for Rivers and Railways, Eliza tapped commissioning organisations near the beginning of into local stories and music to create the new work, their commissioning process as well as to introduce creatively staged at the outdoor amphitheatre Stage@ them to the city of Hull and the different venues, TheDock and performed with Hull Freedom Chorus34, spaces and people potentially available to them. a community singing project supported by Hull City Hull City Council’s Arts Development Officer, Clare Council Arts Development Unit as part of the city’s Drury, was integral to connecting the musicians to the strategic choral development plan, Singing City. community groups and networks relevant to the work they aimed to develop.

28http://www.bfi.org.uk/archive-collections 29http://opendoors-hull.org.uk/ 30http://opendoors-hull.org.uk/ 31http://www.sounduk.net/page/about/ 32http://warrenrecords.org/ 33http://www.yorkshirefilmarchive.com/welcome 34https://www.facebook.com/pg/hullfreedomchorus/about/?ref=page_internal

64 HERITAGE EVALUATION REPORT EVALUATION REPORT 65 Hull-born musician Daniel Elms, focused on the city’s Sam Lee was interested to make connections with The eventual repatriation of the maritime history. Hull’s traveller and fishing communities to support his interest in folk songs. In creating his new composition, “ material has been important in Hull as an opportunity to see I wanted to be involved with the Hullucinations, as part of Nest Collective, he worked with a diverse selection of people and parts of the contemporary music and the “ redevelopment of my hometown. Hull community, the most notable being the Mariners Brethren and the Council’s Gypsy Liaison Community making and the practice being My hope was to showcase my work so directly involving members and the work of my colleagues from and G&T Services who helped arrange the meetings and sourcing the contributors. He also partnered of the community especially the 36 the city, and work towards building with the Song Collectors Collective to allow more G&T community and the Shipping an international (or at least extended hands-on work to be done with the material beyond 37 Trawler community. The response national) platform for the city. the performances and SoundUK to support in the working journey together. This created a challenging from them has been incredible ” but personally rewarding experience for Sam. Artist Connecting the travelling and trawler communities seeing the pride to be included so with their old folk songs was one of the key successes directly and centrally in a piece of His new commission, Bethia was influenced by the with Hullucination. art like this.

natural landscape surrounding Hull. His piece for ” acoustic and electronic instruments celebrated the Artist maritime history of Hull using re-imagined sea shanties and maritime hymns. It was performed alongside projected film footage supplied by the BFI National Jason Singh created a 23-speaker, sound installation Archive and Yorkshire Film Archive that has been for Hull History Centre, Ebb and Flow, which explored edited and adapted to create abstract ambience and people’s memories of Hull through a unique 3D light. Written for a small group of chamber musicians fully immersive sound experience. The installation the music presented an interweaving of cross-rhythms included stories, songs, memories, vague and vivid and interlocking harmony to create a texture similar accounts of past seasons and spaces that once existed. to that of a tremulous sea. Daniel’s involvement in The content of the installation has been derived NMB as part of Hull 2017 has led directly to a future from various workshops working with people of commission and the suggestion of a few more. different ages, cultures and communities in Hull, with contributions from local artists Jez Riley French, Wai Wan and the Hull Freedom Chorus Choir.

Errollyn Wallen, Belize-born British composer, is the first Black woman to have a work performed at The Proms. Commissioned by Rev John and Mrs Carol Wates and produced by Oxford Contemporary Music to mark the bicentenary of the Abolition of the Slave Trade Act (1807), Mighty River explores themes of slavery and freedom and combined spirituals and contemporary classical techniques; the performance involved Errollyn’s ‘barrier-breaking’ Orchestra X.

Spirituals were introduced to Hull in 1871 by the Fisk Northern Ireland composer, Brian Irvine, chose to work Jubilee Singers, an African-American a cappella choir in a specific geographical area just outside the city of ex-slaves. Mighty River takes inspiration from centre to the east. The area located in Hull’s Drypool William Wilberforce. Local musicians Gary Hammond ward is economically-deprived with housing nestled (formerly of Beautiful South, now folk and session amongst industrial units. Brian chose to base himself in ‘Fourth Visit to Great Britain The Fisk University musician), Pete Jack and Frankie Banham (aka Mambo the area and this helped him embed into the local area Jubilee Singers’, 1898 programme, Hull Museums Jambo) supported Errollyn’s Hull residency. Together and to be able to run open workshops in developing Collections they worked with pupils and parents from two classes the creative work, 13 Vices. Participants were involved in Thoresby Primary School as well as with refugees, through Mersey Primary Academy and local day migrants and asylum seekers through community centres. Commissioned by Moving on Music35, 13 programme Open Doors, located at Prince’s Avenue Vices was performed at The Guildhall by Brian Irvine Methodist Church. and Jennifer Walshe, bringing many of the project participants into one of Hull’s landmark buildings

to experience the culmination of their collaborative 35http://www.movingonmusic.com/ 36http://songcollectors.org/ music-making. 37http://www.sounduk.net/

66 HERITAGE EVALUATION REPORT EVALUATION REPORT 67 Errollyn also featured in WOW Hull. She contributed From the audience survey data analysed by The to a performance at the festival launch, ran a Audience Agency, it is evident that PRSF New Composition Lab with professional cellist, Sarah Music Biennial created an enjoyable experience Suckling and was part of a panel discussion, linking her for audiences with 79% and 83% in London and role as a female composer to that of Hull ‘trailblazer’ Hull respectively saying they enjoyed or very much Ethel Leginska. The Composition Lab allowed a enjoyed the pieces they saw. In Hull, this level of group of people ranging in ages from 4 to 65 years to enjoyment was the same between first time attenders compose music for solo cello in a day. It provided an to a new music event and previous attenders. In Hull, exciting opportunity to extend the reach of Errollyn’s 53% were attending new music for the first time. work and for people to explore the compositional Overall, 97% of Hull respondents rated the NMB process which was well received by all involved. weekend celebration as very good and good. 87% of Hull respondents stated that they are very likely In addition, Opera North commissioned celebrated and likely to seek out similar new music events in the musician Gavin Bryars to create a new installation, future as a result of their experience at NMB. Winestead. The composition was inspired by the 12th Century Church of St Germain, Winestead, near Hull. Reflecting on the eerie, flat landscape around Winestead and the Humber Estuary, home to the 17th Century metaphysical poet, Andrew Marvell, Bryars’ music is a meditation on time and place. The film was made during a live performance of Winestead in the church itself in June 2017. It was performed by the Gavin Bryars Ensemble, with tenor John Potter singing words written by Marvell about the area and its unique landscape.

The partnership between Hull 2017 and PRS Foundation has proved to be a great success and made effective use of bringing resources together to commission and deliver NMB.

Nearly 6,000 people attended the ‘bite-size’ presentations for NMB in Hull. The format involving 20 commissions on the hour, every hour across a whole range of different venues, was successful in providing tasters of new music to audiences whilst opening-up an awareness of the historic places and spaces they were staged in and related to, including for example, Hull’s Bankside Caravan Park, City Hall, Früit, The Guildhall, Hull Minster and St Germain’s Church, Winestead.

68 HERITAGE EVALUATION REPORT EVALUATION REPORT 69 1.4.3. Outcomes for Communities The audience at the City Hall was The evaluation report for the PRSF New Music Biennial “ ... There was an age range that 2017 found that whether in London or Hull, the For Mind on the Run, there were 1,389 attendances format and presentation of NMB had real impacts for went from children through to 38 across five events. The full richness of the living audiences; the report concluded: musical archive of Basil Kirchin, created by all the people in their late 70s, maybe “Whether audiences are first time attenders to new fragile connections drawn together by the likes of Alan early 80s. It was supported out of music or previous attenders, with different levels of Barnes, Jon Brooks, Keith Herd, Sean O’Hagan, Matt massive curiosity. I'm sure … a lot interest culturally and in relation to new music, the Stephenson, Jonny Trunk, Jane Weaver and Richard experience is equally highly rated and inspiring. The Williams, to produce Mind on the Run only became of those people were fans ... They event also continues to introduce audiences to new apparent during the event at City Hall. had a cultural interest. They were music.” music fans. I would say some of Nearly half of the attenders in Hull went to see One of the really fascinating things them wanted to be part of the more than four of the pieces performed in the NMB “ was that we showed the film to a experience and wanted to support programme and nearly half were there for the whole Hull's celebration of this character… weekend. There was a broad age range of attenders really packed house of people who'd in Hull, 17% were aged 16-34 years; 33% 35-54 years; known Basil Kirchin in the city. the audience was absolutely a very 30% 55-64 years and 20% 65+ years. 14% of Hull They all came out of the woodwork massive cross-section. Very, very respondents identified as having a limiting health receptive, very attentive, smiling, problem or disability (5% in London). 89% of Hull fascinated and fascinating. I ended respondents were White British. up sitting next to his dentist. It and they absolutely loved it. They was amazing and we had got the were all on their feet at the end, drummer for the Ivor Kirchin Band which is beautiful, wonderful. who's probably about 90. ” Artist ” Core Project Team Member

The collaborative effort of bringing contemporary Visiting and resident musicians alike musicians together as part of Hull 2017 to re-create came away from the Hull 2017 with a very Basil’s music, has successfully created the opportunity positive impression overall of their time to build on the attendances for Mind on the Run and spent in Hull. Musicians involved found to continue to connect many more new audiences themselves welcomed whole-heartedly with his work in years to come. Mind on the Run by local residents and that their creative has highlighted how Basil’s music is being kept alive work was enriched by the people and and continues to be relevant by today’s musicians places they discovered there. continuing to collect and play his music and reference it in their own music.

Commissioning a music weekender about a musician 69% of ticket bookers in Hull came from medium to who was not well known in the music industry, lower culturally-engaged segments, whilst 30% came let alone by music audiences was an extremely from highly culturally engaged segments, from the risky approach to take in the first Hull 2017 season. Audience Spectrum39 segmentation system. However, together the co-production team managed to make it work as a memorable and high quality For PRSF New Music Biennial, audience survey data experience for audiences as well as giving Basil his reveals that 41% of respondents were in Hull to see a due respect in the industry. Hull 2017 helped Basil’s particular NMB performance and 33% to enjoy NMB work to be reappraised within the music industry. generally. 71% of respondents in Hull had heard about Most significantly Mind on the Run did reach a diverse the PRSF New Music Biennial before visiting; 27% were audience base, not just industry professionals, but one attending for a day and 44% for the whole weekend. involving an interesting mix of people.

38Evaluation Report of the New Music Biennial 2017, The Audience Agency, Penny Mills, September 2017, page 9 38https://www.theaudienceagency.org/audience-spectrum

70 HERITAGE EVALUATION REPORT EVALUATION REPORT 71 Although a great success, running a new commissioning process alongside a residency Working with the right partners has programme placed a significant stretch on the proved to be incredibly effective for the time and resources of the musicians and partners music projects presented in the Hull 2017 involved. For example, for Sam Lee’s residency in a programme. school environment, he was concerned as to whether his intervention would create any lasting impact without future investment by the school into its music provision to sustain the pupils’ interest and ability with In this instance, the right partners have been people music. and organisations who can bring new ideas and a different perspective about Hull to the table, along The continued investment of the PRSF into Composer with an extensive range of creative contacts. The PRS Residencies in Hull will no doubt add to the project Foundation is a great exemplifier of this. partnership learning and will hopefully lead to a better understanding about how to create the right One of the PRS commissioned musicians commented conditions for artists to producing new compositions on how successful the effect of staging a festival whilst realising meaningful creative outcomes with that was based on a walk-able, multi-sited, free ticket local communities. format was for NMB in Hull.

I know this as our performance space (Hull Minster) was open to the public “ during rehearsals and I had the opportunity to speak to a handful of locals who walked in and enquired about the event — they were then seen at the concert. I think this was aided by the fact the entire city has a lot of free/cheap cultural outlets on its doorstep this year, so people are more keen to explore. ” 1.4.4. Learning for the Future Artist

Presenting a weekend festival about a musician Despite this, the risks were worth taking since it whose work was not very well known, and thought established how much Hull 2017 was setting out to be “challenging”, was a big risk to take in the first to surprise people by presenting new and unusual season since Hull 2017 had yet to establish its artistic musical ensembles rather than simply entertaining credentials with local communities as well as within them with well known artists. Investing and trusting the professional industry. There was a large capacity in the ideas and skills of the musicians involved led to fill at City Hall and the venue was perhaps not the to a really innovative programme for Mind on the right choice once the programme had come together. Run, and this creative freedom was appreciated by Alongside this, operational systems, particularly online the musicians who committed much more time and booking and marketing channels were still being energy to the project as a result. developed. With all the new material created for Mind on the Run, Artists suggested that their approach to selling a recommendation came forward about the need to Mind on the Run would have been to have a have an earlier plan in place for what was going to be suggested ticket price rather than a fixed one. They done with the material going forward, for example, also recommended that other, more alternative, creating another opportunity to stage or distribute the approaches to marketing would have been more work. At this point, it is understood that the creative effective such as, obscure flyposting, or using legacy from Mind on the Run is that Basil Kirchin’s implied messages through social media, to generate archive is now housed at the University of Hull. Also, more curiosity in Basil Kirchin, rather than obvious there are now documentary films made about Basil marketing promotions. Kirchin by Nova Studios as well as a whole raft of new music inspired by him. Sean O’Hagan is planning However, Mind on the Run was developed in a very to create a way to distribute his composition and is short timeframe. This proved challenging for the team interested to be able to perform it again. of co-producers since the full programme was only able to be realised at the latter end of 2016 and this did impede the impact of marketing and communications. All in all, this made Mind on the Run a tough sell right at the start of 2017 and bookings were lower than expected.

72 HERITAGE EVALUATION REPORT EVALUATION REPORT 73 1.5. SUMMARY

Using art to explore history and heritage with Hull’s Look Up helped to promote Hull as an industrial city UK City of Culture programme has drawn upon and the commissions were designed to ensure that the strengths of individual art forms and delivered residents and visitors were more aware of Hull’s strong outcomes across all six of the HLF’s heritage themes. tradition of making things. Creating a new narrative for the city was a key imperative. Look Up has given The 2017 programme at Hull Truck harnessed the city a new confidence and respect about its image Hull’s love of history to interpret and explain Hull’s and its cultural capital as well as adding to its list of past. Across the diverse programme, the theatre heritage assets. New visual art commissions for Look productions have connected people with different Up and the temporary exhibitions at Humber Street chapters of history, both within living memory and the Gallery have enabled hundreds of thousands of people more distant past. Theatre audiences and participants to engage with Hull’s heritage in a very accessible way expressed how powerful and insightful the storytelling through its public realm and with the city’s museums, was and how this enabled them to take on board new galleries, collections that are free for all to experience. and detailed historical knowledge. The production team gained an appreciation of how to use heritage to create better empathetic connections with audiences, capturing people’s imagination and taking them on a journey in a moment in time from start to finish. By evoking the impact of history on people’s lives, past and present, these theatre productions have managed to increase people’s interest in history and site specific productions have brought individuals to historic buildings for the first time.

The music programme successfully tapped into a popular appetite for listening to and making music in the city by working with artists who were keen to mine Hull’s musical heritage. The interpretation of Basil’s music recreated for Mind on the Run helped people learn about his music and the artists and audiences that came together indicate that the city is now rapidly becoming a much more sought after destination. PRSF New Music Biennial 2017 in Hull and London created a fantastic opportunity for new relationships between artists and the city as well as between different organisations and artists. Working with the right partners has proved to be incredibly effective for the music projects presented in the Hull 2017 programme.

Across these three art forms (theatre, visual arts and Working with visual artists during Hull's year as the music), projects within the Hull UK City of Culture 2017 UK City of Culture 2017 offered a timely intervention, programme brought in artists from across the UK and sharing and commemorating Hull’s rich cultural the world to explore local heritage and to tell national heritage. The curatorial team deliberately chose not to and international history stories. These projects also prescribe how artists should respond to the city, but contributed to the development and expansion of the gave them a free reign to explore it for themselves, city’s arts and cultural sector and infrastructure. bringing their own perspectives to the programme.

74 HERITAGE EVALUATION REPORT EVALUATION REPORT 75 2.1. INTRODUCTION 2. MOMENTS OF This chapter draws upon the experience of four key projects, each marking moments of celebration within the Hull UK City of Culture 2017 programme:

• Made in Hull – a celebration of being Hull and the UK City of Culture 2017; the opening event and season CELEBRATION • LGBT50 – a summer festival celebrating the 50th anniversary of the partial decriminalisation of homosexuality in England and Wales

• Larkin: New Eyes Each Year – a celebration of one of the city’s most famous and valued sons

• Land of Green Ginger – Act I: 7 Alleys – a celebration of Hull’s community spaces, stories and places

• Each and every one of these projects used high quality, creative and innovative artistic practice and engagement inspired by and celebrating the heritage of Hull. “ Few exhibitions have made me smile - and quietly weep ” Audience Member KEY FINDINGS

• Artists working in partnership with heritage • Learning more about heritage and history professionals offered mutually beneficial through the arts was a transformative and and rewarding skills sharing. profound experience for some audiences, changing entrenched attitudes and • When people enjoyed the arts events they behaviours and contributing significantly experienced, this contributed to increased to community cohesion and improved learning and engagement with the heritage wellbeing. and history involved. • For meaningful community engagement, • Heritage-inspired arts projects offered it was necessary to be visible and engaged diverse and enriching volunteer where those communities are. experiences, contributing to self-confidence and self-esteem. • Using arts-based approaches enabled history and heritage to be transported • The arts and artists provided a safe space to public spaces and create wonder and to facilitate dialogue and debate around spectacle, marking it out as an exemplary contentious or sensitive histories, leading to tool for learning and interpretation. increased learning and empathy and often stimulating further research.

01 31 JAN DEC

Hull’s UK City of Culture 2017 programme used art to explore history and heritage through theatre, visual arts and music in spaces and places across the city from shopping centres to the Humber Bridge.

76 HERITAGE EVALUATION REPORT EVALUATION REPORT 77 2.2. MADE IN HULL

The opening event of Hull’s year as UK City of Culture and the first season, Made in Hull was a large scale and comprehensive celebration of the city - a statement of intent of how Hull 2017 intended to (re)position the city, engage in meaningful ways with its communities and produce innovative and inspiring major events with their own legacy.

Staged across the city centre, Made in Hull was to tell the story of Hull in surprising and stunning ways through a series of commissions by local and international artists. From the devastation of the Second World War, through the good times and the hard times, it was to be an exploration of Hull’s heritage and its characters at work and play.

The Made in Hull opening event used large-scale projection on buildings, illuminated skylines, soundscapes, shop windows and live performance to celebrate the last 70 years of life in the city. A spectacular trail saw the streets speak and buildings tell stories.

As the opening for Hull 2017, Made in Hull started on 1 January and ran for seven days until 7 January. The event began each day at 4pm and finished at 9pm, with installations running on a loop (most with a short interval in between each showing).

On 1 January, Made in Hull was also accompanied by In With A Bang – a ticketed event to mark the first day of 2017 and celebrate the start of the opening event - which began at 8:17pm (20:17) and ran for roughly 20 minutes.

Of the 12 installations along the Made in Hull trail, 11 of these were commissioned specifically for the event. In addition to the commissions, one further artwork was included within the trail, which was a project within the Hull 2017 Creative Communities Programme and was felt to be a perfect fit for the event.

An extensive evaluation was undertaken of Made in Hull and the relevant information related to HLF outcomes for this report has been sourced directly from that overarching evaluation.

78 HERITAGE EVALUATION REPORT EVALUATION REPORT 79 Audiences fed back rich testimonies on how the way The stories that I saw were the ones that the heritage had been presented connected “ that you know, my grandparents had with them, brought history to life and helped them to understand the heritage of the city better. told me about, my dad brought up and I recognised them all, and it felt I think for me it’s more of the like it was people coming out and “ historical elements, you know the hearing those stories. ones that happened before my time? ” Audience member I think those ones because those are quite a lot of the stories that we grow up on living in Hull and to have Hull’s history and heritage was the driving force behind the concept and creative development of Made it depicted on the walls is absolutely in Hull and a decision was made to be unashamedly brilliant. “Hull-centric”. This was reflected in the consultation ” with delivery partners, several who provided archive Audience member content - including film, maps, books, and images. As an additional layer, Made in Hull purposely chose not to just present a factual retelling of the city’s memories In drawing upon existing artefacts, archives and and stories. It had a desire to interpret the history in historical collections to develop Made in Hull the a way that gave people new perspectives and stirred project team and artists identified and captured within them an emotional response. heritage narratives that had not been told publicly before, particularly in such an open and accessible space. A number of new heritage ‘outputs’ such as We didn’t want to tell the dry history film and oral histories were created as a result of the “ but the lived history. We want project. Audiences responded very positively to the to express how that history has 2.2.1. Outcomes for Heritage narrative and interpretation of the heritage. brought us to 2017. In addition: 94% of Made in Hull audiences agreed or ” strongly agreed that the event had made them feel Core Project Team Member For the project team, artists, heritage more connected with the stories of Hull and its people; partners and audiences, Made in Hull 97% of audiences strongly agreed or agreed that using provided an undisputed triumph of art works to present the history and heritage of Hull interpreting heritage. The arts-led had made the history and heritage more interesting; Knowledge of Hull’s history and heritage increased significantly because of the Made in Hull project: approach to bringing the heritage to life and 100% of delivery partners strongly agreed that • 93% of audiences strongly agreed or agreed that using art works to present the history and and light engaged and connected people using art works to present the history and heritage heritage of Hull had made the history and heritage easier to understand. on a much deeper level than a more of Hull had made the history and heritage more traditional interpretation approach might interesting. • 31% of audiences felt they had learnt a lot about Hull’s history (score of 9 or 10 out of 10), with have. 37% having learnt much (score of 7 or 8 out of 10).

In a way we wanted to make it an • 29% of audiences felt they had learnt a lot about Hull’s heritage (score of 9 or 10 out of 10), with “ outdoor, interactive museum… but 42% having learnt much (score of 7 or 8 out of 10). On average, in response to the question ‘If you were asked to give Made in Hull a star rating out of five, museums have a responsibility to where one star is ‘Poor’ and five stars is ‘Excellent’ - present information without slant. how would you rate the project’s success in presenting Artists have their own interpretation Hull’s history and heritage to audiences?’ the lowest average score was 4.5 (i.e. Good to Excellent) across on historical events. the Core Project Team, Artists, Peer Assessors and ” Delivery Partners. Core Project Team Member ATTITUDES AND BEHAVIOURS CHANGED IN 2017 People are prouder to live in Hull

80 HERITAGE EVALUATION REPORT EVALUATION REPORT 81 The Creative Project Team (CPT) and artists also The stories that audiences discussed learning most The migration piece challenged perceptions about engaged with several heritage institutions and about included the trawler tragedies and stories of diversity in Hull and resulted in some audiences professional historians to augment their own existing migration to Hull. People were surprised by what they changing their attitudes about the people who make knowledge of this period, as well as to uncover hidden learnt about this history and in many cases wanted to up the collective Hull community. aspects of the city’s past that could be shared with find out more. audiences. Yeah it was interesting to see I think it fed you enough information “ everything that you don’t know I’ve learnt a huge amount about the “ for you to want to go away and have about really. Like all of the “ history of the people of Hull and the a look at a little bit more. It certainly immigrants that we’ve had, you role that migration, immigration and fed your imagination, because I’ve just think of the main ones like transmigration have played in the been on internet, I don’t usually a lot of people have come from makeup of the community. bother with internet, and I’ve been Pakistan and Poland and stuff ” looking at all sort of things from Artist like that, but you never realise there and I’ve learnt a lot. they’re from everywhere. You just In common with the points above around ” kind of generalise them. It’s quite interpretation, audiences felt that the arts-led Audience member approach had greatly contributed to them learning bad but everyone does it. But it more about heritage. The biggest change in attitude noted through the makes you think, people are from evaluation of Made in Hull was a significant swing everywhere. It’s an easier language, I guess if change from scepticism, negativity and a lack of self- confidence as a city to self-belief, positivity and pride ” Audience member “ people don’t like to go to galleries in what Hull is capable of and who Hull is. or museums, they feel it’s not for them. Academia, it’s not for Some audiences talked about behaviour change for I was one of the City of Culture’s the better through the event being a facilitator that got everybody is it, so it’s a language “ sceptics…because I was expecting people talking to and more interested in each other. that we all understand and we can it to fall flat on its face and I have participate in. So I think that was been so, so turned around it is I’ve got some elderly neighbours one of the major successes of the unbelievable. I’m so proud of it. “ and I did sort of ask them about event… Everybody understood it; ” what it was like for them during the everybody could take something Audience member war and their experiences, and I’ve from it. been round and had a cup of tea ” with them, which I would never Audience member have done normally. And I work in a shop, so I’ve asked some of my customers about things. So yeah it’s inspired me to try and find out more. ” Audience member

82 HERITAGE EVALUATION REPORT EVALUATION REPORT 83 94% of audiences surveyed strongly agreed or agreed that they felt welcomed by volunteers.

I was so impressed with the “ volunteers more than anything to be honest. I spoke to three or four From the start of the volunteering programme of them and they were absolutely fantastic. through to the end of 2017, ” over 2,400 volunteers Audience member undertook over 84,000 shifts. That’s a total of 337,000 hours valued at £5.4m

Two members of the CPT and three artists had This developed how we work previously worked on projects that were inspired by “ in many aspects. Community heritage and commemoration. In this sense, working on the project had been a new experience for many engagement was a big one because of the creatives involved. Working with heritage and we engaged with so many different commemoration had clearly been an extremely communities with this work. In positive experience for all involved, with 10 stating that they were very interested to work on similar types of general, we really learnt how best to projects in the future. work with the artistic community. Amongst CPT members, artists and delivery partners, ” Delivery Partner the most likely skills to have been gained or developed were: Every piece of feedback from the Made in Hull • Artistic / creative skills (e.g. art forms, artistic evaluation supports the fact that the event and the techniques) way it was presented provided a hugely enjoyable • Project development experience. Happiness, surprise and anticipation were the three most reported emotions experienced • Museums, libraries, and archive skills (e.g. through Made in Hull and 98% of audiences said researching archives, cataloguing, conservation, Made in Hull gave everyone the chance to share and interpretation) celebrate together. • Project management

• Audience development Over 300 volunteers were trained to • Production and technical skills support with the delivery of Made in Hull. The positive feedback on the volunteer • Team working experience was very strong and indicated Although not called out specifically through the that the volunteers were an integral part quantitative analysis, the partnership working between of the process, learning and enjoyment heritage professionals and artists was another skill for audiences. developed skill that came through the qualitative feedback from both.

84 HERITAGE EVALUATION REPORT EVALUATION REPORT 85 2.2.3. Outcomes for Communities The Made in Hull evaluation report provided solid 2.2.4. Learning for the Future evidence that the event had contributed to Hull being a better place to live, work and visit. Improved relationships and understanding between different The statistics evidence that Made in Hull parts of the community and generations was a stand Using the arts to interpret and explain attracted a very large audience. They also out factor for this. Being more connected to the city heritage in the public realm has a support the finding that the audience was and community was also felt to be a key motivator in powerful place making effect, as well as representative of the Hull community and unifying people and adding to the feeling that the local making it more accessible, engaging and more diverse than traditional audiences area and community was better. enjoyable from a learning perspective. for heritage attractions. Of particular note was a greater number of people Nearly all audience members stated Made in Hull attending from deprived areas. placed the community at the centre (94%). 80% of audiences agreed or strongly agreed that Made in There are mutually beneficial skills and continual Hull had inspired them to talk to people from other professional development opportunities arising generations about the stories presented. 80% of from artists and heritage professionals working in audiences responding to the Made in Hull post-event Some audiences reported that until the event they partnership. audience survey strongly agreed or agreed that there had not visited the various museums and galleries in was ‘more to Hull than [they] had expected.' Nearly all Large scale arts and heritage events play an important the city but that Made in Hull had encouraged them audience members stated Made in Hull made them economic role, particularly for the visitor economy. to make these visits in the future. Audiences also feel more connected to the stories of Hull and its reported back that the event enabled them to spend people (94%). 88% of 16-34 year olds, 76% of 35-54 The arts can provide a great ‘leveller’ for diverse time with people they would not have normally spent year olds and 79% of 55+ year olds agreed or strongly communities through creating a shared experience time with. agreed that Made in Hull has made me think more and commonality that unites people and facilitates positively about people from other generations. discussion and debate. The interest and appetite for 24,762 tickets to In With A Bang went on general “sale” history and heritage is strongest when it is relevant and sold out within 60 minutes. 3,248 were locked The sense of pride in Hull being significantly increased and real to local people thus connecting them to distribute amongst Hull residents (via community as a result of Made in Hull was also a key factor in emotionally to the narratives involved. groups), partners and staff. In addition to this, tens of making the local area and community a better place to thousands of people experienced In With A Bang from live, work and visit. outside of the official gated area at vantage points across the city. I really got a sense that it told people There was a total estimated audience of 327,324 for Made in Hull over the seven days of the event, not “ that actually, you’re really good. including people who only attended In With A Bang. It I think it gives you a start with the Look at all your past and heritage is estimated that 15,000 unique visitors went only to In “ information… If you really want and look at Siemens coming in, and With A Bang and did not attend the rest of the Made in to know about it, you’d have to go Hull event. This makes a total audience over the seven this is your new future. Someone’s days of 342,324. away and look that up yourself…I invested in the city, and I felt it did have heard lots of people saying, The post-event audience survey shows that 37% suddenly make people think ‘yeah, of audience members attended Made in Hull more it’s not just the fact that they went we’re really good here in Hull.' than once. Made in Hull was successful in attracting to that and they enjoyed it and residents from the most deprived areas of the city. they got an emotion from it, people Audience member ” 68% of Made in Hull audiences said it had given them the opportunity to interact with people who they are now saying they’re gonna go The estimated spend recorded for the Made in Hull would not normally have interacted with. in the Maritime Museum, they’re evaluation report as well as the feedback from local gonna go in the Ferens Art Gallery, businesses evidence that the local economy was and it’s making people interested undoubtedly boosted through the event. 213,178 individuals had an estimated total spend of nearly £3 about the place… Now they want to million. 50.8% of local businesses reported a positive go into [museums and galleries]. I impact on their business during Made in Hull. 12 out of was talking to a woman the other the 18 (66.7%) visitor economy businesses surveyed said it had a positive or very positive impact on their day and she was about 35, never business. 37% of businesses reported an increase been into an art gallery in her life, in turnover (when compared to the same time the but she’s going in. So it’s served as a previous year). springboard. ” Audience member

86 HERITAGE EVALUATION REPORT EVALUATION REPORT 87 2.3. LGBT50

LGBT50 was a festival of events celebrating the 50th anniversary of the partial decriminalisation of homosexuality in England and Wales in 1967. It took place throughout the summer months with a concentration of activity in the last week of July. The Duckie collective collaborated on Pride in Hull’s presentation of the first UK Pride parade featuring 50 handmade and oversized LGBT icons – 50 Queers for 50 Years. The parade ended with a Pride concert in Queen’s Gardens and a headline performance by Marc Almond.

Pride in Hull also presented a series of events including: a photography exhibition using publicly- submitted photographs to tell the LGBT+ story before the decriminalisation of homosexuality in 1967 and in the 50 years since; a new piece of theatre written and performed by local young people’s theatre group Aposarts, around the topic of homophobia in school; a film festival; a comedy night; Polari literary salon; and an LGBT+ Entrepreneurs event.

Throughout the summer, Humber Street Gallery presented The House of Kings and Queens: a specially commissioned exhibition of photography by Lee Price.

Celebrations culminated on 29 July with three events. A summer tea party by the inimitable Duckie featured a 50-performer dance show by Gary Clarke and Yorkshire Dance celebrating 50 years of queer culture, special performances and dancing to the London Gay Big Band. BBC Radio 2 presented I Feel Love, a live concert from Hull City Hall broadcast on Radio 2 and Red Button which is part of the BBC’s Gay Britannia season. Fuel Nightclub hosted the Official LGBT50 Afterparty curated by Duckie.

In addition, Lost Property was a learning and participation project based around writing and produced a zine that was distributed at LGBT50 events. LGBT50 highlighted local queer histories, it attracted over 95,000 audience attendances and nearly 3,500 community participants

88 HERITAGE EVALUATION REPORT EVALUATION REPORT 89 2.3.1. Outcomes for Heritage LGBT50 provided a plethora of ways of identifying and recording the hidden heritage and history of the LGBT of Using a diverse range of community and professional community since 1967. From artworks and books, to audiences pamphlets and oral testimonies, to archive collections participants to deliver the festival was felt to be 97% and and digital microsites and images, the research LGBT50 illuminated a heritage that has another way of widening access and engagement. undertaken resulted in a strong body of heritage being been largely hidden and unexplained in When people saw ‘people like me’ or people from their identified and recorded that would not otherwise have any meaningful way until the festival. background or generation, it made the interpretation of participants and explanation of the heritage feel more relevant. said that taking happened. Equally, the ability of the arts to show different periods 98% part in LGBT50 in time and unite different generations through the was an enjoyable The pamphlet was more like the The use of the various art forms from the carnival style shared heritage was felt to be a strength for the experience parade to visual arts exhibitions and installations and interpretation and explanation. Using costume from “ narratives of who the icons are and

dance projects undoubtedly contributed to a better different decades was also felt to be a successful where they were. So we gave those interpreted and explained heritage of 50 years since element. out at the beginning of the Pride the partial decriminalization of homosexuality in Another powerful aspect of LGBT50 interpretation was parade, so that when they came England and Wales. In terms of the first steps of the a significant investment in grassroots research and outreach and taking the heritage and stories out into past people could see and watch project in the Core Project Team, we Storytelling that reveals certain “  the public domain. and learn about them in a different reflected the history through the way. So, it was a free publication “ hidden invisible histories of heritage dancers that we chose to recruit, that people get a chance to capture We did over 13 taster workshops that we could like, drawing bits of so they were of different ages and “ with groups, where we were talking their story out. in some way or explore or perform also different genders, sexualities in some way that other members about the project, exploring and that would have their own personal Artist ” might not be aware of. They listening to their stories around histories and lived experience of their experiences of LGBT history share their stories and somehow the time. And then also in terms of the artwork captures that, and of the last 50 years. And then that Furthermore, the use of artists and arts producers the costume, when we worked with research is then fed into the design facilitated new partnerships and fresh dialogue documents it in a way. So I think a costume designer, he was very between heritage professionals and institutions and storytelling is really important of a piece of work where people are the LGBT and wider community. keen to look at the fashions through enabled to physically explore their creatively, both for sharing oral the decades, so that was another testament as well as turning them stories and share them with other way of how that history could be people, and then obviously you've into pieces that can be documented presented in some way - be it abstract or got the next level of actually getting ” to perform that work to thousands official, be it for archive or be it for Core Project Team Member performance or whatever. But it of people. So I think personally, actually gives someone a moment doing such work as dance to express it. I think that's really commissions and researching important. into the history of, in this case ” LGBT history, it has a wider and Core Project Team Member longer term impact, and it's not as stale really as your own normal conventional way of experiencing history. ” Core Project Team Member

90 HERITAGE EVALUATION REPORT EVALUATION REPORT 91 2.3.2. Outcomes for People

The learning about LGBT heritage was phenomenal both within and outside of the community. The arts intervention, in explaining the heritage, pushed learning even further and imparted a great deal of empathy for that heritage no matter what your sexual orientation. The intergenerational work was considered an important learning resource for all.

The empathy derived from the learning is what sets the project apart as an exemplar of how the arts can aid heritage learning, engagement and participation.

It made me reflect on my youth, I “ was 14 when the act was repealed. And I think of friends who are LGBT and that they would have been criminalised. ” Participant

82% of audience members reported being aware I think everybody learnt a lot about, that 2017 was the 50th anniversary of the partial “ me including, about the LBGT decriminalisation of homosexuality in England and Wales. 56% of audience members reported a high culture and the history, and I think level of increase (7-10/10) in their understanding and it had a positive impact on them as appreciation of Hull and the UK’s LGBT+ heritage. a community. The intergenerational cast of Into The Light included young people (aged 15+) and older adults (60+) who ” Core Project Team Member were encouraged to share experiences of the last 50 years of LGBT history in Hull. They explored different perspectives and personal narratives with regards to the lived LGBT history and some of these stories and It was just amazing to work with someone who's a dress historian, but he was experiences inspired the outcome of the work. “ also a trans person, he was really interested in what this work is. So, we talked about going to it - we'd been advised to come to Hull to do this project. It has to do with a parade, and with Pride, and a history of the area. And so, one of the first things we did was send G.J up to Hull. And he went with loads of different LGBT organisations, he went to the heritage centre, the library. We had to look what they had in the heritage around queer work, in whole, over the years. And UNTOLD stories explored themes I don't think there was anything, I don't think they'd ever had anything, and so of bridges, water, we started a relationship with the library and heritage people there. Working women and freedom and discovering things and passing things back to the library. ” Artist

92 HERITAGE EVALUATION REPORT EVALUATION REPORT 93 Some people commented that the ways in which This had a powerful impact on changing previously the learning was presented played a key role in its held attitudes and behaviours. The project also accessibility and ability to inspire people to want to contributed significantly to people changing their know more. attitudes about Hull. The word ‘Pride’ was embraced and exemplified throughout this project in its widest possible sense and the project clearly made people Because of the icons and the feel and act differently about how they see and feel “ parade made that parade a very about Hull. unique Pride anywhere on the island. It included the heritage, the I haven't been involved in any LGBT storytelling, in a very visual way “ events before. I knew it would be in a parade, that ended up with very hard work because it was quite thousands of people who looked at a long shift, but it was the reaction it who never would've bothered to from the public that blew me away witness it in the past, would've past because it was so inclusive. it by, even participated in the parade. ” Volunteer Now, Pride in Hull, are very keen to have an artwork as part of their parade in the future because they Powerful testimonies came back about see the value of that, also in terms of The consultation evidenced some stereotypes that how individual lives had been changed community engagement. had existed around the LGBT community both within through LGBT50. the LGBT community and in the wider community. ” Artist The nature of the arts events that were programmed provided safe spaces to engage with and challenge these stereotypes on an inclusive and equal basis. The CPT felt strongly that these individual stories and transformations should be recorded and have significant weight when evaluating the success of the We deliberately use the word queer, event alongside the quantitative measures of success. “ a lot of people have a problem with the word queer, so that is another Some of the testimonies we got back, piece of learning that a lot of “ including a really moving one from people who got involved with the somebody of merit that told me project was that actually, yes, we about the parents of a young boy understand that queer is treated who had some gender dysphoria by a large number of the LGBT issues who was at the tea party and community as a homophobic slur, welcomed by some of Duckie's cast, but they are not aware of this huge who talked him through some of cultural canon of work around the icons and things. We got this the queer art movement, or queer most amazing email back about activist movement. They didn't how healthy that was for the parents realise it could be a source of pride, but also for the child to build their that word, because ultimately it is confidence about actually that about difference and diversity. That's whole history of people he could all the word means, I'm different, so identify with potentially. why are you afraid to be defined as ” different? Core Project Team Member ” Core Project Team Member

94 HERITAGE EVALUATION REPORT EVALUATION REPORT 95 LGBT50 offered lots of different skills development It made me appreciate that Hull In addition to the feeling of equality and inclusiveness people also enjoyed the collective experience of getting opportunities to the professional arts and heritage “ is a far more accepting city than I together and being with people that they might not otherwise have come into contact with. producers, partners and contributors, the volunteer teams and the participants of the various projects. thought and it makes me happier to From learning to dance, to engaging with the public, be living here. And the shop was also great, we had five or six volunteers working with us on a to costume making and art installation, to diversity “ regular basis, who came to Hull 2017 but then those same volunteers would just awareness, the opportunities to develop skills were Participant ” come on other nights in their own time, because they were having such a good diverse and valued. time and they were learning about parts of Hull that they didn't know existed, Joy was something that ran to the heart of Duckie’s I feel more proud living somewhere or the people from Hull or the stories that came up… Whole families would be Tea Party and the Pride parade. What came across there sometimes helping make these icons, talking, reminiscing, exploring Hull. strongly from the consultation was the palpable “ that accepts these types of events inclusivity of the events which was considered the and way of life. It has made me So, it was a really interesting- the shop itself was a drop in space, it was a really critical success factor in delivering such enjoyable intergenerational thing.” experiences. 97% of audiences and 98% of participants happier about living here. agreed or strongly agreed with the statement that ” ” Core Project Team Member ‘Participating in LGBT50 was an enjoyable experience’ Audience member and 85% of participants reported feeling happier after participating in LGBT50. For me, it was the highlight of my “ year. ” Volunteer

96 HERITAGE EVALUATION REPORT EVALUATION REPORT 97 2.3.3. Outcomes for Communities There were over 95,000 audience attendances and nearly 3,500 community participants at events within the LGBT50 programme. Of those attending during the week of 22-29 July, 37% identified as a member of the LGBT+ community some or all of the time and 63% Unsurprisingly LGBT50 was a catalyst for a very diverse audience coming together to explore and did not identify as a member of this community. 76% of learn about this diverse history. The inclusive nature of the event meant that these diverse audiences, audiences and 81% of participants agreed or strongly from families to older people to young people, from the LGBT community or straight, from wealthy agreed that LGBT50 events gave them the opportunity and deprived communities came together through the ways in which the history and heritage was to interact with other people who they would not presented and explored. normally interact with. 78% of audiences and 48% of participants agreed or strongly agreed that LGBT50 events made them think more positively about people The intergenerational exchanges were a powerful part from other generations. 63% of audiences and 52% of of the process and experience particularly between participants agreed or strongly agreed that LGBT50 younger and older members of the LGBT community. events inspired them to talk to people from other An unexpected outcome was some deep long lasting generations about the stories presented. friendships that have been made between people who would simply not have met had it not been for their The first people I pulled in out of I had a six year old on my shoulders involvement with LGBT50. “ the crowd were two lesbians from “ and, all right, some of the questions We weren't expecting this but Poland who got married on Monday. he was asking, I couldn't answer “ there was actually quite a lot of And we placed them with two them, but [he] loved it. He loved it, very vulnerable young people, elderly ladies, you know, the white and everybody standing next to me, particularly from the trans haired jobs like me. And they had a people I didn't know, and they were community. There were people that wonderful time, you could see the young and old, small and tall, thin, were, you know, took a long time warmth between the four of them, fat, black, white…and everybody. It to actually engage in the project. couldn't you. At the end, as if they was such an inclusive moment. were leaving real friends. ” They'd come halfway through a ” Volunteer session. A lot of the time, there was a Volunteer few people that were homeless. So I think actually having those different ages, they had a tolerance to that behaviour, which then led to kind of acceptance and an inclusivity that allowed them to feel like a family. And I think they've gone on to take part collectively in projects ... I mean we had a closed Facebook page, and they're still meeting each other. ” Core Project Team Member

98 HERITAGE EVALUATION REPORT EVALUATION REPORT 99 A big part of the success in reaching such a diverse 94% of audiences and 96% of participants agreed or audience was holding some of the key events in very strongly agreed that the LGBT50 events they attended public and central spaces. offered a significant moment of civic pride for the LGBT community of the city. 42% of participants and 78% of audiences reported that their thoughts and It was in a space that was in a middle feelings about their life/future changed positively as a “ of a Saturday in a major shopping result of LGBT50. district, so there was a good volume of people who didn't plan on going In the '70s, I used to think Hull was to that event that ended up at it, and “ kind of a bit behind the times in were mixed with people that they terms of how it viewed equality of would've never normally mixed people. But when Pride was here with. It was definitely because they The consultation revealed that people felt Hull was that week, it was very emotional, a better place to be as a result of how LGBT50 made are not engaged with the LGBT them feel and how it was presented. because I felt as though the city had community at all, and saw that there kind of zoomed forward to the 21st was free tea going on, and saw the century and become all-inclusive. It volunteer waitress going around, There were different people. felt a really good place to be. and went in and were sitting at a “ Inclusive is the word, I suppose, ” Audience member table with someone they never sat as clichéd as it sounds. One of my with before, properly exposed to friends actually started to cry. The I think if people in a city feel things, and the icons and all that. procession was great, because we Whilst there is no specific data on whether the “ confidence about the city, they'll feel economy was boosted during LGBT50 there was recognised lots of Hull things in it. confidence in themselves. And not ” lots of anecdotal evidence to suggest that a more Artist You know, we've been to Silhouette confident city that is welcoming, inclusive and only is all the money that's come (nightclub) and all these things in optimistic about its future is more likely to draw people in, the legacy of that's going to stay the past, donkeys years ago. So to and businesses to it. There was a consensus that the legacy of the event would be a boost to the economy. around in hotels and the Humber see those things was really nice. But The sense of ‘Pride’ that LGBT50 Street development and all of catalysed was incredibly strong. Seeing my friend started to cry because those things, they're going to bring the city so accepting and welcoming she said, "I can't believe how many economic value, and they're going of difference and diversity through the young people are in this procession." events that happened in very public to bring some jobs, but I think the spaces made people feel united as a Because there were 13 and 14-year- confidence of the people is the main community. old kids in the procession, just thing for me, and the optimism, expressing their joy and everything, because if you've got an optimistic which you thought ... it made you sense of people, they'll make things partly sad, that I'm 50 and I never got work. to do that, but absolutely uplifted by ” the fact that you could see the future Audience member there, and it just felt good. I'm from Hull. Lived in Hull all my life, and I love the city and I love the people, but I did have a slight little nagging doubt that there might be something going on somewhere, there might be somebody shouting something naively, but there was nothing. The atmosphere was amazing. Truly. ” Audience member

100 HERITAGE EVALUATION REPORT EVALUATION REPORT 101 2.3.4. Learning for the Future 2.4. LARKIN: NEW EYES EACH YEAR

Larkin: New Eyes Each Year, (5 Jul-1 Oct) was an They focused on his domestic and personal interests, exhibition at the University of Hull’s Brynmor Jones including ties, souvenirs, previously unseen The arts are an effective way to explore Library, offering a new way of approaching the life photographs and his private book collection, which history and heritage that might be and work of Philip Larkin, who has been described as ranges from crime fiction to Beatrix Potter and is considered sensitive or contentious. They Britain’s favourite poet. The exhibition was a creative, arranged in the order that they were found at his can create a safe space and encourage multi-sensory and immersive display of personal home. dialogue and debate in a way that is items, clothing, letters, photographs, drawings, music hard to replicate in a traditional heritage and film. Visitors were encouraged to become immersed in the interpretation approach. images, sounds and artefacts that had been brought together. It was a unique opportunity to consider Larkin’s sense of self and how he controlled his own image, reflected in his rarely seen letters, photographs Most of the objects in the exhibition had and doodles. Using the arts to take history and heritage out into never been shown in public. public spaces where people who would not normally go to a museum, library, archive or gallery are, is an effective way to engage a more diverse audience. Intergenerational experiences contribute significantly to learning about heritage and making it an enjoyable experience.

When measuring outcomes and impact, consideration and weighting should be given to the significance of emotional and social outcomes which are very hard to quantify but can make transformational differences for individuals.

When planning projects that involve extensive community engagement and grassroots outreach some thought and provision should be made for how these relationships and impacts can be sustained. Investing in a project that changes people’s attitudes, behaviours and lives in some cases and then disappearing when the project ends through lack of funds or resources could seriously undermine the great work done.

102 HERITAGE EVALUATION REPORT EVALUATION REPORT 103 2.4.1. Outcomes for Heritage Only through doing the deeper One of the things that made that 2022 is a major year for the Larkin Society and having “ research did I discover that he had “ interaction easy was the jazz this new record of objects for the collection will be a huge benefit towards that centenary celebration. It a stutter, he had very poor eye soundtrack which was an important was noted that heritage professionals tend to identify sight. He had very poor hearing. His and record flat objects whereas artists seek out 3D Looking at the collection through the element of Larkin’s life. Having that objects and objects that may appear to have less eyes of a curator with a performing arts body didn't really work physically playing throughout the exhibition heritage significance but are nevertheless significant background together with arts producers or sexually in the way that he and people walking around, not to target audiences. enabled fresh perspectives which wanted it to. So he had quite a lot resonated strongly with the audience. touching the objects but having of disabilities. So we wanted to that playing gave them permission That’s a great outcome and interpret those and bring those to talk about the objects and the something the Larkin Society will through in the design, in the layout “  The supporting evidence and consultation for this noise of jazz wasn’t a hushed benefit from enormously. In 2022 project demonstrated that the interpretation and of, and the choice of the objects… atmosphere so you could interact it’s the centenary and having all explanation of the heritage presented was done to a The biggest decision was not to with each other and the objects and of the objects in one place and high and powerful level. Stakeholders talked about have any text panels. So I said having their imaginations stretched and observing the volunteers by talking about it. stored properly is a huge positive

audience engaging on a much deeper level than they this man has been written about ” for that. would with traditional exhibition interpretation. endlessly. There are all these books Larkin Society Committee member ” The authentic nature of the domestic and ‘mundane’ about him. So I thought I don't want One of the most exciting things about this exhibition Larkin Society Committee member objects such as tea towels and ties connected Larkin to add more words to the words was that it facilitated the identification, recording, to people on a more personal level and the invoking about him. There's enough words storage and access of a very dispersed collection that of wider senses such as the music playing throughout had been spread around a lot of different places. also resonated strongly in bringing the collection to about him…why is it that as curators life and creating meaning. and producers and exhibitors, we 50% of the exhibition were held The contrast between how this artistically led spend hours and hours and hours “ previously in people’s houses, exhibition was interpreted and more traditional on the text panel and relatively less bedrooms, in their garages, all over approaches to heritage interpretation such as on the music, the smell, the sound, text panels was a running theme throughout the the place. One of the outcomes of consultation with the overwhelming majority asserting the taste, the air, the temperature, the exhibition was that we had an this approach was better. the placement, the spaces around opportunity to take those objects the bodies, the opportunities for back. We took all that back in and people to look through, sit down, it was assessed by curators and bend down, stretch up, the whole catalogued and archived properly. body experience? The heritage Otherwise it would still be sitting of sound and smell is surely as in people’s houses…We could do important as the heritage of bricks five exhibitions from what came and mortar. They say that they out of this project. You could do a support intangible heritage, but biographical exhibition, a music they don't support intangible exhibition, a letters exhibition and outcomes. you definitely need to do one about ” Core Project Team Member his collages and you could probably do one about sex too! ” Core Project Team member

104 HERITAGE EVALUATION REPORT EVALUATION REPORT 105 2.4.2. Outcomes for People One of my favourite letters I’ve come 22% of audience members agreed or strongly agreed that the exhibition introduced them to Philip Larkin “ across is from a young person, early The Core Project Team, heritage partners for the first time. 55% of audience members agreed or teens maybe and they clearly think strongly agreed that the exhibition showed them that and volunteers all benefited from skills The beauty of this project was that the they’re being quite cheeky and there is more to Hull than they expected. development throughout this project. The Core Project Team and the heritage they’ve drawn a picture of Larkin student volunteers in particular appeared partners learnt in equal amounts from As one of Hull’s most famous son’s a lot of people, to enjoy a meaningful learning and skills each other. The Larkin ‘experts’ provided and written ‘Never judge a book including the Core Project Team and heritage partners, development experience through hands the expertise and resources to the artistic by its cover’ and then under the had fixed attitudes about Larkin and how a heritage on ‘doing’ and being given a valued voice team, but the new way of looking at him drawing – ‘Librarian, poet – player’ exhibition should be presented. The consultation during the project development. and his life meant that even those who evidenced that many of these fixed attitudes and felt they knew the man felt they had and I love that! They’ve totally got it! behaviours changed as a direct result of the way New learned new things about him. That was exactly what we wanted, Eyes Each Year was developed and presented. The he surprised them. word ‘surprised’ arose repeatedly and was inextricably From learning how to give public tours and interact linked to the artistic approach. with the public in a heritage setting, to managing

” volunteers, to new ways of interpreting heritage, there Core Project Team Member In addition to learning more about the heritage of I thought, "Oh, well, this is a poet. was a plethora of skills sharing and development Larkin, stakeholders and audience members alike involved in New Eyes Each Year. noted that they had learnt more about Hull and wider “ Surely this isn't going to be a societal trends and culture at the time as a result of the contested history." But actually it Of the CPT, 67% reported they had increased existing exhibition. skills or knowledge through working on this exhibition was. It is. It is a contested history. So and 50% reported they had gained new skills or Philip Larkin is many things. knowledge.

” Whether a member of the CPT, heritage partner Core Project Team Member or audience members, New Eyes Each Year clearly delivered an enjoyable experience. The enjoyment appeared to arise from the arts led approach intended to create a space for dialogue and reflection where visitors could come to their own conclusions. There was a consensus that the objects chosen and how they were presented gave a much greater sense of Larkin ‘the man’ as opposed to Larkin ‘the poet’ and this human connection was whole heartedly embraced. 87% of audience members agreed or strongly agreed that visiting the exhibition was an enjoyable experience.

I think if we’d done it all by ourselves “ it would have been very different and very similar to what we’ve done in the past. I think it was a brave step for us to do. To let [the curator] do what she wants to do with this as the curator. The ideas may seem whacky at first, they may seem controversial but you have to go with it. ” Larkin Society Committee member

106 HERITAGE EVALUATION REPORT EVALUATION REPORT 107 2.4.3. Outcomes for Communities I think what this exhibition has “ done has cemented in the national The survey data and feedback of stakeholders and consciousness and locally how audience members shows that the exhibition attracted much higher numbers than they would usually have Larkin and Hull are inseparable. It’s expected: over 12,000 visitors. Demographically the not promoting Larkin, but Hull, as a audience appeared younger with more families and poetic, creative city. more people coming who did not have a particular

interest in Larkin before attending. Whilst the ” Larkin Society Committee member exhibition undoubtedly attracted more people and a wider range of people to engage with heritage, the time of year during the summer was felt to be a missed There are no specific metrics to prove that the opportunity as less students and young people were exhibition boosted the local economy however it around. has helped to raise the profile of the University as a credible gallery space. This will help other high profile 36% of audience members agreed or strongly agreed exhibitions to come to the venue and contribute to the that the exhibition enabled them to interact with University income and secondary spend of visitors. We people they would not usually interact with. also know from the research that there were missed I feel affirmed as a It was brilliant! Few exhibitions have opportunities to generate income from associated “ human being by this “ The City of “ made me smile - and In the end over 12,000 came over merchandise of the exhibition. exhibition. In the fine Culture volunteers quietly weep. “ three months, and in the summer detail is all of life if were lovely, like ” when people aren’t normally here. you will pause to see really great. And Audience member The legacy aspect of that too, it. encouraged my people who came who didn’t know ” dancing to jazz! I'm anything about Larkin before. The Audience member so happy! Thanks! number of young people who ” came through was also really Audience member interesting. I think that happened from the letters left and observing In addition to the existing cohort of Hull 2017 volunteers there were two other groups of volunteers involved with the project. Larkin experts provided invaluable volunteer expertise and experience to inform project development who came and went, new people and train Hull 2017 volunteers; and local students acted as production assistants / trainee curators. The volunteer coming to Larkin. contribution to the project was noted as outstanding by all. ” Larkin Society Committee member

It wouldn't have worked I volunteered as well and put on a 93 people wrote handwritten letters to Philip Larkin “ if you didn't have the City “ masterclass for the volunteers and about whilst visiting the exhibition. of Culture volunteers on 100 people came to each one and then hand. And with them being I read one of the letters somebody had By presenting Larkin in a way that made designed and created to be written saying basically, ‘I think I was very him accessible to the local community and approachable, that by the much like you, I was a great hoarder of gave visitors a much deeper understanding time Larkin was on, they things, I felt it hard to commit in relations, of who he was and his connection to Hull, knew they could just go and I suffer from depression from time to time. the exhibition elevated both Hull and Larkin. ask a volunteer anything. I think I would have liked to have met you If it had been at the start and we would have got on very well.’ And as of the year, there wouldn't I read the letter out there was a spontaneous New Eyes Each Year contributed to Larkin becoming another reason to be proud of Hull and its history necessarily have been that clap from the audience. and heritage for people who may not have ever automatic dialogue. ” come across him before and for those who felt they ” Larkin Society Committee member knew him well. 63% of audience members agreed or Archivist strongly agreed that the exhibition made them feel more connected with the stories of Hull and its people.

108 HERITAGE EVALUATION REPORT EVALUATION REPORT 109 2.4.4. Learning for the Future 2.5. LAND OF GREEN GINGER: ACT I – 7 ALLEYS

Land of Green Ginger was a citywide project from Hull 2017 – a series of acts of wanton wonder, popping up Involving artists and taking an artist led in unexpected places in unexpected ways. One of the The significance of the project within the approach to interpreting and explaining landmark projects in the artistic programme, Land of programme was a deliberate statement heritage is something that will benefit Green Ginger, took art into the neighbourhoods where about the commitment to engaging heritage professionals and develop people live, across the city of Hull, turning them into the widest possible audience of local audiences for heritage. places of wonder, delight, magic and possibility. The residents, with the highest quality artistic work took place in public spaces, residential streets, experiences. parks and shopping centres and created talking points which the people of Hull could stumble across and discover as part of their everyday lives. Building on the approach and lessons learnt from Land of Green Ginger began with Act I: 7 Alleys, this project should enable the 2022 Larkin Centenary created by outdoor performance company, Periplum, Project to make a greater impact. which took over East Park with a fusion of music, fire, Project planning should involve as many of the live performance and pyrotechnics, bringing an East partners as possible especially at the beginning when Hull urban legend and local heritage myth to life for budgets are being set and critical paths established. the community. This will enable multi-disciplinary teams from different backgrounds to identify gaps in provision that they perhaps have not come across before working in a different context with new partners.

It was noted by all consultees that the extra resource provided through the Hull 2017 funding and volunteers contributed significantly to the success of the project. Going forward the partners need to consolidate what they have learnt about volunteer engagement and management through this project in order to continue this strand with the same success in future projects. Additional fundraising may also need to be planned to deliver future exhibitions to the same standards.

Merchandise and income generation potential should be explored more thoroughly for future exhibitions so that this opportunity is not missed again.

110 HERITAGE EVALUATION REPORT EVALUATION REPORT 111 Although the legend of the 7 Alleys has been passed It involves so many people and the down over generations through oral testimonies, “ memories, and so many people, this was the first time that the narrative had been thoroughly researched and recorded for public these magical folklore tales that are presentation. Due to the nature of the artistic process of that place, and they were sort of the identification and recording of this history was celebrated in a focused way, and in done very much in partnership with local people rather than with heritage professionals. This co- a way that hasn’t been done before, creation with the community conferred a strong and seeing all the Hull Daily Mail sense of authenticity and ownership of the resulting articles afterwards and seeing all interpretation and explanation of the heritage. the people’s responses was great, because it kind of, in a sense, there are things going on in East Hull because there is a heritage and a history of imagination in a certain 2.5.1. Outcomes for Heritage We entered the park from the way. A creative history there. And “ side entrance at Summergangs it kind of was brought to together Road. When we got into the park through the project. Although the heritage itself was a local volunteers asked us ‘Have you come ” legend and myth, it was a very real part Artist of people’s childhoods and lives. The fact to find the 7 Alleys?’ That made it that it was so deeply tapped into the local immediately very exciting. I loved community common memory appeared the lights in the trees and the sound, to make it more accessible and engaging. you knew that you were going to witness something really special. ” It was a different way of getting Audience member “ people to understand the history of The interpretation of the heritage created a powerful our local area. impact and emotional response from audiences. Performance tools and techniques such as the ” Audience member music and balloons combined with a local story and community narrative created high levels of connection The mystery and intrigue around the way the project and engagement. was presented also contributed to better interpretation of the heritage and increased engagement as a result. I think it was really emotional. The “ effect of them was really good and The first crate that was opened up it did make you think about that “ had a riddle in it and was basically little boy. Releasing a balloon for a mechanism for us to be able to him. You know for all these years talk about where and when, but there has been this legend and its the engagement with the riddle part of people’s upbringing and they was really interesting and that’s released this balloon...And I was something we’ll do more of now in just thinking that this is all really the project and we’ve really got to effective, and it’s for you all these develop that idea because we know years on. Your legend is still living that that’s the thing that’s really on with these new generations of caught people’s imaginations. people. ” ” Core Project Team Member Audience member

112 HERITAGE EVALUATION REPORT EVALUATION REPORT 113 2.5.2. Outcomes for People

7 Alleys gave the local community, artists and On a scale from 0 to 10, just over a quarter (26%) of 7 volunteers a brilliant opportunity to learn more about Alleys audiences who were surveyed gave 10 - A lot’ the history and heritage that belongs to them. Whilst as the amount they had learned about 7 Alleys from the majority of local people from East Hull appeared to the event, while 77% gave a score of 7 or higher. The have heard of the 7 Alleys few remembered the stories average score was 7.7/10. in any detail before the event. What was particularly powerful was the knowledge and interest to learn For those who were not from the local area of the 7 more about their heritage from people who would be Alleys the event was still successful in helping people typically under represented as a heritage audience. to learn about heritage and seek out more information and understanding about their own local history and heritage.

The personal connection of this history I think what’s good about this, and to local people from a deprived area inspired many of them to learn more “ about Hull City of Culture as a whole, about this and other aspects of local is that we’re putting a spotlight on 7 Alleys changed attitudes and behaviours through history and heritage. the city, currently. But what it’s doing significantly increasing the propensity to engage with is making people look in to the past culture in the local community; making people feel The approach achieved a step change more positive about their local area, interacting with in attitudes and behaviours from, ‘that’s too, looking at their own heritage. It’s people they would not normally have and feeling more not for the likes of me’ to people feeling I had never heard of it until a couple building that interest. proud of where they live. These are significant changes ownership, pride and joy about their and evidence the powerful impact of combing arts and history and heritage. of days before and then my husband ” “  Audience member heritage to maximise engagement and outcomes for who I’ve been with like since the heritage, people and communities. dinosaur age, because he’s from East An encouraging outcome of the event was that it prompted people to research more about the heritage Hull said, ‘Oh yeah, the 7 Alleys’, and presented. When I first started working on this project, there is a sense that community then he told me and the girls all the engagement is about workshops and participation and du-du-du, but it’s going, legends of the Bubblegum boy that’s “  I tried to look into the history of that’s not really what I want it to be about, I want it to be about engagement supposed to come alive […] but he’d “ the 7 Alleys a bit more when I got because it’s new people, it doesn’t matter if you haven’t turned up and folded an never ever mentioned it before and home. About how all the alleys sort origami swan, as if you haven’t ‘engaged’ if you haven’t been in this room for an we are now going to go on a bike ride of linked up and led to the prison at hour, it should be about how it’s touched people and whether their perceptions through 7 Alleys. Preston Road. about culture and the arts and things have changed, it’s about connecting ” Audience member ” people. It’s that to me, that we should try somehow to tell more people about, Audience member and telling them that engagement can happen on so many different levels, and if you’re working from the basis of zero engagement, putting out a flyer and inviting them to a workshop, that just isn't the way to go, it should be about interest and intrigue. ” Core Project Team Member

As a result of 7 Alleys, 96% of audiences agreed or I think knowing that this is part of strongly agreed with the statement: You will, or will “ the City of Culture makes you hope plan to, attend more arts or cultural activity in the city. 76% of audiences agreed or strongly agreed they that other events will be on the feel more positive towards the Holderness area. 57% same scale and I’m definitely more of audiences agreed or strongly agreed they have likely to go to other things having spoken to people in the community that they normally would not have interacted with. 86% of audiences experienced this.

agreed or strongly agreed that they feel more proud of ” Audience member where they live.

114 HERITAGE EVALUATION REPORT EVALUATION REPORT 115 2.5.2. Outcomes for People I just wanted to say about that “ event, four female friends of mine, after I’d told them how wonderful

Outstanding examples of skills it was on emails and telephone, development through the project came they said ‘oh we’d like to go but from the volunteer community cast we’re a bit anxious about going members. down to the park at night’ and I said, ‘well if we all meet up’, and two of them actually came with Self-confidence, self-esteem, working with the public, team working, performing, prop making and crowd me a total of three times. So it was control were just some of the diverse range of skills thoroughly, thoroughly enjoyable reported back from the community cast. All of these and extremely interesting. skills contributed to a hugely rewarding experience for

the volunteers. ” It’s one of the best groups of people We didn’t need paying, we got Audience member “ I’ve ever worked with. And I’ve “ more reward than money could

I found it was a massive self- set up loads of organisations and ever give. Some people thought the fact that the event was free and in the park enabled people of all ages and recruited volunteers and I’ve been a ” “ confidence boost. Because I’ve gone Participant backgrounds to enjoy it. volunteer, but working with these lot straight into doing something else, shaking it (dancing) doing the dance was a joy. It really was. The audience members also called the volunteers out as a big part of the success of the event which is I saw them here and you could see ” project, which is just amazing. Participant testament to the volunteer’s enthusiasm, commitment from their faces they were really ” “  and the training they received. Participant actually enjoying themselves. It Volunteers took part in 7 Alleys spanning roles from was nice that they could come to community cast members to collecting audience Fantastic and the volunteers that The qualitative research for 7 Alleys noted time and that, that they had the opportunity. research for monitoring and evaluation purposes. The time again that the event had been hugely enjoyable. community cast members, in particular, called the “ greeted you did a wonderful job. The adjectives used in the feedback went beyond Because if it had cost money well event out as one of the most positive volunteering, or They made a great job of building enjoyment and conveyed a very powerful experience the parents couldn’t necessarily indeed life experiences they had ever had. The team dynamic within the volunteers was a big success. the atmosphere before you went indeed. People called it fantastic, amazing and give them that. in. beautiful for example, and talked about feeling part of it, joy and being sad when the event was over. ” Audience member ” My best bit was stood at the Audience member “ beginning and the lights going down Without being dramatic, I found it The community cast members were unanimous in and hearing the horse hooves, and “ quite joyful when they went up in their feeling that working with each other and the knowing that my two children had the air. I really did. professional arts team for the event was a highly enjoyable experience. come. So usually it’s me stood on ” the field watching rugby, or taking Audience member them to dance class every weekend, When asked how likely they would be to recommend and now they’re grown up, 23 and the 7 Alleys event, nearly 70% of 7 Alleys audiences 20, and they’ve come to see me. And surveyed gave the top score of 10=Very likely, while they posted on Facebook ‘this is my the average score was 9.3/10. More than three- quarters of attendees (77%) felt happier as a result of mum, my mum did this’, and for me, attending 7 Alleys. to stand there and know that they were behind and they had come to see me. It’s making me nearly cry! ” Participant

116 HERITAGE EVALUATION REPORT EVALUATION REPORT 117 2.5.3. Outcomes for Communities We all get so wrapped up in our own The fact that the event was held within a local park was “ stuff and we’re watching the telly felt to be a strength in showing local people another amenity they had to use and enjoy. People also night after night and it was just so commented on the success of holding such a major event outside of the city centre. Combining arts and heritage in a very nice to be out with everyone.[…] It targeted local space and place, together started off [being] just me and my with a common narrative was felt to be daughter […] but it ended up being I liked the way it was in the park. a critical factor in delivering more and a me, my husband, my daughter, and wider range of people who engaged with “ It had a communal feel to it. It heritage. [girl’s name] then said, ‘Oh can I bring transformed the area. a friend.’ So a friend […] came and her ” mum, and then another friend came Audience member 7 Alleys succeeded in attracting a large audience of and in the end there were seven over 12,000 to this celebration of local history and of us. And of course I recognised heritage. More importantly, that audience comprised of a more diverse audience in terms of socioeconomic people I grew up with. factors than a traditional heritage attraction or arts ” performance. Audience member

The emotional connection local people had with the stories conferred a sense of ownership that overcame I felt the show managed to give the potential barrier of feeling ‘that’s not for the likes “ back to the community what a of me.’ It was their story being told on their home turf. And because the event was over four nights, word of local legend is. It reinforced a sense mouth through the community drove the message of belonging and a sense that we out locally in ways that traditional marketing channels are able to share things despite the simply would not have penetrated. differences in our community, in “It was amazing how many people came from the terms of religion, ethnicity and class. estate. It was like, completely out of their comfort zone for some people. And it was amazing how people were It showed that we can all connect at talking about it and were explaining bits to each other. some level. I felt really connected. I overheard some bloke right at the end say, well, this ” is better than staying in watching telly isn’t it!” Creative Audience member Project Team member

It is fair to say that the vast majority of audiences, volunteers and the CPT felt that 7 Alleys had made East Hull a better place to live, work and visit. The underlying and recurring theme that came out from the feedback on how this had been achieved was the success in bringing the community together. Connecting people through the arts and their shared history and heritage was transformative for many of the audiences and volunteers involved. The sense of pride that the event instilled locally was another common theme that was continuously referenced across all feedback. 91% of 7 Alleys audiences surveyed strongly agreed or agreed that the event provided them with a different experience of the neighbourhood.

118 HERITAGE EVALUATION REPORT EVALUATION REPORT 119 2.5.4. Learning for the Future 2.6. SUMMARY

The case studies of Made in Hull, LGBT50, Larkin and 7 Alleys make a powerful case for using the arts to bring Offering volunteers and audiences the history and heritage to life so that heritage, people and chance to do something that takes them communities significantly benefit. outside their comfort zone in a safe and Artists approach history and heritage through fresh welcoming environment offers superb eyes; and bring unusual perspectives and creative learning and development opportunities. expertise to public engagement and participation. Working in partnership with heritage professionals offers mutually beneficial and rewarding skills sharing. The importance of having an enjoyable experience Identifying and recording the history and heritage of is emphasised through the arts and the impact of underrepresented audiences and then presenting it this outcome should not be underestimated. The through the arts in the areas where it happened has a case studies collectively indicated that when people very powerful impact and outcomes. enjoyed the arts events they experienced, this Volunteering opportunities that facilitate friendships contributed to increased learning and engagement and develop self-confidence and self-esteem are with the heritage and history at the heart of the highly valued. experience.

Using the arts to bring very local history and heritage The arts can offer more diverse and enriching to life helps local people to see themselves and their volunteer experiences than those available in heritage in new and more positive ways. traditional heritage environments, which significantly contribute to developing self-confidence and self- esteem that translate through to their wider lives.

When identifying and recording heritage and history that has been invisible or hidden, and/or is a difficult or sensitive heritage and history to explore, the arts and artists can provide a safe space to facilitate dialogue and debate. This approach inevitably leads to increased learning and empathy with the heritage in question and often stimulates further research and discovery.

Furthermore, through the safe space, dialogue and debate that the arts and artists create, learning more about heritage and history can be a transformative and profound experience for some audiences. It can change entrenched attitudes and behaviours and contribute significantly to community cohesion and improved wellbeing. It can also restore community pride and confidence.

For meaningful community engagement, it is necessary to be visible and engaged where those communities are. The ability of the arts to transport history and heritage to public spaces and create wonder and spectacle outside of the 2D world that traditional heritage tends to occupy marks it out as an exemplary tool for learning and interpretation. When the arts combine with history and heritage a powerful sense and spirit of place is created. The arts are a proven catalyst for communities to connect to each other through their shared heritage and history.

120 HERITAGE EVALUATION REPORT EVALUATION REPORT 121 3.1. INTRODUCTION 3. USING MUSEUMS, During 2017, Hull’s museums, galleries and archives have made a significant contribution to the City of Culture programme through projects inspired by the history and heritage of Hull, the region and further afield. Each of the three case studies in this chapter addresses the heritage theme of museums, libraries, archives and collections and have demonstrated a wide range of heritage outcomes. GALLERIES AND Ferens Art Gallery and Hull Maritime Museum, located in Queen Victoria Square in the heart of the city, are managed and run by Hull Culture and Leisure. Hull History Centre, located in the north of the city centre, represents a partnership between Hull Culture and Leisure and the University of Hull. Heritage Learning is another part of Hull Culture and Leisure, which works will all three venues, amongst others, to deliver education ARCHIVES programmes.

I think that there's also something about “ the fact that history and heritage is often KEY FINDINGS contested, and maybe it always should • The scale of delivery enabled through the • However, unsustainable levels of delivery Hull UK City of Culture 2017 programme at during 2017 often prevented opportunities be, that each generation, each person, the city’s free museums and galleries was for reflection and as a result, learning was successful in attracting larger and more often unable to be implemented between each new era, if you like, needs to look diverse audiences. one exhibition and the next. back at history with the glasses of their • The delivery of these year-long programmes • Volunteers fulfilled a vital role in improving led to skill development for Hull Culture and visitor welcome and promoting Hull’s own time. Maybe there's something Leisure staff. museums, galleries and archives. Using volunteers who were engaged across a about the arts are really good at • The increased resources and ambition variety of venues and activities enabled a creating space for people to look back at to deliver more extensive exhibition more joined up and well-informed visitor programmes allowed staff and volunteers to experience in the city. something and look forward learn more about their collections and the ” heritage they represent. Core Project Team Member

Between TWO-THIRDS AND In 2017, there was THREE-QUARTERS of local over 1.3 million visits people LEARNT ABOUT to museums and HERITAGE as a result of the galleries in Hull Hull 2017 programme

122 HERITAGE EVALUATION REPORT EVALUATION REPORT 123 It’s allowed us to scale up our “ ambitions a great deal ” Core Project Team Member

3.2. FERENS ART GALLERY

The Ferens Art Gallery reopened its doors to the Other exhibitions included Skin, featuring works by public on 13 January 2017 and presented a year-long world renowned artists Spencer Tunick, Ron Mueck programme of exhibitions and events as part of Hull’s and Lucian Freud, which attracted 176,443 visitors, as In total, more than 519,000 people UK City of Culture year. Prior to this the gallery had well as the 50th Open Exhibition, Francis Bacon and visited Ferens Art Gallery in 2017 - been closed for 16 months whilst it underwent a £5.1m the Rembrandt masterpiece on loan from The Royal thought to be the most successful year refurbishment that included the installation of new Collection Trust. in its 90-year history – representing an environmental controls. With renovated spaces, additional funding and other increase of 309% compared to 2014 (the last full year in which it was open). Within the 2017 programme, a series of temporary opportunities presented by the UK City of Culture exhibitions were accompanied by talks, tours and title year, the Ferens Art Gallery contributed to eight workshops. The Turner Prize exhibition was the second heritage outcomes for heritage, for people and for most visited year of the exhibition outside of London communities. with over 116,000 visits.

124 HERITAGE EVALUATION REPORT EVALUATION REPORT 125 3.2.1. Outcomes for Heritage The presentation of Lorenzetti in In addition, this year was thought to be the first-time “ its own room with works borrowed Hull Culture and Leisure had been able to employ a registrar within the service. This additional member to supplement it was fantastic. of staff brought capacity and skills which supported In the run up to and during 2017 heritage has been better interpreted and explained at Ferens Art The thought and care put into all the better interpretation and explanation of the Gallery through a large-scale refurbishment, new exhibitions and an expansion of staff teams with a exhibitions are brilliant. collections, loans and other heritage aspects. range of specialist skills. ” Audience member

One way this happened, was through the £5.1m refurbishment that took place in the run up to the year. In a survey of Hull residents after the first three months of the year, 79% of Hull residents who visited Ferens Art Gallery during the first season had done so because they wanted to see the gallery after its refurbishment. This increased to 83% of East Riding residents who had visited for the same reason. 38% of Hull residents and 48% of East Riding Residents reported their visit was partially influenced by a desire to see Pietro Lorenzetti’s ‘Christ between Saints Paul and Peter’.

A key bit of work that we have “ sought to do is telling the story of During 2017, Ferens Art Gallery has had a year-long Thomas Ferens better. loan of a portrait of Thomas Ferens, a local industrialist ” who gifted the gallery to the city in 1927. This portrait Core Project Team Member came from the Guildhall in Hull and has been displayed publicly as part of the Ferens: Hull’s Philanthropist exhibition. Whilst this temporary exhibition closed in January 2018, the research behind it will be used in a new guidebook for the gallery to continue to tell the story of the gallery’s origins and development. This exhibition highlighted the role of the gallery’s Friends’ organisation, working alongside the gallery through its focus on philanthropy. Heritage Learning developed a led session for groups visiting the gallery, entitled Local Heroes: Thomas Ferens.

Staff at the Ferens noted that support from the Heritage Lottery Fund in particular enabled a number of high profile loans from other institutions including the National Gallery, the V&A and the Ashmolean Museum. Additional funding during 2017 covered additional transport costs as well as the staffing costs associated with an increased invigilator presence to meet the requirements of Government Indemnity Insurance. With fewer invigilation staff, loans had previously been limited to the temporary exhibition galleries. This year the greater number of invigilators, along with the renovated environmental controls, meant that high profile loans could be located alongside works from the permanent collection, offering new interpretation through these juxtapositions.

126 HERITAGE EVALUATION REPORT EVALUATION REPORT 127 3.2.2. Outcomes for People As a result of participating in the programme, 48% of participants reported they had gained new skills or Similarly, Ferens Art Gallery staff felt that the Turner knowledge and 37% reported they developed existing Prize exhibition in the final season of the year also skills or knowledge. This included new knowledge People have learnt about heritage through offered an example of how people were able to learn about different art historical periods as well as the exhibitions that juxtapose collections about heritage. The Ferens was the fifth venue outside development of research and artistic practice skills. objects with new loans, and through London to host the exhibition, but the first with its events which have used gallery spaces in own permanent collection. The curators working The programme included Turner//Return, an artist new and unexpected ways. on the exhibition sought to place the Turner Prize in take-over of the gallery, developed in partnership with context with the collection and to demonstrate that the Future Ferens 16-24-year-old group. The event contemporary work is related to historic works. succeeded in attracting a new, less engaged audience to the Ferens and Turner Prize 2017 through a range of exciting talks, performances, workshops, tours and live We have such a broad ranging Just as the Turner Prize is named music. The event brought 735 people to the gallery, “ collection and to us it is all heritage… “ after JMW Turner, who in his day compared to the usual average of 84 on a Thursday it’s a permanent collection, it’s here was a very controversial figure, evening. in perpetuity forever. in the same way that some of 2017 generated a greater number of media enquiries and visits than previous years, and museum staff ” the artists in the Turner Prize reported developing their skills in relation to Core Project Team Member are very controversial. It sort of responding to media requests and hosting VIP visits as a result of the UK City of Culture title. Francis Bacon: Nervous System was a temporary makes that link for people that exhibition of five loaned works by Francis Bacon ‘Oh I hadn’t thought of it in that The Ferens Art Gallery has been able to deliver displayed alongside the Ferens’ permanent collection. way before’ or ‘maybe it is worth enjoyable experiences throughout the year. 96% of Bacon’s series was inspired by Diego Velazquez’s visitors to Ferens Art Gallery agreed or strongly agreed 17th-century Portrait of Pope Innocent X and this having a look at. that the exhibitions they had seen when visiting this

exhibition sought to show them in relation to the ” year were an enjoyable experience. Staff felt that the Core Project Team Member recently conserved Christ between Saints Paul and activities delivered in 2017 had created a “vibrant” and Peter by Pietro Lorenzetti (c.1320). Located alongside “dynamic” experience for visitors. one another, this combination of loans and works from The Turner Prize 2017 learning and engagement the permanent collection provided an opportunity programme was a collaboration between Hull 2017 During 2017, the Ferens Art Gallery hosted 578 for visitors to learn about themes that transcend art and Heritage Learning, Hull Culture and Leisure’s volunteers from the Hull 2017 volunteering historical time periods. engagement department and ran at Ferens Art Gallery programme completing over 17,613 hours of during the exhibition. Together, the two organisations volunteering (as at 30 November 2017). These were developed an extensive programme of workshops, mostly in unskilled roles, for example stewarding That’s the way I tend to think talks and events for schools and for the public. galleries and as such represents a financial value of £125,800. “ because I work with a collection Building on existing Heritage Learning formats, that spans across all these periods Hull 2017 offered support by expanding their artist you tend to be looking at how and audience networks, and through underwriting We’ve had nothing like the those works can be linked together costs so that events were made more financially “ number of volunteers or the accessible for audiences. A large proportion of the thematically or through subjects. public programme was free and the majority of paid training programme that’s been ” events were £5 or under. Hull 2017, Heritage Learning put in place by Hull 2017, that’s Core Project Team Member and Ferens Art Gallery were able to test innovative been really great. And because ideas that were new to the gallery and to Hull. These risks paid off, with the majority of events selling out we’ve had this really ambitious within the first week of the exhibition. These events year with this super exceptional supported visitors to learn about heritage as well as to programming and the very high gain new skills. It was an incredible opportunity footfall, it’s put our teams under a to share ideas and receive insight “  lot of pressure, our front of house from two interesting curators. teams. So having the fantastic Hull They were very positive and 2017 volunteers has made a huge offered constructive criticism for difference to us. everyone. ” ” Core Project Team Member Visitor

128 HERITAGE EVALUATION REPORT EVALUATION REPORT 129 Hull 2017 volunteers within the Ferens Art Gallery 3.2.3. Outcomes for Communities In response to the question: 'What are the most Additional funding to Ferens Art Gallery resulted in were felt to have added to the visitor experience by interesting things that you have learnt?' one audience temporary jobs directly involved in the delivery of engaging with members of the public. They received member responded: its 2017 programme, such as four Front of House training and encouragement to speak about the Supervisor posts created to support the delivery of the works on display and the exhibitions, as well as the Activities at Ferens Art Gallery during 2017 Turner Prize 2017 exhibition. city-wide programme and to act as advocates for Hull. have enabled more and a wider range That the Ferens was no longer a In the run up to the final season of the year, 1,200 of people to engage with heritage. In “ stuffy old art gallery. The exhibition The gallery also contributed to boosting the local volunteers attended a masterclass about the Turner total, more than 519,000 people visited economy as a key visitor attraction located in Queen was brilliant. Victoria Square in the city centre. 20% of Hull residents Prize and 400 were given detailed training to take on Ferens Art Gallery in 2017 - thought to be front of house roles for the duration of exhibition. This the most successful year in its 90-year ” who visited Ferens Art Gallery in the first three months Audience member opportunity brought an even wider pool of Hull 2017 history – representing an increase of 309% of the year reported the reason for their visit as ‘I volunteers into the Ferens Art Gallery. compared to 2014 (the last full year in was passing by/I was in Queen Victoria Square’. This demonstrated the value of the gallery’s location in which it was open). The ‘Explore Art’ gallery opened in January 2017 attracting visitors and the contribution it makes to within the Ferens, as part of a service wide focus on I have a passion for art and design encouraging greater footfall in the city centre overall. 0-5 year olds and their families. This new permanent “ anyway, I felt it would be great to space sought to introduce artistic concepts such Staff reported a noticeable increase in visitors from be able to both learn myself from Staff noted that this included a noticeable increase in as line, colour, texture and shape to the gallery’s outside Hull who they believed were visiting the city visitors’ reactions to one of the most visitors from outside of Hull. youngest visitors. Staff noted that they had seen a lot generally for the purposes of tourism. Whilst figures of families using this space, but also witnessed more are not available to quantify this increase, it would notable art awards for British art in young children exploring the other galleries within the On the day I visited I felt the gallery suggest that the Ferens Art Gallery contributed to the the UK, but also help by passing on building with their parents and carers. growth of the local tourist economy during 2017. any information about the art to the “ was buzzing and alive with people visitor. and that the exhibitions were ” bringing people together. Volunteer ” Audience member I chose to take part] to be part “ of something that would not I thought the effort the curators normally be of interest to me but “ had made to involve people in would broaden my knowledge the (sometimes challenging) art and take me out of my comfort displayed as part of the Turner zone. I have thoroughly enjoyed Prize Exhibition was excellent. the experience. Although not new to modern

” The Future Ferens project is a specific audience Volunteer art, I can't say I really "get" it, and development initiative for young people aged 18-25 I found the captions and artist years. In the past this group has worked more with

contemporary collections but, due to the UK City In addition, nine volunteers worked directly with information excellent in helping me of Culture title and the acquisition of the Lorenzetti Ferens Art Gallery to take part in a project to develop form a perspective on the work. I painting, during 2017 the Future Ferens worked with a new themed exhibition related to the Lorenzetti particularly enjoyed the films being more historic works. artwork. This exhibition, which opened in January 2018, incorporated other works from the permanent displayed in the foyer. collection enabling these volunteers to have a deeper ” level of engagement. Audience member

130 HERITAGE EVALUATION REPORT EVALUATION REPORT 131 3.3. HULL HISTORY CENTRE

During 2017, Hull History Centre produced three exhibitions, hosted two externally produced exhibitions and ran a range of workshops and outreach activities. This represents a significant increase in programming from previous years where the Centre would usually only put on one exhibition per year.

History Centre staff have discovered new items within their archives and trialed new approaches to interpretation, engaging volunteers in creative projects with the potential to attract wider audiences.

I think it’s also challenged “ us. I think when 2017 first started, that was one of the 3.2.4. Learning for the Future aims, to take you out of your comfort zone and make you Audience comments regarding what could be look at different aspects, improved focused on areas of accessibility, the 2018 offers an opportunity for staff to website, the shop and the café. heritage and art and what reflect on the successes and challenges have you. And I think that’s of the UK City of Culture year and to done us good really. I think implement this learning in a sustainable A separate website from the way. “ council would be ideal as it it’s given us a shake. would be easier to see upcoming ” Core Project Team Member exhibitions and share these with Staff felt that whilst the experiences had presented a my friends and family. Accessibility lot of opportunities for learning, these perhaps had not Pre-visit information - primarily been maximised due to the amount of activity being on the website. There is limited delivered during the year. The focus on delivery had detracted from time for teams to meet and reflect on information regarding accessibility their experiences from each project. This was partially for wheelchairs, disabled toilets, influenced by the timescales and the conversations provision for sign language about funding not being fully resolved until quite close to the year itself. In future, staff would aim to be more interpretation or audio descriptions. prepared for these difficulties. photographs would be useful. ” I recognise that the support we’ve Audience member “ had this year goes considerably beyond where [the HLF] normally would, where my expectation is that they would comfortably support the art gallery. ” Core Project Team Member

132 HERITAGE EVALUATION REPORT EVALUATION REPORT 133 The year started with Hull Charters which sought to 3.3.1. Outcomes for Heritage tell the early history of Hull with some of the city’s most iconic documents dating from 1299 to 1835. This was felt to still need to be grounded in thorough The second exhibition, Plots, Intrigue and Treason: historical research, but it was noted that artistic Hull in The Civil War, focused on Hull’s role in the During 2017, staff at Hull History Centre approaches enabled staff, volunteers and visitors to British Civil Wars told through original material and a felt that the use of artistic approaches think about collections in new ways and potentially booklet. Both of these exhibitions were supported by had contributed to the interpretation and engage different audiences. outreach activities, including for schools, and family explanation of heritage. programmes. The year’s programme also offered an opportunity to develop relationships with a number of contacts The History Centre also hosted three externally and partners to interpret and explain the history produced exhibitions: Dr Alec Gill’s The Hessle and heritage of Hull. These included the Wilberforce Roaders: Hull’s Fishing Community, African Stories in You can see, I mean the phone box Monument Trust, Dr Alec Gill and the Hull and District Hull and East Yorkshire and an exhibition from the Hull “ that’s been created down there, how Local History Society who all exhibited at the History and District Local History Society. The later exhibition you can relate through a piece of art. Centre for the first time, and a continued relationship ran from the end of September and most of October to with Hull School of Art and Design. tie into Black History Month. I mean that’s just been amazing, that phone box. As part of the Hull Curriculum project, Heritage Learning developed a limited-edition lead session ” which linked in to the Hull Charters exhibition at the Core Project Team Member start of the year.

In 2017, Hull ...it normally History Centre hosts one hosted FIVE exhibitions from the medieval period up to the modern day...

At the end of the year Doodles and Drawings exhibited visual materials from the archives ranging from the 14th century right up to the 21st. For this exhibition staff members and volunteers chose doodles and drawings they liked, but the exhibition also attempted to demystify the workings of an archive and the History Centre. This exhibition was also accompanied by family programmes and craft workshops on book binding, paper marbling and silk marbling which were all fully booked within a few hours of being advertised.

Staff at Hull History Centre have also been leading on a project to archive Hull’s time at UK City of Culture by capturing the records that reflect the how, what, when and why for the 2017 programme.

The five exhibitions at Hull History Centre during 2017 gave visitors the opportunity to learn about Hull’s history and heritage from the medieval period up to the modern day.

134 HERITAGE EVALUATION REPORT EVALUATION REPORT 135 If we put up an exhibition that has Whilst ultimately the whole archive will be accessible to the public, this will take place within existing legal Within the preparation for the Doodles & Drawings exhibition, new items were identified and recorded “ got some pages from Flood with frameworks and some materials will not be accessible from within the archive collections. an alternative ending, that will get for up to 75 years. However, it was important that the everyone thinking oh, what's that? archive work took place during 2017 and continues With a life jacket and one of the to provide this heritage resource to the city’s future generations. headsets, it will take people back Staff at the History Centre noted that several of the The archive project is split into several parts: items in the final exhibition had not been seen before, the business archive, the artistic archive and the straight to where they were. So including an image of Edward the Confessor from the participatory archive. The business archive will capture many people haven't seen every 1870s. over 86,000 files from the Hull 2017 company server; single thing, it'll be a case of oh, I the artistic archive will contain information from the In addition, heritage has been identified and recorded artists and organisations who delivered activities don't recognise that, what's a life through a project to create an archive of Hull UK City within the programme (including artefacts); and the jacket doing in the archive? Some of Culture 2017. participatory archive will attempt to capture audience people will know instantly it's reactions, initially through project evaluations. Flood’s… We're picking up as much It's huge in scale but also huge in This year has seen the first step of capturing materials as we can because if we do it in five “ ambition because no one's done for the archive and work remains to be done on how years time, we're not going to get a anything like this, on this scale this will be processed as well as how it might be accessed and when. fraction of what people have got in before... I mean from my perspective, their garages at the moment. the City of Culture is the biggest Staff have been working with the National Archives to exchange knowledge about this, particularly for ” thing to transform the city since the the next UK City of Culture. A project archivist has Core Project Team Member Second World War and it's having been appointed with funding for a 15-month contract, a huge, huge impact, so the level of though there are plans for a future application to scale up and complete the work that cannot be finished interest is going to be huge. within this timescale including outreach work. ” Core Project Team Member Simon Wilson, the University Archivist based at Hull History Centre, intends to engage Hull 2017 volunteers with some of the work processing the archive in order to draw on their extensive knowledge of the programme and its events. He currently hopes to mount an exhibition, potentially in 2027, as a celebration and retrospective of the UK City of Culture year in Hull.

136 HERITAGE EVALUATION REPORT EVALUATION REPORT 137 I had no idea that such a wealth of I have used the public access areas “ information was available. “ previously, but didn't know about ” what was stored in the archives Masterclass Participant upstairs or the behind the scenes facilities on the ground floor. It broadened the knowledge I already Following the masterclass I was have from my experiences of “ able to help a Hull couple who attending the Centre for family approached me while on duty at the research. I can use this for helping Interchange. They had several old others. documents and books relating to ” Hull and didn't know if they could Masterclass Participant be used, so I directed them to the Hull History Centre! ” I have started to plot my family tree Masterclass Participant “ and have taken my aunt to sign up too! ” Masterclass Participant

Hull History Centre has regularly worked with volunteers in the past, though the programme in 2017 offered two new opportunities for volunteering.

3.3.2. Outcomes for People Staff delivered a series of ‘Introduction to Hull History Over the course of the year, Hull 2017 volunteers We’re used to people coming and Centre’ masterclasses as well as subject specific talks provided invigilation and engagement for some of “ telling us what they want to look at, for volunteers signed up to the Hull 2017 volunteer the exhibitions including a greater presence for the programme. As a result, many individuals came back African Stories in Hull and East Yorkshire exhibition to whereas this was a different way of Activities within the year also provided with friends and family members to show them around talk to visitors about the collections. This involvement trying to engage with them to see the opportunity for a range of visitors to and share their new knowledge. totaled 78 different volunteers giving 301 hours with a what they’re interested in and then learn more about heritage than through financial value of £2,150. The workshops for Hull 2017 volunteers also enabled previous year’s programmes. Exhibition develop that. this group to develop new skills, as they were shown Elsewhere, four volunteers had a deeper involvement content spanned from the medieval period ” how to use the computers and microfilm machines and ultimately co-produced the Doodles & Drawings to the present day and was accompanied Core Project Team Member with the centre and how to access and interact with exhibition. A similar programme to the masterclass by a more extensive range of workshops the archives. As a result of attending a masterclass sessions was put on for these volunteers. This longer and talks. training at Hull History Centre: term engagement project developed the skills and Each volunteer chose an item from the History Centre knowledge of the four volunteers who had not been archives and reinterpreted them using an artistic • 93% of volunteers learnt how to access in an archive before, and also developed the curatorial method. The final exhibition included crochet, a information to support local history research and engagement skills of the Hull History Centre staff recreated fish tank and photography. Staff also noted that a number of artists had visited involved. the History Centre and looked at certain collections • 83% learnt how to use microfilm machines in order to inform the development of songs and • 79% learnt how to undertake archival research performances. The archives were used by the artists in the development of artworks for Made in Hull, which The value and extent of these skills gained was started the year with celebrations from 1-8 January reflected in feedback from the participants. 2017.

138 HERITAGE EVALUATION REPORT EVALUATION REPORT 139 3.3.3. Outcomes for Communities 3.3.4. Learning for the Future

Hull History Centre hosted The Gold Nose of Green Was not able to volunteer for Hull Ginger from August until December 2017. This artefact Using artistic approaches within formed part of the Land of Green Ginger project on the From their experiences during 2017, staff “ History Centre as their waiting list is exhibitions facilitated more and a wider Bransholme Estate in the north of the city and sought learnt a lot about visitor interests and full. range of people to engage. to engage visitors at the North Point Shopping Centre motivations. ” by encouraging them to discover and create new Volunteer narratives about their local community. Its relocation to the Hull History Centre acted as a closing ceremony Programmes including the History Makers had to the project and brought over 70 participants to This was notably the wide range of local visitors who I have talked to many family friends always done well at engaging school age children the centre, many for the first time. Anecdotal reports were interested in photographic materials as found “ and on occasion members of the upwards. However, the Doodles & Drawings exhibition, suggest several of these Bransholme residents during Dr Alec Gill’s exhibition. public whilst volunteering about combined with the family area which was constructed revisited the centre in subsequent months to see the two years ago, and a Big Draw event led to more Gold Nose on display. the History Centre I would love to parents with very young children visiting the History There are lots of things up there that volunteer and help others to access Centre – an audience which had been difficult to “ we could do that wouldn’t need so what is contained there and will engage in the past. It was also felt that Dr Alec Gill’s much interpretation but that people The Hessle Roaders: Hull’s Fishing Community and certainly be undertaking family African Stories in Hull and East Yorkshire had each are interested in, and get them into research myself. also made an effort to engage a wider range of people. the building, and we could use them ” for workshops as well. Volunteer The Alec Gill photographs brought ” Core Project Team Member The five exhibitions at Hull History Centre during 2017 “ in a lot of folk who haven’t set foot in gave visitors the opportunity to learn about Hull’s this building before, largely to see if There is also an appetite for more volunteering history and heritage from the medieval period up to they could see themselves or people opportunities at the History Centre, particularly the modern day. History Centre staff have discovered following on from the ‘Introduction to the History new items within their archives and trialed new they knew in the photographs. So Centre’ workshops that were put on for those signed approaches to interpretation, engaging volunteers in that’s not necessarily our usual up for the Hull 2017 volunteering programme. creative projects with the potential to attract wider audiences. audience. Whilst summer usually brought academics and ” family historians from elsewhere in the UK and other Core Project Team Member countries to Hull History Centre, during 2017 it was noted that national and international visitors had come Hull History Centre also worked with other throughout the year. Many of these were visiting the organisations in the city as part of the UK City of History Centre as part of a wider itinerary to see other Culture programme. For example, they provided a UK City of Culture events, including some organised small exhibition about 1642, which was displayed in coach trips. Hull Truck foyer during The Hypocrite production and in return the costumes from the play were displayed at the History Centre for Plots, Intrigue and Treason.

I feel we’ve raised our game in “ terms of outreach this year, we were always very very good at it anyway no matter how much or how many resources we had, but I think we have raised the bar. I think we’ll be disappointed if we go back down again. ” Core Project Team Member

140 HERITAGE EVALUATION REPORT EVALUATION REPORT 141 3.4. HULL MARITIME MUSEUM

During 2017, Hull Maritime Museum produced six main exhibitions, as well as associated programmes and events, and two community exhibitions.

The year started with Bowhead – a contemporary digital and visual installation linked to the whaling industry. This was followed by Offshore: Artists Explore the Sea in partnership with Ferens Art Gallery. During this time, the museum also hosted the 14-18 Now installation Poppies: Weeping Window. The summer saw Bill Bailey’s Cabinet of Curiosities, which used comedy and creative writing to look at the breadth of collections across maritime, social and natural history. Later in the year, Common Foe looked at the relationship between Hull and Iceland, and Turner and the Whale coincided with the Turner Prize at Ferens Art Gallery.

Alongside these main temporary exhibitions, a space was dedicated to exhibitions from community groups. During 2017 these included United Towing and Salvage Society, and The Yorkshire Ones. Other events included: Maritime Museum Goes to the Movies with a week of screenings; hosting The Memory Machine from the National Maritime Museum; BBC Radio 4’s Listening Post; and folk music performances of shanties. In October, the museum also hosted the Maritime Heritage Forum.

The overall appeal of this programme is evident in the record numbers of visitors who came through the museum during 2017.

142 HERITAGE EVALUATION REPORT EVALUATION REPORT 143 3.4.1. Outcomes for Heritage

Hull Maritime Museum sought to take more risks and to offer almost continuous activity throughout 2017. Six main 346,000 exhibitions and associated programmes visitors came through the allowed it to deliver a high-quality Maritime Museum in 2017 – experience for existing audiences and new that’s a record number visitors alike.

Normally in the past if we’d done The revitilisation that Hull Maritime “ two exhibitions a year, that’s a lot “ Museum is bringing to Hull and and normally it would be one big trying new ideas. The film event one within a very small budget was amazing, though I was working which is service wide. Being city away at the time I will definitely visit centre we felt we needed to have again if this is repeated. something on all the time and I ” don’t regret doing that, I think it was Audience member important that we did. ” Core Project Team Member

The 2017 exhibitions at Hull Maritime Museum took a variety of approaches to the interpretation and explanation A third exhibition, Common Foe, involved extensive Because of the budget we were able of heritage, including some which were entirely new. Turner and the Whale was co-curated by Martha Cattell, work with communities and included oral history a PhD candidate at the University of York, and her supervisor, Professor Jason Edwards. The exhibition was and interviews exploring the Cod War period. Two “ to set up the Common Foe, it wasn’t underpinned by an academically researched publication, which is now for sale in the museum shop for £5. community members were filmed talking about just about doing an exhibition objects relevant to their own personal experience and A second exhibition, Bill Bailey’s Cabinet of Curiosities, used fictional elements to create a lighthearted through 3D objects, it was to have these edited videos were published online to provide reinterpretation of collections. Many of the objects were put on public display for the first time as the premise of additional interpretation of the Maritime Museum’s a commissioned piece of work the exhibition gave an opportunity to exhibit a wide range from the collections. collections. that was unique in itself…so it was

The exhibition developed relationships with Icelandic looking at heritage but we were also Not everybody got [Bill Bailey’s I found the Bill Bailey one held partners and resulted in the acquisition of a warp going beyond that and looking at cutter for the museum’s collection – an object which emotions...it was about someone “ Cabinet of Curiosities], but a lot of “ my children's attention! They curator’s believe has never previously been displayed people who did, really really liked were laughing along and getting outside of Iceland. Whilst in Iceland, museum staff having an exploration in himself it. So you can’t please everyone involved. conducted an interview with a fisherman who had and from the community going over first-hand experience of the object. As well as these too, it re-examined that heritage because it would just be bland so ” specific interviews, the museum also commissioned Audience member sometimes it’s a bit risk taking this a film which documented a meeting between fishing we’ve got with that relationship, year, but we thought if we can’t get community members from Hull and Iceland. through one particular event, but it away with it this year when can you. went wider. And to me that’s the first So I wouldn’t do it as a permanent sort of exhibition like that that we’ve element of any display, but it’s done where we focused on people’s interesting to see what people were emotions as well as people’s sort of, receptive to. stories. ” ” Core Project Team Member Core Project Team Member

144 HERITAGE EVALUATION REPORT EVALUATION REPORT 145 3.4.2. Outcomes for People Young people were given the opportunity to develop creative skills, particularly around documentary making, through education and outreach projects Volunteers were briefed on the exhibitions linked to some of the exhibitions. Heritage Learning but many went beyond to more deeply Undertaking exhibitions in new ways and worked with documentary maker Simon Sharp and understand the stories and objects on display to interpret them for visitors. with greater budgets and more dedicated a Hull primary school to create audio documentary time enabled staff to develop their knowledge The Trip, charting the experiences of some of Hull’s of key areas of Hull’s history and heritage. fishing community. The documentary featured in the Common Foe exhibition at Hull Maritime Museum. Several have also gone on to volunteer for the Hull They also worked with 14-18 NOW during Poppies: Maritime Museum directly, including as guides on the Tom Goulder, Assistant Curator – Projects, noted that Weeping Window to engage local schools with the Arctic Corsair ship. he developed his understanding of deep sea fishing artwork. This was done through digital filmmaking and its communities through the Common Foe project. workshops and through the creation of a citywide trail Audiences have also learnt about heritage through to commemorate Hull’s involvement during the First The Hull 2017 UK City of Culture their visits: World War. “ guide did a good job as well and he Videos from this latter project can be found at: gave me information not clearly Each exhibition has taught me https://youtu.be/VM-x9RBDRPg and available in the exhibitions. “ different things...history and https://youtu.be/fcR4Cta4gjo ” zoological information...actually Audience member

maybe the most important thing I Outside of this formal volunteering, community have learned is how important Hull's members also volunteered their time on the Common connection to the sea has been! Foe project. Three ex-fishermen went on a trip with museum staff to Iceland as part of the project, and a ” larger group of 20 to 30 people came to events and Audience member were photographed for the exhibition. This project proved to be a deeply emotional and moving process The Maritime Heritage Forum in October offered an for those involved as they explored shared heritage opportunity for museum professionals working in the and common experience. field to learn about Hull’s maritime heritage as well as enabling their professional development more generally. They’d all given up their time for us “ for the project and it wouldn’t have We said we'd host them here in the During 2017, 192 volunteers trained by Hull 2017 happened without them. “ Maritime Museum and they had the delivered 5,261 hours of volunteering with a financial ” value of £37,578. Core Project Team Member best ever response numbers wise, so we had to move to the Guildhall and I think we had 102 delegates across two days with sort of plenary sessions and talks on relevant things They’ve been really helpful [...] for the Maritime Heritage industry “ in terms of just dealing with the and we also went out and gave them capacity and the numbers we’ve a tour of Trinity House and the had through the door. Which Marina. have been enormous and it hasn’t ” stopped since the second of Core Project Team Member January. We’ve had more than we had in the previous three years so far. ” Core Project Team Member

146 HERITAGE EVALUATION REPORT EVALUATION REPORT 147 3.4.3. Outcomes for Communities

Activities during 2017 at Hull Maritime Museum sought to engage core audiences as well as develop and build new ones. This year was an opportunity for the museum to experiment with approaches for their longer HLF funded project, Yorkshire’s Maritime City.

The museum's core audience is made up of local Hull Maritime Museum’s location in Queen Victoria residents, often coming from a maritime community Square influenced its potential role in driving visits background and often families. These audiences to the city centre and the resulting economic impact. contain a high proportion of people on lower incomes Museum staff programme the year with almost and living in rented accommodation, which is in constant exhibitions in order to draw residents and contrast to most other museums. Exhibitions tried to visitors into the city centre, and to allow visitors to appeal to these audiences through heritage elements discover the heritage of the city and create a desire to and through being family friendly. The film screenings come back again. offered an opportunity to develop these family audiences with a relaxed screening targeted at families with young children or children with autism. I really enjoyed my couple of days “ in Hull - great place. I came to chase I think what we find is when you Philip Larkin but found a lot more “ do something really good for your besides. There is a lot to do and see core audience with integrity is that in Hull. visitors respond really positively to ” Audience member it because they want to know what’s special about the space, the place they’ve come to. ” Core Project Team Member

Other elements of the programme attempted to build audiences coming from outside of Hull, in particular Bill Bailey’s Cabinet of Curiosities and Turner and the Whale. Audience feedback has not yet been analysed by Hull Culture and Leisure to identify whether this was the case or not.

The way everything was displayed “ and clearly explained made it so easy to follow not just for us but for all ages as was obvious by the interaction of everyone visiting. ” Audience member

148 HERITAGE EVALUATION REPORT EVALUATION REPORT 149 3.4.4. Learning for the Future

That directly fed into Turner and the Whale “ because that has a similar level of text because the footprint of that exhibition is not huge. When people come from out of town they expect it to be worth their visit and what’s interesting is that what some of the feedback says is that they appreciate the level of detail and new information in the captions but we know that’s not for everyone, especially in this city. So we did a summary leaflet for that which people can take away and that summarised things very quickly, so one exhibition sort of fed straight into the other. ” Core Project Team Member

Overall, by taking risks with activities in 2017, Hull Staff identified aspects of various exhibitions that they Hull does a very poor job of selling Through the opportunities presented by the title of UK Maritime Museum was able to learn lessons for future would have done differently. Staff felt that they wanted “ itself, e.g. an exhibition of Turners City of Culture in 2017, Hull Maritime Museum sought projects. Offshore: Artists Explore the Sea to be more family to take more risks and offer almost continuous activity friendly than it was, though there was a climbable ship with absolutely no national or even throughout the year. These six main exhibitions incorporated into the exhibition for younger visitors. and associated programmes allowed it to deliver a It’s the importance of the core local publicity...I walked into the Reflecting on working with an external company room with the Turners and was high quality experience for existing audiences and “ audience, not to alienate your family on this project, they also felt that it did not gain the new visitors alike. By experimenting with different audience as well. People are open to attention it deserved and would have liked greater gobsmacked at what I saw. Great approaches, including those informed by art forms control over PR and marketing. Similar comments from film-making to creative writing to digital new things and experiments within paintings and could easily have about PR and marketing were received from visitors: missed them on my visit. animation, the museum learnt about the interests and responses of their visitors and developed their this building if you do it carefully, ” own professional practice. The overall appeal of this especially if they’re temporary. Audience member programme is evident in the 346,000 visitors who

” came through the museum during 2017, a record Core Project Team Member The process of developing the text-heavy exhibition number. Bill Bailey’s Cabinet of Curiosities (which focused on comedy and creative writing) directly fed into approaches adopted for Turner and the Whale. The City of Culture year enabled the museum to build up links with the community, especially formal groups, which will be used in consultation going forward. It was also felt that the collections were receiving increasing recognition and as a result new partnerships, such as with the Tate, were now possible.

150 HERITAGE EVALUATION REPORT EVALUATION REPORT 151

3.5. SUMMARY

Hull’s museums, galleries and archives played a Hull Maritime Museum sought to take more risks and significant role in providing year-round access to high to offer almost continuous activity throughout 2017. quality exhibitions exploring the city’s history and Undertaking exhibitions in new ways and with greater heritage. The three venues featured as case studies in budgets and more dedicated time enabled staff to this chapter received significant support to increase develop their knowledge of key areas of Hull’s history the scale and ambition of their programmes during and heritage. 2017. The UK City of Culture title in 2017 presented the opportunity for these three venues to engage with Volunteers built strong relationships with the museum heritage in new and different ways, resulting in the and so have begun to volunteer directly as guides dramatic growth of their audiences during the year. on the Arctic Corsair. Activities during 2017 at Hull Maritime Museum engaged core audiences and began Heritage has been better interpreted and explained building new ones by experimenting with approaches, at Ferens Art Gallery through a large-scale which will now be applied in their longer HLF funded refurbishment, new exhibitions and an expansion of project, Yorkshire’s Maritime City. staff teams with a range of specialist skills and people have learnt about heritage through exhibitions that Overall, the city’s free museums and galleries were juxtapose collection objects with new loans and successful in attracting larger and more diverse through events which have used gallery spaces in new audiences through their participation in the Hull and unexpected ways. A more reduced programme UK City of Culture 2017 programme. The increased in 2018 will offer staff an opportunity to reflect on resources and ambition enabled staff and volunteers the successes and challenges and to implement this to develop their skills, and learn more about their learning in a sustainable way. collections and the heritage they represent.

During 2017, Hull History Centre significantly increased However, unsustainable levels of delivery during 2017 its programming from previous years. Staff have often prevented opportunities for reflection and as a discovered new items within their archives and result learning was not always able to be implemented trialed new approaches to interpretation, engaging between one exhibition and the next. Through volunteers in creative projects with the potential to evaluation and reflection in 2018, staff at Ferens Art attract wider audiences. From these experiences, Gallery, Hull Maritime Museum and Hull History Centre staff have learnt a lot about visitor interests and will be able to implement what they have learnt about motivations, as well as being inspired with ways in audiences, collections and programming. which to increase public access to and interpretation of their collections with less resources, enabling them to continue to programme more exhibitions.

of Hull residents 76% and of East Riding residents attended Humber Street Gallery, 84% a museum, gallery Hull’s new contemporary or other historic art gallery was visited by attraction during over 120,000 people in 2017 2017

152 HERITAGE EVALUATION REPORT EVALUATION REPORT 153 4.1. INTRODUCTION 4. ROOTED Hull has a rich and unique history which is not widely appreciated outside of the city, let alone celebrated. The UK City of Culture 2017 programme was seen as an opportunity to give light and credit to the rich and distinctive fabric of the city, through new contemporary narratives presenting different perspectives on what makes Hull the place that it is today. IN PLACE This chapter represents the diverse range and depth of history that Hull has to offer, as well as evaluation of how artists and communities have delved deep to showing the world what gives Hull its sense of ‘Hullness’. Case studies explore the themes of the Humber Bridge, Water, Women in Hull, and Freedom.

KEY FINDINGS It's like with a lot of art. I think it gives “ people a chance to look at somewhere • Artists and project team members learnt • Using the arts to make history and heritage about histories across these four themes relevant to lives today rather than solely in a different light or hear something in a through unprecedented access to historic focusing on the past appears to increase spaces and sources enabled by partnership engagement and learning across all different light. It kind of reminds them of working and eagerness to support the UK audiences. City of Culture initiative. those places and links them to it in a way • Using volunteers in creative ways in arts • The combination of events and exhibitions projects not only enhances the outcomes they haven't thought of before exploring overlapping themes and histories for audiences but also delivers a rich and ” within the overall programme provided rewarding volunteer experience. Artist opportunities for audience members to encounter a variety of explanations of the • Increases in the number and diversity same or linked events and themes, as well as of people engaging with heritage were to experience these through different forms attributed to events being free, unticketed of interpretation. and held in open public spaces where heritage and the arts would not usually be • By focusing on the heritage theme of found. women in Hull, opportunities were created for more women to build their skills as • Engagement with the history and heritage artists, producers and directors, whilst presented through the arts programme audiences of all genders were able to learn greatly increased a sense of local pride and about the city’s history and heritage through belief that Hull was a better place to live, these female role models. work and visit.

• Site-specific projects were able to make a statement about making space for women in Hull’s history and its historic buildings, from which they had been excluded in the past.

The Humber Bridge was recognised in 2017 with listed building status, this was celebrated through its use in a series of projects

154 HERITAGE EVALUATION REPORT EVALUATION REPORT 155 4.2. HUMBER BRIDGE This was the first time that Riley French had benefited Bringing together Hull Choral Union Orchestra, from the opportunity to work on a large-scale site- Chorus and Junior Chorus, with Grimsby Philharmonic The The history and heritage of the Humber Bridge has specific piece of sound art in his home city. His field Society, Grimsby Bach Choir, North East Lincolnshire been celebrated and interpreted through several recordings formed the basis of the music composed Youth Voices and Scunthorpe Co-operative Junior projects for Hull 2017 that have used the landscape Humber by Aarset, Bang and Henriksen, thereby making Choir, Voices Across the Humber was an idea that of the Humber estuary and the physical structure the bridge and its outdoor environment absolutely came together when Suzanne Brown from Hull of the bridge as a creative source to inspire or stage Bridge intrinsic to the new music created for The Height of Choral Union successfully secured funding from Arts the Reeds sound journey. Council England and Hull 2017’s Creative Communities work. These projects have harnessed what the bridge was recognised in 2017 Programme to create a sea-themed project that would symbolises for people through the creative production with listed building status, The Humber Bridge Board1 allowed their maintenance this was celebrated celebrate the communities from the different sides of new arts experiences – particularly within Hull staff to work closely with the artist and to allow him 2017's Roots and Routes season (Apr-Jun 2017). through its use in a series of the Humber estuary as well as commemorate the of projects privileged access into the bridge structure. Although choral history of those local communities. he had previously visited the site and taken recordings from it, the access Jez Riley French gained this time Suzanne Brown identified the Humber Bridge as a was unprecedented for him. All in all, he spent two “route linking communities” and for her, the history weeks inside the bridge over the course of six months. of the bridge was integral to the concept for Voices This experience is doubly significant for him in that it Across the Humber. As a student at the University of 4.2.1. Outcomes for Heritage contributed to the artist’s international catalogue of Hull, Suzanne Brown used to sing in the choir and was audio recordings of historically-important buildings aware that composer Antony Hedges, a lecturer with and helped to create a sound archive of the bridge. the University, had been commissioned with Philip The thing that came from those Larkin by J. H. Fenner & Co to produce a choral work Hull 2017 successfully enabled the Humber “ people, which only intensified as we to celebrate the completion of the Humber Bridge. Bridge to be celebrated for its engineering The work, Bridge for the Living was first performed in talked to more and more people as Now the Humber Bridge is officially listed as achievements as well as for how it "opened Hull’s City Hall by Hull Choral Union, conducted by Alan Grade I: a building of exceptional interest, up" both socially and economically, two we made the project, was that it's a Spedding on 11 April 1981. Voices Across the Humber the significance of the bridge’s single span previously remote and insular areas of very potent symbol of homecoming was an ideal way to bring Hedges’ composition to life construction is formally acknowledged England. again and to introduce it to new audiences as part of for people in Hull, and that people and recorded, and the Humber Bridge has Hull 2017. taken on a new heritage status which should The story of how the bridge has impacted on who'd gone away, or maybe gone to university or maybe just been away protect it from future alteration or dereliction. Suzanne Brown met with Anthony Hedges in 2016 the economic, social and cultural life of Hull to ask permission to perform his composition. Not and the Humber has been effectively brought and come home, it's the thing they only was he was happy to give his permission, but he to life through different artist’s interpretations also contributed to the programme and attended the of the history of the bridge so far. look for from the train window. ” 1http://www.humberbridge.co.uk concert itself. Audience member All members of the Hull Choral Union Orchestra and Chorus read Larkin’s poem and 18 members who performed Bridge for the Living in 1981 were still Opera North were invited to create a project based Norwegian trumpeter Arve Henriksen, guitarist members of the choir in 2017. Consequently, they on the Humber Bridge which became The Height of Eivind Aarset, electronic wizard Jan Bang and were able to re-connect with the piece and share their the Reeds. From an early site visit in 2016 and along Arnaud Mercier, a French system designer, were experience with new and younger choir members. with consultation with local people, the project team commissioned to work with Hull-based sound artist The concert was made more accessible and members at Opera North were quickly appraised of Jez Riley French and the Opera North Orchestra and memorable through the visual content commissioned the need to shape the project around the cultural Chorus to write a soundscape for the bridge, which from artist Sarah Daniels and film director and significance of the bridge and its physicality. became a very individual and dynamic responsive composer Philip Codd. symphony for the bridge. The Humber Bridge is the longest single span bridge Philip Codd married the contemporary photographs in the world that you can walk or cycle across - 10 Jez Riley French brought his sound recording taken by choir members with archived film footage million vehicles cross each year; 300,000 pedestrians; expertise to the project in sound piece The Height of Hull, its trawlermen and their memorials supplied and 50,000 cyclists. The resonance of the Humber of the Reeds, which celebrated the structure and by Hull Maritime Museum; the final film edit was a Bridge project to the Roots and Routes season could iconography of the Humber Bridge. As a musician and collaboration partnership and for Suzanne Brown, this not have been stronger and this gave Opera North sound artist, Jez Riley French is known internationally was the first time she had been involved in making an imperative to bring international artists together for his interest in and technical skill with recording a film. The film was screened as part of the concert to work on this project, inviting artists who could the vibrations of buildings. He has established an performance. understand the relationships with fishing, trade and international reputation for working with buildings and Scandinavia. sound, describing his particular creative process as Showcasing the film alongside the choral performance presenting “the voice of the structure”. imbued a whole maritime feel for the audience and this was used to best effect in City Hall through recreating that mood by dressing the auditorium with fishing nets, lobster pots and blue and green lighting.

156 HERITAGE EVALUATION REPORT APPENDICES 157 4.2.2. Outcomes for People The artists’ use of technology in realising the dynamic For a long time the Humber Estuary was a barrier to soundscape The Height of the Reeds has been a very trade and development between its two banks and effective mechanism in connecting audiences to since its opening in 1981, toll charges and the use of the Plans became very important to us, the heritage, beauty and personality of the Humber Humber Bridge for suicides still hold some controversy Artists and project team members were “ and it's like a little world. It's its own Bridge. The GSI-mapping technology behind the locally. Bringing artists together to take the bridge able to learn about the history of the licensing authority for example, project synchronised the walk across the 1,410 as a positive source of creative input has managed metres of bridge, just under a mile, with audiences to successfully represent its heritage from different bridge through unprecedented access to so it has a very unique place… It's private areas of the structure. As a result experiencing poetry readings and changes of music viewpoints. Artists have successfully introduced new they translated some of this knowledge to not governed in the same way as intervals through their headphones as they achieve perspectives for local people as well as the visitors audiences through the works of art created. normal places are.... it became more different lengths of their journey. The Height of who experienced The Height of the Reeds. the Reeds proved to be a powerful immersive and and more apparent to me at least, reflective experience for people for many different that it was a very precious place for personal reasons. It's like with a lot of art. I think it

people, and... I felt quite, … privileged “ gives people a chance to look at Artists and project team members working on Height of the Reeds benefited from site visits and gained an to be working on a place that meant A couple of people found it somewhere in a different light or intimate knowledge of the Humber Bridge by working a lot to a lot of people… it needed to “ connected them to grief they'd hear somewhere in a different light. with architectural building and design plans provided It kind of reminds them of those by the Humber Bridge Board. They also drew on the be done with a lot of care and a lot got, people they'd lost, and I think living memories of local people who were connected of respect, because everybody you the bridge has a sadness about it, places and links them to it in a way to different parts of its history. talked to in Hull, particularly when because it is a place where people they haven't thought of before.

The 100-strong project team of volunteers for The we started work with the volunteers, choose to end their lives, so it does ” Artist Height of the Reeds have also brought their own everybody you talked to said, "Oh I have that. There's something of that local knowledge and associations with their personal histories of the bridge and shared their experiences remember when it was built" and, "I there physically, because people The Height of the Reeds helped create a more positive as part of the training sessions run by Opera North remember them spooling the cables leave flowers and things…That awareness of the beauty of the Humber Bridge and Jez Riley French. In exchange, the creative team backwards and forwards." knowledge really does resonate and its historical importance to the city as both an was able to talk about things that people did not know when you walk along it. architectural landmark and social gateway. It enabled about the Humber Bridge, in particular, its internal ” people to reclaim the bridge as a positive piece of Core Project Team Member structural system and how the recorded sounds were ” the city’s industrial heritage, celebrating the feat of used to reveal its hidden areas. This knowledge was Core Project Team Member engineering it took to construct one of the longest then passed on from the volunteers to audiences single-span suspension bridges in the world and the walking and listening to The Height of the Reeds, lives of those who built it, as well as enabling easier thereby creating a new heritage perspective for the passage of people and trade from one side of the public to engage with. estuary to the other.

158 HERITAGE EVALUATION REPORT EVALUATION REPORT 159 4.2.2. Outcomes for People Images of my life associated with “ life crossings of the Humber Bridge. At times I remained congruent with The Humber Bridge offers a physical link the present, allowing the sounds between communities on the north and south to unfold what my eyes were banks of the Humber. Arts-based projects exploring the heritage of the structure seeing. What a unique experience, enabled social interaction and celebrated I really enjoyed using my senses to their cultural connections. interpret the environment. Thank you. Bridge for the Living 2017, still from Philip Codd’s film ” Audience member In addition to Hedges’ composition, the mixed Audience and participant surveys for Voices Across programme for Voices Across the Humber included the Humber found that: three sea songs performed by the youth choirs and A Some participants commented on how they could Sea Symphony by Ralph Vaughan Williams conducted 45% of respondents were new attendees to Hull City see Hull, or the bridge, in a different or more detailed by David Lawrence, sung by all five choirs and played Hall. light especially by understanding that you could walk across it; others reflected deeply on their journey and by Hull Choral Union Orchestra. The Bridge for the 81% of choir members surveyed stated that they Living was potentially the most challenging for the felt that The Height of the Reeds had transferred a agreed or strongly agreed that using art based restorative power to them. choirs to perform and for audiences to engage with. approaches to explore / present the history and However, the creative interpretation of the work heritage of Hull makes the history and heritage more was influential in how choir members changed their interesting. I thought the fact that your walk approach to the piece once they were able to engage with it through the words of Larkin’s poem and the 92% of audiences surveyed agreed or strongly agreed “ gives you an idea as to how large images they were inspired to make themselves. that the event was an enjoyable experience. and magnificent the structure is. The sound helped to turn the The evening performance of Voices Across the 92% agreed or strongly agreed that the event Humber involved 305 voluntary choir members aged introduced them to Bridge for the Living by Anthony experience into a profound and from 19-years-old to mid-80s across five choirs, as well Hedges (words by Philip Larkin) for the first time. meditative experience. as Hull Choral Union Orchestra, and was supported by a BSL interpreter. The performance at Hull City Hall marked a significant ” Audience member opportunity for the choirs to work together in raising their level of performance as well as their profile. Opera North put considerable effort into helping local The beauty of the sea, the vast community groups to collaborate in The Height of the “ expanse of the sea. The haunting Reeds, and engaged with local cycling clubs, walking groups, and the local Tourist Information Centre in and mystical experience of encouraging people to cross the bridge. the earth and life. A wonderful, Feedback was gathered from people participating in unusual creative experience - The Height of the Reeds. Participants were asked to time to reflect. think about the sound journey and what went through ” their mind. The 598 responses evidences how the Audience member experience of listening to the soundscape whilst walking across the bridge impacted on individuals The Height of the Reeds has also been inspirational for emotionally and physically, providing them with a the Humber Bridge Board, enabling it to showcase the powerful sense of connecting to a particular place bridge and to benefit from its greater awareness and at a specific moment in time and for some, losing use during 2017. themselves to the experience.

160 HERITAGE EVALUATION REPORT EVALUATION REPORT 161 4.2.4. Learning for the Future 4.3. WATER

Opera North involved a range of highly skilled and The technology used in The Height of the Reeds did experienced artists in The Height of the Reeds and not always function well for participants and received they were given largely a free rein, through their some negative comments in the feedback, illustrating Hull is Yorkshire’s Maritime City. Its maritime heritage and the waterways are central to the local creative brief, to work with the Humber Bridge and one aspect of risk that was taken in staging this landscape and sense of place. Hull’s water-related heritage has been directly explored in many projects with one another. The Humber Bridge Board were ambitious project. However, participants suggested across the duration of the UK City of Culture Year. open to assisting with the project in any way they that The Height of the Reeds, or a similar experience could and formed a strong partnership with the project should be organised again in the future, or that it production team. should be made permanently accessible, for example translating it into a CD or app which people said they Opening the year, Made in Hull used light projections By exploring the theme of water and associated would happily purchase. to tell the story of waves of migration arriving at Hull’s heritage throughout the Hull UK City of Culture So freedom was essential here. I docks. Roots and Routes season used contemporary 2017 programme, audiences have been given Bringing artists into the city has worked well in art at Humber Street Gallery to look at climate change the opportunity to deepen and broaden their “ think in terms of the outcome, I and a sound installation at the University of Hull to knowledge of the city’s history through a variety of bringing new cultural perspectives and expertise into think that's why it worked. Each the city and this has pushed the level of ambition for explore a river journey. Exhibitions at Hull History interpretations. From first time visitors to lifelong person involved was allowed to do this project. Whilst bringing artists from outside the Centre and Hull Maritime Museum have drawn on residents, these events, exhibitions and activities have what they do and the trust to make city into Hull has been useful in developing learning, watery themes throughout the year, and year-long given all audience members the opportunity to learn Jez Riley French, based on his experience of working site-specific theatre project Flood resonated with local something new about Hull and its stories. it an experience that was accessible nationally and internationally also recommends more residents’ memories of the floods of 2007. to the public. It doesn't pander to opportunities for Hull-based artists to be supported the audience, but it was totally in developing partnerships to enable them to work outside the city, on national and international levels. accessible to them. That's why it was This would help the city to raise its ambitions for large- a success. scale projects in the future.

” Artist

This was an ambitious and large-scale project, the audiences demand for which outstripped its initial month-long run, and therefore the project was extended twice, proving that such sound art projects can be very popular in connecting diverse and sizeable audience groups with heritage assets using innovative and accessible formats. 4.3.1. Outcomes for Heritage

Hull’s celebration of the UK City of Culture title during 2017 has led to the better interpretation and explanation of its water-related heritage. Exhibitions and events offered a platform to raise awareness of established histories, as well as scope to explore lesser known stories.

The programme delivered interpretation through a Alec Gill’s photographs, they just put variety of different formats and artistic media with three examples given here. “ them up and people came in, and in and in and in. Firstly, The Hessle Roaders: Hull’s Fishing Community by Dr. Alec Gill MBE exhibited a photographic portrait ” Core Project Team Member of this Hull community firstly at Hull History Centre and then at St. John the Baptist Church (known as The Fishermen’s Church) later in the year. This largely visual exhibition documented the experiences of the fishing community during a period of change and challenges from 1971.

162 HERITAGE EVALUATION REPORT EVALUATION REPORT 163 The content of this popular exhibition brought new 4.3.2. Outcomes for People I went to this thing called Lillian audiences to Hull History Centre and attracted a wide “ Billocca…And I have to say you hear range of members of the local community during its exhibition at The Fishermen’s Church. a lot as you make friends in the Audiences reported learning more about area, about the trawlermen and…the Secondly, Offshore: Artists Explore the Sea took place the maritime heritage of Hull from their at Ferens Art Gallery and Hull Maritime Museum fishing heritage. And when I went attendance and participation in Hull 2017 from 1 April until 28 August 2017. The exhibition events, regardless of whether they were first to this, whether anything in this used contemporary visual art to examine the many time visitors or had lived in the city for most was the lady who did it all or she contrasting ways that the sea has shaped our of their lives. culture, our imaginations and our physical existence was just the voice piece, but after

through mythical sea monsters, superstition and this particular performance at the This was evident in venues like Hull History Centre and seaside traditions as well as trade and travel. Ten Hull Maritime Museum where artistic interpretations Guildhall, not only did I learn more new commissions were produced for the exhibition, For example, in addition to the quote above, 55% sat alongside historic documents and collections, but including a number of works that were developed with of audience members reported learning a lot (7- about the Guildhall and I learnt a also in the itineraries of visitors and residents which marine scientists and existing works were selected for 10/10) about the Triple Trawler Tragedy as a result lot more about 'Hessle Roood' as combined multiple events. their insights into the sea. of attending the performance. Similarly, 59% of it’s called, and the people of Hessle audience members agreed or strongly agreed that Thirdly, Trent Falls to Spurn Point was a collaboration Road and the whole heritage of the I went to both of the Big Lil plays the Somewhere Becoming Sea exhibition at Humber between Hull 2017 and the University of Hull. This Street Gallery was easy to understand. city. So there’s so much here to learn three dimensional sound sculpture followed the “ and frankly I thought they were for people like myself. ebbing tide from the confluence of the rivers Trent and fantastic…I think they were both Ouse. ” moving in their own different way. Audience Member And so after 40 odd years I finally Interesting thing about sound art: got to understand a lot more about whether it emphasises time and “  the fishing industry. Luckily I rhythm; whether it paints sound brought up my soft southern brother pictures; or whether it tries to and dragged him round the Arctic establish a narrative. I think this Corsair, which I’d never been round piece sort of did the last two: re before much to my shame, and they pictures and narrative. were absolutely blown away, but it ” Audience member was a fantastic introduction to the story of the fishing industry and also It created a journey along the Humber estuary and out the collapse and the impact it had into the North Sea at the Gulbenkian Centre, University on the city. of Hull, using sound, space and light as evocation. ” Audience member The majority of audiences reported that their experience at a Hull 2017 event was enjoyable. For example, 81% agreed or strongly agreed that attending the exhibition Somewhere Becoming Sea at the Humber Street Gallery Within the Hull UK City of Culture 2017 activities, The combination of events and exhibitions was an enjoyable experience. Audiences also described their enjoyment of events exploring the water heritage of other aspects of Hull’s maritime heritage have been within the overall programme provided Hull in their comments and feedback to Trent Falls to Spurn Point: opportunities for audience members to identified, recorded and preserved. Dead Bod is a encounter a variety of explanations of the story that has passed into Hull folklore. The painting, same or linked events and themes, as well as originally on a shed at Alexandra Dock, was a familiar Brill! Lovely As a visually More of this Beautiful sound experiencing these through different forms of sight for sailors and trawlermen sailing to and from “ space, “ impaired person “ stuff please, “ installation. interpretation. Hull and was allegedly used as a point of navigation. The shed on which it was painted was marked for captivating it was really good fantastic and Tranquility demolition in 2015 in preparation for the Green Port and the time at taking me to immersive. mixed with development. However, the painting was relocated flew by. the places and ” thought to Humber Street Gallery, the new contemporary art Audience member gallery established by Hull 2017, where it has since ” the quietness provoking Audience member been visited by over 120,000 people. The story of of the birds was memories and Dead Bod was also captured and retold through a peaceful. nostalgia. projection within the Made in Hull event from 1 until 8

January 2017. ” ” Audience member Audience member

164 HERITAGE EVALUATION REPORT EVALUATION REPORT 165 4.3.3. Outcomes for Communities The exhibition has reignited a sense Hull Maritime Museum’s Common Foe exhibition offers “ of pride among the Hessle Road an example of this. community and given hope that The main successes in terms of A wide range of visitors, often those who do the story will not be forgotten. The not typically engage with heritage venues, exhibition also brought together “ audience engagement relates to were drawn to City of Culture events and opposing fishing heritage groups a great extent to the links forged activities which explored this water theme. with the fishing community groups Often heritage within this theme resonated and through positive celebratory with personal experiences or family work it has encouraged all within and their counterparts in Iceland connections to maritime industries. before the exhibition opened. The the fishing community to support the venture and feel part of a wider visit to Reykjavik helped to not only and inclusive team with a shared forge new links between Hull and A wide range of visitors, often those who do not Iceland but also helped to raise typically engage with heritage venues, were drawn to ethos. Hull 2017 UK City of Culture events and activities which ” awareness among Hull’s fishing explored this water theme. Often heritage within this Core Project Team Member heritage groups and their networks. theme resonated with personal experiences or family The social media campaign in connections to maritime industries. particular, which followed the Over 16,000 people visited the free exhibition Hull trawlermen’s progress in Somewhere Becoming Sea at Humber Street Gallery during its 74 days of opening. Of these visitors, Iceland and covered the symbolic 78% agreed or strongly agreed that the exhibition exchange of the ship’s bells, drew encouraged them to visit more similar exhibitions in a great deal of interest both online future. In addition, 59% agreed or strongly agreed that Somewhere Becoming Sea made them want to take and with local media sources. Also, more risks when choosing what arts and culture they the fact that the documentary film choose to see. was such a central element of the Paid events also received a high percentage of ticket exhibition meant that the appeal sales. A total of 373 tickets were purchased (£5 for was a lot wider than perhaps a more adults, £3 for concessions) for the three-week run of Trent Falls to Spurn Point at the University of Hull. 23% traditional, object based display. of these tickets were sold to students. ” Core Project Team Member Hull’s Fishing Heritage Art Exhibition, a project grant-funded through the Creative Communities Programme, brought together old and young generations to tell the story of the glory days of The range of activities exploring water within Hull’s Fishing Heritage. The exhibition succeeded in Artistic interpretations, the engagement the Hull UK City of Culture 2017 programme engaging a wide range of members from the local methods used and the inclusion of video have served to support and develop a sense community. elements within exhibitions encouraged the of place for both visitors and residents. engagement of a wide range of people.

Of audiences at Humber Street Gallery’s Somewhere Becoming Sea: 47% agreed or strongly agreed that the exhibition made them feel more connected with the stories of Hull and its people; and 66% agreed or strongly agreed that the exhibition showed them that there is more to Hull than they expected.

166 HERITAGE EVALUATION REPORT EVALUATION REPORT 167 4.3.4. Learning for the Future I don’t think [Offshore] got the 4.4. WOMEN IN HULL “ attention it deserved and the nature As Yorkshire’s maritime city, Hull is now developing of 2017, there’s so much going on… Celebrating the lives of women in Hull was not part of an extensive redevelopment of its significant historic the original set of artistic concepts presented in the maritime assets, building upon the legacy of its there’s a flip side: everyone wanted Bid Book2 and when the time for programming came This presented itself as an opportunity to tenure as the UK City of Culture 2017 in support of its to hear about Hull but then there around, members of the Core Project Team felt that use Hull UK City of Culture 2017 as a way of aspiration to create a world-class visitor destination. was so much here you have to gender equality was quite absent. making a more rigorous exploration into The £27m project will ensure that Hull’s Maritime women from Hull who have challenged the

History is well preserved and celebrated by everyone. compete to be heard. norm and create a full acknowledgement and Hull Truck Theatre also identified with this same Over the next seven years, work will be undertaken celebration of their achievements. ” opportunity, the directors readily acknowledged that will place maritime heritage at the heart of Hull’s Project Team Member that their historical cannon of work was male- offer. dominated and therefore they chose to use 2017 as an Feedback from audiences, participants and volunteers opportunity to commission more women writers. As has demonstrated the value of presenting overlapping Overall, audiences have been given the a result they have made major changes to redress the history and heritage stories through a variety of media opportunity to both deepen and broaden gender balance in their programming. and interpretations. Audience members identified their knowledge of the city’s water-related The UK City of Culture title provided the opportunity performances inspired by heritage as a catalyst for heritage through a variety of artistic for Hull 2017 and Delivery Partners to explore the life later visits to venues such as the Hull History Centre interpretations during 2017. All audience and influence of women from Hull through a variety of and Arctic Corsair. members, from first time visitors to lifelong projects within the artistic programme including: residents, have found opportunities to learn However, delivering this quantity of linked activities led something new about Hull and its many water • WOW - Women of the World Festival Hull – a to a number of challenges. Projects across this theme stories. festival encompassing live debate, music, film, cited the limited lead in times inherent to the UK City comedy and activism in celebration of what of Culture programme and the late confirmation of women and girls have achieved and a showcase of funding. Similarly, marketing challenges were also the many inspirational trailblazing women of Hull. identified by staff across a range of projects. • Barbara Buttrick – whose life is celebrated in the new for 2017 play Mighty Atoms, written by Amanda Whittington. • Cosey Fanni Tutti – part of artist collective COUM Transmissions, with a seminal exhibition of work presented at Humber Street Gallery.

• Eliza Carthy – her new piece Rivers and Railways commissioned for the PRS New Music Biennial explored the theme of what makes a city what it is when it is perched on the edge of a place, a port, a destination, an identity.

• Lillian Bilocca – whose influence on how she changed the fishing industry was portrayed in two plays: Lil by Val Holmes and The Last Testament of Lillian Bilocca by Maxine Peake.

• Amy Johnson – a pioneering engineer and aviatrice who flew solo across the world and whose life was celebrated by the Amy Johnson Festival in 2016 and the creation and display of a replica model of her aircraft, Jason by sculptor Leonard J Brown and HMP Hull in 2017.

2Hull UK City of Culture 2017 Strategic Business Plan 2015-2018

168 HERITAGE EVALUATION REPORT EVALUATION REPORT 169 4.4.1. Outcomes for Heritage Names of Hull’s trailblazing women ranging from musical pioneer, pianist Ethel Leginska (1866-1970) to contemporary folk musician Eliza Carthy came forward from a range of people including Humberside Through the Hull UK City of Culture 2017 Police Chief Constable Justine Curran10; Councillor programme, the lives and achievements of Mary Glew; Maureen Lipman; Karen Okra, Black some of Hull’s trailblazing women have now History Partnership; University of Hull, Gender Studies been formally acknowledged on a global Department; and Alison White, Bishop of Hull. stage and the new creative resources can be A ‘circle of friends’ was formed from all the used to continue to pass on the knowledge connections and conversations involving 37 from and about these women for years to contributors across the spectrum of society. These come. ‘active folk’ ranged from young women at St Mary’s College to Diana Johnson MP Hull North.

Hull born3 and bred aviation pioneer Amy Johnson The end of the festival was marked by the installation “It just felt the right thing to do. Not to have a steering first made history in 1929 when she became the first of two statues of Amy, one in Herne Bay and one in group, or a sort of formal group, but just a way of woman in the UK to become an Air Ministry qualified Hull. A bronze statue of Amy Johnson was cast for her bringing together the women that we were finding ground engineer. She is probably more well known for home city and was unveiled in September 2016 by who were very strong and active in their fields across her achievement in May 1930, as the first female pilot Hull-born actress Maureen Lipman to mark the end of the city. To say “we're doing this, would you come to fly alone over 19.5 days from Britain to Australia the Amy Johnson Festival. The Hull sculpture is sited along and share your ideas, your networks?” So that in a De Havilland Gipsy Moth aeroplane, Jason I - within a park in a new housing development near crossed over from business world to ... youth service the original plane remains on display as part of the Hawthorne Avenue, close to Ms Johnson's childhood in the city, to again the police commissioner, to the collections at London’s Science Museum4. Amy broke home. African Caribbean society to some of the members of more records flying solo from London to Moscow in staff in fact.” Core Project Team member 1931 and to Cape Town in 1932 and was also President5 Running from January to March 2017, the Made in Between October to November 2016, the growing of the Women’s Engineering Society6 between 1935 Hull season coincided perfectly with thinking about circle of friends network was used to draw together and 1937. But sadly her life came to an early and how to celebrate women who were made in Hull 190 participants across a series of seven ‘thinkins’ tragic end when her plane crashed into the Thames since International Women’s Day fell on 8 March 2017. 8 9 organised in a range of different community settings, Estuary near Herne Bay in January 1941 with her body The model for WOW and its ‘thinkins’ had already including the University of Hull, libraries, local bars, unrecovered. been established by Jude Kelly, Artistic Director at the Southbank Centre in 2010 and since then has cafes, supermarkets, The Mercure Hotel Royal and Freedom Centre. The 75th anniversary of the death of this extraordinary developed into a global movement. aviatrice was used to celebrate her achievements in Three questions were put up for discussion in order the form of the Amy Johnson Festival7 which took Jude Kelly stated in the programme leaflet the to celebrate the good things that were happening as place from July to September 2016. Festival organisers principle for WOW: "Each festival is built by the well as to discover what the particular issues in Hull had made a request for Jason I to be loaned from the community it’s in and it’s been amazing working with were for different ages and different people. All the Science Museum but sadly this was refused, the costs the women and girls of Hull on the ideas, stories and information gathered was then curated into the WOW being prohibitive. challenges that are relevant to them." Hull Festival programme culminating in 752 people attending 16 panels, as well as performances and WOW Hull provides an opportunity to come together, bring the debate to the screenings from Friday 10 to Sunday 12 March. “ fore and to achieve change. It also offers a chance to discover and celebrate the Lillian Bilocca (1929 – 1988) was born close to Hessle Road in the heart of the city’s fishing community. She

many inspirational trailblazing women of this city. was a British fisheries worker and campaigner for

” improved safety in fishing fleet, she become known In the research and development for a new play about Core Project Team Member as leader of the ‘headscarf revolutionaries’, a group of Lillian Bilocca, Hull 2017 worked with writer Maxine fishermen's family members. Spurred into action by Peake and director Sarah Franckom to uncover things the Hull Triple Trawler Tragedy of 1968, which claimed about her story that were not in the public domain, 58 lives she led a direct action campaign to prevent with the aim of making more people aware of her undermanned trawlers being put to sea and gathered part in history. They met key people such as Yvonne 10,000 signatures for a petition (the Fishermen's Blenkinsop and Mary Deness, the only two surviving Charter) to Harold Wilson's government to strengthen women of the ‘headscarf revolutionaries’, from the four safety legislation. Government ministers later who led the campaign. implemented all the measures outlined in the charter. 3H1903 4https://www.sciencemuseum.org.uk/see-and-do/flight 5http://www.wes.org.uk/sites/default/files/u82/Magnificent%20Women%20-%20 Amy%20Johnson.docx.pdf 6http://www.wes.org.uk/ 7http://amyjohnsonartstrust.co.uk/whats-on-exhibitions-legacy/ 8https://www.southbankcentre.co.uk/whats-on/festivals-series/women-of-the-world 9A consultation intervention established by the Southbank for WOW 102013-2017

170 HERITAGE EVALUATION REPORT EVALUATION REPORT 171 They also met local historian, Dr Alec Gill MBE and Barbara decided she would have to find a solo sport Performance artist and musician, Cosey Fanni theatre director Rupert Creed, who has told the story and one day, apparently whilst cleaning her football Tutti12 formed the art collective, COUM with Genesis himself through his own theatre company and has boots on some newspaper, Buttrick says she saw a P-orridge in Hull in 1969. Heavily influenced by the conducted a lot of historical research. They toured small press cutting about a woman boxer and she chaotic ethos of the Dada art movement, and taking the local fishing community area, Hessle Road, with thought, “I can do that". She got a football, put it in inspiration from the experimental Fluxus movement, maritime historian Robb Robinson, based at the some netting, hung it up and started to box in the COUM created work that was shocking and playfully Maritime Historical Studies Centre at the University of backyard. She got obsessed with it and felt that this disturbing, making their contemporaries in the punk Hull. This included a visit to the ‘fisherman’s church’ on was her thing. movement look pedestrian and tame by comparison. Hessle Road where they met with Rev. Tony Cotson, as well as many other people in the local community, Occupying a former toffee apple and pickle factory off including Sharon Darley from The Goodwin Trust11. I think City of Culture has made Dagger Lane in Hull – named The Alien Brain – COUM “ sure that Hull and the wider world challenged the conventions of the art world at the time In speaking and listening to people Maxine recorded by asking what the purpose of art was and what selling some of those interviews and the actors used them knows who she is and what she did. art for money meant. in preparing for their roles; some surprising truths She is a symbol of something in that emerged including as a CPT member commented: sense as well. She's still alive and Cosey and Genesis are both still living artists, working “We found out an extraordinary story, that Lillian was in music and performance outside of Hull in the UK actually banned from The Guildhall.” she's still very healthy. She came to and USA respectively. They describe their departure the show and she was involved in from Hull as being “run out of town by the police”; so, Barbara Buttrick was born in Cottingham in 1930. having left Hull in 1972/3 Cosey continued her practice In the 1950s she became the first female world events around the show. It's great elsewhere. Forty-five years later, Cosey welcomed champion boxer. This was a definitive feat, given social that she's been given a platform. I the invitation to showcase her work as part of Hull UK constraints placed on women at the time. She became think that's why she's here as well, to City of Culture 2017 and to link it back into the cultural known as ‘The Mighty Atom of the Ring’ and now lives fabric of the city where it had originated from. in the United States. Before Hull UK City of Culture give testimony to it and speak about 2017, her story had not really been told, no-one knew what she did. That seems to me an Being part of the Hull UK City of Culture 2017 of Barbara Buttrick. programme ensured that the significance of the aspect of heritage as well. impact of Cosey’s groundbreaking influence was made ” clear. I didn't know anything about her. I Artist “ read online about who she was and 12http://www.coseyfannitutti.com/ I was astonished that back then, nobody knew who she was or had heard of her. From the conversations I had with people at Hull Truck and other people I knew from the city, she didn't seem very well known at all. Obviously, she had been World Women's Boxing Champion, the first World Women's Boxing Champion in the '50s. ” Artist

The artist identified that it was really by chance that Barbara Buttrick had found her way into boxing. Being very keen on sport, at about 14 or 15 years old she had wanted to play football but could not get a team of girls together since none of the girls wanted to play.

11http://goodwintrust.org/

172 HERITAGE EVALUATION REPORT EVALUATION REPORT 173 4.4.2. Outcomes for People I actually sat in the plane, just before We look at Amy Johnson’s “ it came out of the prison, I sat in the “ aeroplane…you look at it and you plane and I really appreciated what think she must have been bonkers By celebrating women of Hull within the she did. For thousands of miles, in because it is so tiny. Hull UK City of Culture 2017 programme, opportunities were created for more women an open cockpit, with the wind in ” Audience Member and Hull 2017 Volunteer to build their skills as artists, producers and your face. It was just tremendous directors, whilst audiences of all genders and I wanted to point that out to the were able to learn about the city’s history and heritage through these female role models. people of Hull. ” Artist Leonard J Brown. Photo credit: the artist Artist

WOW Hull took place within the Made in Hull season Part of my interest was she was a and gave a platform to people and to gender equality topics that had been pretty absent in Hull previously. “ woman in a man's world, because For WOW Hull, the sources of information about it was very much a man's world in women came through informal channels, tapping into those days. Especially, something local networks, rather than researching public records and archives, because their stories had not yet been like an engineer and a pilot, we documented. just didn't have those in that era. I

The research process was open-ended and self- thought it would be a great thing to defined by the participants themselves, which resulted bring this forward and point out to in an eclectic programme of intelligent women people. associated with an extraordinarily broad-ranging mix of topical subjects. For example, WOW Bites involved ” Artist Nancy Birtwhistle, BBC Great British Bake Off Winner 2014; World Champion Judoka, Dr Karen Briggs MBE; Hull’s best-selling author, Val Wood; and Dr Comfort In addition, having been a pilot himself many years Momoh MBE, who is pioneering work with women ago, the artist wanted to convey the boldness of Amy who have survived Female Genital Mutilation (FGM) in Johnson’s accomplishments in an era when aviation a bid to end this practice. Barbara Buttrick told her own was not half as technologically-advanced as it is today. story on the WOW Hull stage. As with Amy Johnson’s replica Gipsy Moth, without the So personal letters, things like that, Having been unsuccessful in his campaign for her intervention of Hull 2017, some of these stories may original plane Jason I, to be loaned out from the “ that were really interesting to put in Other lives celebrated included Ethel Leginska (1886- not have been identified and celebrated in the way 1970), a highly influential performer, pianist, composer, Science Museum, Leonard came up with the idea of that they deserve. because it informed people about teacher and the first woman to conduct her own building a replica model of Jason and secured funding how we connected with others orchestra in a leading opera house with an exhibition from Hull 2017’s Creative Communities Programme The COUM Transmissions exhibition created the and concert curated by Dr Lee Tsang of the University to make his dream come true. He was asked to co- opportunity for the Cosey Fanni Tutti to re-visit her and how the different actions came of Hull, who had discovered that Ethel Leginska had produce the project with Her Majesty’s Prison (HMP) material archived at Tate Britain and select items that about, of people coming to us and sent a telegram to congratulate Amy Johnson on her Hull. HMP Hull supported Leonard with their workshop revealed what had informed her practice at that time asking us to do things, which when pioneering achievements. facilities and the labour required, which was provided and how significant personal connections were to by the prisoners. the development of her ideas as well as how she had you look through the narrative Although the life of Amy Johnson is well-documented, influenced others. of the exhibition, the people that sculptor Leonard J Brown wanted people to recognise Leonard accessed the original designs for Jason I and iniatialised those things later on the significance of her achievements in a ‘man’s visited Coventry Airport to photograph a Gipsy Moth Cosey used her diaries to fact check records for the world’ of science, engineering and physical pursuit of that was currently being repaired and he spoke to exhibition at Humber Street Gallery. In doing so, it come into being someone else that adventure. people restoring it. He used the drawings to provide became clear to her that there was a “story in waiting” is also inspired to go to art college a set of designs to scale for the prisoners to work to. and so she went on to use her diaries as the primary Two experienced BAE Systems employees attended source for her autobiography published in April 2017, themselves. But that’s what’s good in the prison workshop to demonstrate to the learners Art Sex Music13. Since COUM Transmissions and the the exhibition is you saw how Coum different manufacturing techniques to produce the publication of Art Sex Music, Cosey Fanni Tutti’s career worked, not just within itself but most authentic model possible. has received professional accreditation for what she has influenced in the art world. Art Sex Music with others. The full-size model was constructed with an aluminium was voted Best Music Autobiography of 2017 by The ” interior body and timber wings covered in linen, as Sunday Times, The Telegraph, Rough Trade, Faber, Artist the original one would have been. The construction Pitchfork and Uncut. of the Gipsy Moth model made the experience of Amy Johnson’s life all the more tangible. 13Published by Faber & Faber, April 2017, ISBN: 9780571328512

174 HERITAGE EVALUATION REPORT EVALUATION REPORT 175 The Last Testament of Lillian Bilocca presented the The dialogue, informed by Maxine Peake’s meetings 752 attendees came to WOW Hull across two days. One of the nicest things were real struggle and alienation Lillian experienced as a with Yvonne Blenkinsop and Mary Deness and other WOW Hull also featured on BBC Radio 4’s Woman’s “ the seven films of the COUM woman in Hull when she was leading the campaign members of the fishing community who knew and Hour as a live Friday broadcast reaching an estimated to help save the lives of trawlermen. The play helped remembered Lillian, also created a great sense 1.4million listeners. members that people actually got people to see how unfairly Lillian Bilocca and her of authenticity, which really took hold of people’s to hear members of COUM talk Hull’s impressive City Hall, developed in the early ‘headscarf revolutionaries’ were treated by the emotions. about their experience in COUM. authorities and also local neighbours at the time. 1900s by theatrical architect Frank Matcham and Hull’s city architect Joseph Henry Hirst14, was transformed as And I think that was something Lillian’s first speech This building the venue for WOW. It is quite a sad story for her in totally new for people and very “ belongs to us. Let’s go look around In order to imbue a less traditional and non-patriarchal particular. After it happened, she live, because they were talking “  it, really kind of giving it back to the ambience for the festival, a number of installations there and then in 2017. were used to transform the building. Hull family received a lot of hate mail. She city and to the audience that were business JZ Flowers, led by Head Designer Kirsty ” was very frowned upon by the Artist walking through it really connected. Wordingham, created a series of ephemeral displays community …, so I think it felt like … there were some particular using flowers and foliage that held symbolic reference it was the time to celebrate this audience members brought to tears to the festival content for example, willow and fertility. story, and to celebrate the bravery White wellies, to reference the female fish workers, or anger or disbelief, because you were put on all of the Victorian statues in the building, of the women involved, but also to could tell they had a very genuine and were planted up with flowers, along with bras shed a light on the other side of it. connection with it, and it was their hung from the ceilings. It wasn’t kind of celebrated at the lives that were being portrayed in Artist Alinah Azadeh was commissioned to work with time, and subsequently, particularly front of them, or their history. different groups in Hull to craft badges representing the impact of some of the city’s revolutionary for her, she definitely paid the price Design for decorating City Hall by Alinah Azadeh ” women on craft, design and industry. At the end of Core Project Team Member personally. the festival, participants were encouraged to take ” a badge away with them, to continue to spread the Core Project Team Member The new for 2017 play by Maxine Peake The Last word. In her evaluation feedback, Alinah Azadeh Testament of Lillian Bilocca, was staged as a acknowledged that a key success for her community promenade performance at The Guildhall. It achieved project Revolutionary Makers, was that it was part of “a sell out performances with 55,905 attendances overall massive event with a positive purpose,” as a result she The site-specific setting also provided an and four star reviews. and the project participants felt included, valued and introduction to one of Hull’s most historic that they achieved impact. buildings, which many audience members “Good to see you. You’re a rum lot,” says Lillian Bilocca had not stepped foot inside before, and as we walk up the stairs of Hull’s Guildhall, past all the The art of Cosey Fanni Tutti was captured in the COUM to which women were excluded in Lillian silverware speaking of wealth and advantage, and Transmissions exhibition and 23,509 visitors saw the Bilocca’s day. past endless pictures of men in all their finery, brandy show at Humber Street Gallery. glasses in hand, gazing down from the walls. Row after ruddy row of them.” Lyn Gardner, The Guardian, 10 November 2017.

14Hirst was Hull’s first city architect and the first to be given such a position in the country

176 HERITAGE EVALUATION REPORT EVALUATION REPORT 177 A couple of them did say to me “ that their families were coming, when they come to visit them and the plane was hanging, they were going to go see it. Take some photographs…, I think it was good for them. They really did want to do it. They really took pride in what they did. ” Artist

HMP Hull contributed to the project with their own In going back into the past lives of Hull’s ‘headscarf staff supporting the prisoners and having full access revolutionaries’, the production team for The Last to the workshop, its tools and also library resources Testament of Lillian Bilocca managed to work supplying aviation magazines publications to support sensitively with the remaining members of the families the prisoners’ interest in the subject. of Hull’s fishing communities and they were also respectful of the fact that another community play Hull Prison staff said: "It gives the inmates pride in what was being written at the same time about Lillian, by 4.4.3. Outcomes for Communities The pride they felt was tangible they do and demonstrates the skills they've got and Val Holmes. As a result of the two new plays about “ and infectious, and their happiness have learnt inside the prison." Lillian Bilocca, her story became much better known during the course of 2017, and also now features on very much connected with the Social media comments16 evidence how public the education curriculum developed by Heritage attitudes towards prisoners at HMP Hull have been Ensuring that all these projects had the fullest fact that we were all involved in Learning18. reach possible by involving many different the celebration and promotion positively affected by seeing Jason installed at Hull communities was a high priority for the Paragon Interchange: producers and artists involved. of this special place. There was “It's amazing to think Amy flew 11,000 miles to much mutual gratitude, too. Their Australia, solo, in the tiny (second hand) Gipsy Moth, a involvement in both of my pieces brave thing to do! I don't normally praise prisoners, but transformed the work for me. I think this is amazing what they have built. Would be The WOW Hull festival deliberately engineered a nice if this could be a permanent fixture in the station.” greater confidence amongst different communities ” Artist of people to understand that the challenging issues “I just hope prisoners get more of these types of up for debate concerning gender equality were both projects to do. As this one is finished then hopefully legitimate and current and therefore needed to be Leonard J Brown worked with seven inmates at HMP another is beginning. Continuity is key and hopefully tackled as part of Hull 2017. Hull over the course of six months in building the replica they will realise that they have amazing creative model of Amy Johnson’s plane Jason. The participants talents and no longer need crime.” For her new composition as part of Roots of the City at HMP Hull, aged from 30 to 60 years old, had not within the PRS New Music Biennial, Eliza Carthy’s Rivers previously produced anything of the scale that Jason The installation of the replica aircraft into Hull Paragon and Railways touched on themes of migration, Hull’s was, nor had the manufacturing experience of the Interchange station was broadcast live on television. industries and its history including its pioneering son differing techniques that were used. The online video of the unveiling of Amy Johnson’s William. Using local stories gathered from a series of Jason was viewed 31,000 times. creative songwriting workshops with local participants, The artist recognised how different their approach was the award-winning folk singer collaboratively created to this construction project since the model they built Although HMP Hull and Leonard J Brown worked Hull Is15 as part of her residency. was to go on display in Hull Paragon Interchange station hard to secure a permanent home for the replica for 11 months. The prisoners notably put extra time and of Amy Johnson’s Gipsy Moth, this has proved to Hull Is was a reworking of Three Day Millionaire by her effort in, not because of the historic significance of what be a challenge due to its scale. Politicians and local uncle Mike Waterson; it included a new song layered they were engaged in, but because it was a task they residents campaigned to keep the model in the on top, which featured the stories from the workshops were applying their skills to: welding and sheet metal city with discussions early in 2018 exploring the she was inspired by around the theme of Hull in the work, and that they could deliver to their best ability, possibility of St Stephens shopping centre becoming present day. Eliza also worked with Hull-based folk duo which gave them an enormous sense of achievement its new home. However, if Jason has got to find a Gary Hammond and Sam Pirt (The Hut People) to write and which they were proud to associate themselves home outside Hull, it would be appropriate for it to be 17 a cup percussion pattern for this work, which was then with. housed within the Yorkshire Air Museum alongside its learned by non-professionals. Eliza Carthy performed other Amy Johnson exhibits in the Pioneers of Aviation with 25 non-professional musicians from Freedom exhibition, as has been previously arranged. Chorus. 16Source: BBC Look North (East Yorkshire & Lincolnshire) Facebook 17 15https://www.hull2017.co.uk/discover/article/meet-the-world-class-composers-making- http://yorkshireairmuseum.org/ 18 music-in-hull-communities/ http://www.heritage-learning.com/

178 HERITAGE EVALUATION REPORT EVALUATION REPORT 179 4.4.4. Learning for the Future

In a similar way to the Amy Johnson co-production with Leonard J Brown and HMP Hull, WOW Hull Without this intervention, perhaps some of proved that a festival can be a way to create a safe the stories represented in Hull 2017 would environment in which vulnerable communities have been lost forever. The ideas presented can find a place to contribute their experience and by Hull 2017 were bold and as daring as voice their opinion, however challenging it may be. the women they sought to portray and this The festival is demonstrably a celebratory concept, helped to balance out the male-dominant but along with that, serious live conversation and narratives that the city has been used to. new self-discovery can be achieved by building on lessons learned from the past and sharing this as an experience validated by others sharing the experience together as a moment in time. WOW Hull helped to create a better gender balance within the overall Hull UK City of Culture 2017 programme. By going out and speaking to a wide I think there's something about range of respected and influential individuals locally “ giving value to these forms. And not and nationally, programmers were able to eke out the names of women who had not previously been on saying it's only valuable if it's in a anyone’s radar. museum or a book. More ephemeral, live experiences can be equally To portray women’s history, Hull 2017 recognised that traditional and conventional routes were not possible, valuable, equally meaningful. They since women’s achievements are simply not recorded might need repeating, but they can in traditional historical archives. The CPT identified be. the need to go out and talk to people, to research into

social history and family history in unrooting women ” Core Project Team Member who are as equally extraordinary to the men whose lives have been celebrated.

Co-commissioning the festival content for WOW Hull from the grassroots upwards created a shared and safe space for talking about difficult topics and created a festival absolutely of its time – purposeful and representative of a diverse range of communities.

There are many new things known now about women 4.5. FREEDOM of Hull, new stories that have been unearthed by Hull 2017 that were hidden before and that can now be Freedom Festival is an existing Hull Festival, which Key events included: handed on by people for future generations to take celebrated its 10th year during 2017 and was the up, whether as part of a community group, of through theme of the third Hull 2017 season. This third season • The Wilberforce Lecture delivered by Kofi Annan a funded arts company. All of these new stories are not only explored the pivotal role Hull played in • Where Are We Now? - a festival that celebrated now signifiers of what Hull is all about and what the the emancipation movement, as it helped to ignite some of the finest UK counter-culture people of Hull have contributed and can continue to the still unfinished global journey towards equality contribute. Focusing on getting the gender balance and social justice for all, but also looked at broader • One Day, Maybe – a theatre piece inspired by the right within the programme has created a more interpretations of freedom as a platform to create and May 1980 Democratic Uprising in Gwangju, South inclusive approach to developing audiences overall. debate, share and enjoy, reflect and reimagine. A key Korea that paved the way for democratic rule and aim of the Freedom season and festival was to link the birth of the Sixth Republic in 1987 There are many other un-represented groups, such as history and the creative present. Hull’s migrant populations, who could also be enabled • LGBT50 celebrating the 50th anniversary of the to tell their stories in future years, using a festival partial decriminalisation of homosexuality in platform like WOW Hull for example. England and Wales

180 HERITAGE EVALUATION REPORT EVALUATION REPORT 181 4.5.1. Outcomes for Heritage I think that there's also something There was a consensus that staging arts projects “ about the fact that history and in heritage spaces and places facilitated the spaces and places and heritage within them being identified heritage is often contested, and and recorded where it may not have been before. The arts and artists were singled out as natural storytellers with the ability to present difficult and/or maybe it always should be, that In addition to spaces and places, consultees talked multi-faceted heritage and history in ways that people could easily access and engage and look at the each generation, each person, each about live streaming lectures, creating booklets and past through different lenses. The arts were also identified as an effective way for children and young identifying photographs that had not previously been people to learn about history and heritage. new era, if you like, needs to look exhibited as tangible ways that heritage and history was identified and recorded. back at history with the glasses of their own time. Maybe there's something really good about the We're also working on a booklet In terms of teaching kids about arts in creating space for people to “ that will be published out of the “ slavery, it only happened in look back at something and look summit…We recorded all of that, history or citizenship classes. We forward. and our marketing team did a lot wanted to get it into other things, ” of interviewing. The Kofi Annan so drama, music, you could still Core Project Team Member Lecture, that was livestreamed, it's address those issues. But I do also on YouTube. think at the same time, and some of the best stuff I saw this year Core Project Team Member” at the Freedom Festival used performers to tackle quite difficult issues around protest, around freedom of information, and all 4.5.2. Outcomes for People

sorts of things. William Wilberforce was the heritage most associated ” with the Freedom theme, however a key success of Core Project Team Member using diverse artistic practice and heritage was that The statistics arising from the Freedom Festival audiences were exposed to and learnt about other official evaluation and feedback from the consultation cultures. Learning about the role that Hull has played for this report evidenced that the interpretation from Wilberforce up to present day in the cause of and explanation of the city’s historic connections Freedom was a vital engagement tool and proven to anti-slavery, freedom of speech and expression outcome of the festival and theme. history being newly through arts practice and activities was a resounding identified and recorded. success. Further evidence can be found in Chapter 3 for the LGBT50 festival, which was programmed in the Freedom season. The sense of making heritage The reality is that individuals are very warm and very interested and very relevant to lives today and connecting with audiences “ curious and they were fascinated to be in a show with lots of Koreans and at a deeper level than traditional interpretation they did learn a little bit, although I am talking about the fact that it was very approaches allow was a common discussion point. much looking at the modern world we lived in. It still was referring to the 66% of people agreed or strongly agreed that uprising in mid-1980. It was referring to certain things about Korean culture. Freedom Festival made them feel more connected with the stories of Hull and its people. 92% of The show referenced certain moments in the recent history of Korea. So audiences surveyed at Freedom Festival said they I think there was definitely a lot of interest, but the local audiences and would definitely or possibly ‘Go to see more similar curiosity that they showed in this completely different culture and I think activities or events’. that was rather wonderful. The theme of freedom dealt with some lesser known ” heritage and history such as slavery, migration, LGBT Core Project Team Member heritage and freedom of speech and democracy in other countries that has not been widely interpreted and explained to date. To this end the research around the heritage used by the artists in developing their projects and end product resulted in heritage and history being newly identified and recorded.

182 HERITAGE EVALUATION REPORT EVALUATION REPORT 183 When asked why they thought the festival was called Freedom, respondents to the festival evaluation survey most commonly said it was because of William Wilberforce or slavery. 86% were aware that the Freedom Festival was intended to celebrate, through artistic and cultural expression, Hull’s independent spirit and historic contribution to the cause of freedom. 90% were aware that the Freedom Festival grew out of commemorations of William Wilberforce’s campaign to abolish slavery.

I thought One Day, Maybe was absolutely wonderful, and I think one of the “ wonderful things about it was when I signed up for it and paid my money, I had no idea what I was going to. It totally sucked me in, I thought ‘I’ll go and learn about what they’re doing in Korea’ and then slowly it evolved and you realised there is actually something very important and I left there and it’s left a lasting impression on me. It’s made me think in a way that I did not expect, I just thought it was going to be a bit of a giggle, but I think it was a very interesting and At a strategic level stakeholders reported increased confidence and success in very thought provoking show. partnership working. At a micro level some ” individuals involved benefited significantly Audience member from new and augmented skills that will help them to progress in life towards their It's quite interesting that there's often personal and professional goals. In common with the LGBT feedback the “ a difference between when people Freedom Festival and the wider Freedom vote in a political context and season supported a swing change in attitudes The Freedom Festival evaluation report showed when people interact in a personal Over a quarter of audiences at Freedom Festival towards Hull from negative and cynical to very high responses to people’s enjoyment of the showed interest in following up with something positive and optimistic. context. The two things are not events. The LGBT50 feedback, which was also part they had seen at the festival through a course or of the Freedom season and is referenced in Chapter necessarily, you know, aligned. And other study. 28% of audiences surveyed said they 3, also evidenced very strong enjoyment levels too. I think there was a lot of warmth that would definitely or possibly ‘Attend a course or From the feedback and consultation it appears that The festival contributed to taking people out of their was shown by the majority of the study something you saw at the festival’; and 60% enjoyment was maximised when people were exposed comfort zones in terms of arts and culture and in local population to be in a strange of audiences surveyed said they would definitely or to culture and stories that they would not normally making them think differently about the concept of possibly ‘Get involved in something else which you come across and when they are given opportunities to freedom overall. It was also felt that the exposure to situation where there were lots and haven’t done before’. engage directly with the art form and heritage being other cultures, such as Korea, helped to change some lots of Koreans suddenly walking presented, and each other. entrenched views that had been evident from the around the city centre. I think we have had some There were strong levels of agreement with strong pro-Brexit stance from Hull around tolerance statements about the cultural impacts of the festival. and increased respect for non-British cultures. ” “ experience of this in the past, but The top ranked statements were ‘...gave me the chance Core Project Team Member I think the more we work with to see things I wouldn’t see otherwise’ and ‘...was an 61% of audience members agreed or strongly agreed artists, or musicians, or whatever enjoyable experience’, with 97% agreeing with these that ‘Freedom Festival challenged my understanding statements. 97% felt positively toward the festival with of arts and culture’; 54% agreed or strongly agreed that it might be, we're picking up new 58% of respondents saying they ‘just love Freedom ‘Freedom Festival made me think differently about the skills around how you do things, Festival’ and 39% saying they ‘quite like’ Freedom arts and culture’; and 39% agreed or strongly agreed how you create things, and how you Festival. that ‘Freedom Festival made me think differently about freedom itself’ (46% neither agreed nor disagreed). can create partnerships, which are As with the other themes and seasons Freedom very mutually beneficial…all of that provided a significant amount of diverse volunteer The festival offered a number of opportunities for skills roles that were mission critical to the overall success development which were well received. The role of the stretched people a bit, they learnt of all the projects. The volunteers were held up as volunteers in One Day, Maybe involved a wide range new skills, but it's made them more powerful advocates and ambassadors for the projects they were involved in, culture overall and Hull. Their of skills development from acting to health and safety confident and eager to do those procedures and the volunteers were a key success of passion and authenticity in how they related to the the piece. things in the future. creative teams and artistic vision and translated that to the public was felt to be a corner stone of the success ” of the Freedom season. Core Project Team Member

184 HERITAGE EVALUATION REPORT EVALUATION REPORT 185 They were some of the most powerful advocates of that whole city of culture 4.5.3. Outcomes for Communities “ thing, what struck me is I've probably got more impression of what the volunteers felt about it, or the fact that I was being told about something when Almost double the number of people came to Freedom Festival during Hull 2017 compared to the 2016 I was waiting in a queue for something, then someone would go, "Oh, have estimates. Within those who attended the festival and Consultees felt that this impressive increase you seen that yet? You should go and see that, it's really good." That would be a the LGBT50 parades it was notable from the research in the number and diversity of people engaging with heritage over the Freedom volunteer speaking with real passion about Hull and the culture in it, and not and consultation that the family audience had grown significantly. Young people, BME communities and season had a lot to do with the fact that the feeling like they were on some, I don't know, tourist board training course to the LGBT community were also felt to be represented events were free, unticketed and held in open wish everyone 'have a nice day'; a real, genuine enthusiasm for culture, but also well in terms of engagement with the arts-led heritage public spaces where heritage and the arts would not usually be found. for the culture of their own place and where that's come from, that sense of ... offer and the numbers of local people engaging with heritage in general was noted as a key success. whether it's as a fishing community, or as a community with a dock, as a people talking with energy about Hull's place in the world, and with a real sense of The performance element and the pride. I got that hugely from their volunteers.

“ free element of Freedom Festival ” Core Project Team Member in terms of lots of free and family events really are increasing the The volunteers themselves reported that the arts accessibility and creating new activities and events interpreting the heritage and history of Freedom provided powerful and lasting audiences and we’ve constantly experiences and learning for them. It also encouraged seen people who wouldn’t people to volunteer in the future. 52% agreed or normally have gone to something, strongly agreed that ‘Freedom Festival has made me think that getting involved in a project as a volunteer seeing something and reacting looks like fun.’ very positively to what they’ve seen. And thinking, maybe we’ll do My mum has dementia and I this again. “ spent the last three years basically ” Audience member working and being a carer for her. She passed away the day before The overall estimated number of visitors for the three Some felt that the real challenge was ensuring this new I did my induction for the culture days of Freedom Festival was 140,172: 8,365 on Friday; found optimism and advocacy continued beyond 2017 volunteering, so it was kind of mixed 86,521 on Saturday; and 45,286 on Sunday. This is and left a lasting legacy. emotions at the time, but I jumped higher than the estimated audience figures from 2016, where an estimated 72,893 attended across the three in and actually the first thing that I days. 26% of respondents attended the festival in a did was One Day, Maybe. I was one group containing children, an increase from 20% in of the Kasang employees at the time 2016. 62% thought that Freedom Festival was very family-friendly, giving it a score of 9 or 10 (out of 10), and tried to get in the lift to wind higher than in previous years. 59% of respondents people up and they went up, and agreed that Freedom Festival had helped them to it was amazing watching people’s understand people who are from a culture other than reactions and responses doing their own. various roles in the actual building as they went through. The feedback on Freedom as a season ” and the Freedom Festival evidenced Volunteer that engagement with the history and heritage presented through the arts programme had greatly increased a sense of local pride and belief that Hull was a better place to live, work and visit.

186 HERITAGE EVALUATION REPORT EVALUATION REPORT 187 4.5.4. Learning for the Future

Heritage and history that can be taken out into the streets and public realm such as shopping spaces Using the arts to make history and heritage through various art forms will reach more people relevant to lives today rather than solely and a much more diverse audience than if it stays focusing on the past appears to increase within heritage institutions. Free and unticketed engagement and learning across all events will encourage a more economically diverse audiences. Using volunteers in creative and/or culturally risk averse audience to engage with ways in arts projects not only enhances the heritage. outcomes for audiences but also delivers a rich and rewarding volunteer experience.

All round the city, I think there's been that sort of greater energy I think my sense would be that people are really proud of Hull's history ... and “  and commitment to doing things. I don't know whether that's about the William Wilberforce connection, or “  Which, I think has become whether it's about the fact that they've got the WISE Institute there still, talking infectious, and I hope will continue. about modern day slavery, or whether that's about the fact that the festival, That's one of the great challenges, perhaps, profiles artists that are more diverse; whether that's about artists from I think, is pushing this forward. the LGBT community or BAME artists, or whatever, maybe not all of those In my mind there's no doubt that artists are always making freedom the subject of their work, but the fact that 2017 made a huge difference to our they're within the programme, I think means that there's a sort of ... I don't know ability to do things and to deliver if it's a radical edge, but I think a radical with a small "r" feel, that my sense from them. conversations is that people are really proud of that. So I think the theme does ” matter to people, and they embrace it, and they're proud of it. Audience member ” Core Project Team Member

When asked about advocacy of Hull, 90% of This is higher than the estimated spend in previous respondents said they would speak highly of Hull, 7% years. It should be noted that these are actual spend are neutral towards Hull and 3% are critical. 47% of and not adjusted for inflation, nor do they include a those interviewed for the Freedom Festival evaluation multiplier, nor do they include a substitution factor. thought that visitors' image of Hull was extremely positive (a score of 9 or 10). 67% agreed or strongly 49% of businesses thought Freedom Festival had a agreed that ‘Freedom Festival showed me that there is positive impact on their business, with 34% reporting more to Hull than I expected’. an increase in turnover on the Freedom Festival weekend and 32% reporting higher profits that The figures from the Freedom Festival evaluation weekend. Around one-quarter (24%) of businesses report show that the festival contributed to a gave existing staff extra hours work during Freedom significant boost in the local economy. It is reasonable Festival and 9% employed additional staff. 49% to assume that the LGBT50 festival, which was also of businesses had an increase in the numbers of outdoors, free for people to attend and drew large customers, or room stays for hotels and guest houses, crowds boosted the local economy further. over the weekend of the festival. There was some evidence of sustainable business impact, with 43% of According to the Freedom Festival evaluation report, businesses thinking that the numbers of customers the estimated average spend from the ‘at event’ survey (or room stays for hotels and guest houses) they was £37.31 per person. With the attendance of 140,172 would have in the future would increase as a result of visitors, the estimated total spend by those attending Freedom Festival. the festival was £5.2 million. Using post-event figures with an average spend of £42.25 per person, there is a 13% incremental spend over the ‘at event’ survey giving a total spend of £5.9 million.

188 HERITAGE EVALUATION REPORT EVALUATION REPORT 189 4.6. SUMMARY

Hull has a rich and varied history, though many Opportunities were created for more women to build perceptions of the city are based on a few areas of their skills as artists, producers and directors, whilst its history. As such, within the UK City of Culture 2017 audiences of all genders were able to learn about the programme, there was a concerted effort to explore city’s history and heritage through these female role new narratives and previously untold stories across models. several themes. Site-specific settings also provided introductions Artists and project team members were able to learn to some of Hull’s most historic buildings, one of about histories across these four themes through which, The Guildhall, previously excluded women unprecedented access to historic spaces and sources from entering. As such, these projects were able to enabled by partnership working and eagerness to make a statement about making space for women in support the UK City of Culture initiative. These rich Hull’s history and its historic buildings. Without this research materials contributed to the creation of intervention, perhaps some of the stories represented high quality and engaging works of art enjoyed by in Hull 2017 would have been lost forever. The ideas thousands of audience members. presented by Hull UK City of Culture 2017 were bold and as daring as the women they sought to portray Sell-out performances and extended runs are and this helped to balance out the male-dominant testament to the popularity and success of art projects narratives that the city has been used to. drawing on these place-base themes. Diverse and sizeable audience groups were connected with Projects across all the themes sought to change heritage assets using innovative and accessible attitudes towards Hull from negative and cynical to formats. positive and optimistic. Engagement with the history and heritage presented through the arts programme The arts and artists are natural storytellers with greatly increased a sense of local pride and belief that the ability to present difficult and/or multi-faceted Hull is a better place to live, work and visit. heritage and history in ways that people could easily access and engage and look at the past through different lenses. The combination of events and exhibitions exploring overlapping themes and histories within the overall programme provided opportunities for audience members to encounter a variety of explanations of the same or linked events and themes, as well as to experience these through different forms of interpretation. Ultimately, these enabled them to learn about heritage in an active way, making judgements about sources and understanding different perspectives.

Audiences reported learning more about the heritage of Hull, particularly its maritime heritage, from their attendance and participation in Hull 2017 events, regardless of whether they were first time visitors or had lived in the city for most of their lives. A wide range of visitors, often those who do not typically engage with heritage venues, were drawn to Hull 2017 events and activities which explored some of the themes that resonated with personal experiences or family connections to maritime industries.

The UK City of Culture 2017 title and programme was used as an opportunity to make a more rigorous exploration into women from Hull who have challenged the norm and create a full acknowledgement and celebration of their achievements.

190 HERITAGE EVALUATION REPORT EVALUATION REPORT 191 5.1. INTRODUCTION 5. PROCESS Hull UK City of Culture 2017 has enabled many new creative relationships to develop through a shared commissioning process that has deliberately sought to include a wide variety of creative partners, not just the usual suspects. The projects featured as case studies within this report involved the collaboration of artists, heritage professionals and other core project team members, often working with volunteers and communities. LEARNINGS Through the evaluation of heritage-inspired projects within the Hull UK City of Culture 2017 programme, several learnings have been drawn from the process of delivering heritage-inspired arts projects. These can be used to build an understanding of what worked well and where improvements can be made and fall under four themes: partnerships and collaborative working; artists working with heritage; marketing and communications; and volunteering and community engagement.

What's great is seeing people's opinions “ instantly change. They might come in KEY FINDINGS and say, "What's that all about? I don't like • Partnerships facilitated by Hull 2017 were • Working with artists allowed heritage able to open-up collaborative creative professionals to see their collections that." And then you'll talk to them about it, processes exploring history and heritage. through new eyes and working with heritage provided artists with huge inspiration. "Oh I like that." • Whilst the experience of delivering activity ” during 2017 presented a lot of opportunities • Centralised marketing channels, such as for learning, these could not be maximized the Hull 2017 website, helped audiences Volunteer due to the amount of activity being delivered to find heritage inspired projects, as well during the year. as heritage venues. However, the quantity of activities within the programme led • Allowing artists to work with a free rein to challenges around marketing and though encouraging them to get to know the communications elsewhere. city allowed them to realise stories that were historically important and resonate with • Heritage-inspired arts projects offered contemporary audiences. diverse and enriching volunteer and community engagement experiences, • Bringing artists and communities together contributing to self-confidence and self- helped producers understand how to esteem. Thought and provision should use heritage to create better empathetic be made for how these relationships and connections with audiences, through real life impacts can be sustained. stories and immersive productions.

192 HERITAGE EVALUATION REPORT EVALUATION REPORT 193 5.2. PARTNERSHIPS AND COLLABORATIVE WORKING In almost all cases, “ the partnerships Hull 2017 facilitated partnerships to open-up Project planning between artists and heritage developed over collaborative creative processes exploring professionals, and indeed the institutions, history and heritage in the development of a places and partnerships involved in the the course of the year-long cultural programme. delivery of projects, had some gaps which project into a more impacted on budget and resources. comfortable and collaborative space, The open ethos of Hull 2017 has generated a from an early willingness to share and support the city’s heritage For example, at one venue on the University of Hull with a mutual respect developed across different campus, producers assumed that the expertise and position which was sectors and within different communities. However, resources to hang and light art and collections would less so. the year has seen a learning process as to how Hull be available in-house, which would be the norm in a gallery setting. However, this was not available and ” 2017 could work successfully with a range of partners. Core Project Team had not initially been budgeted for. Member The relationship between Hull 2017 and Hull Truck Theatre offers one example of this, where at times In other cases, decision making in other projects there was a lack of clarity as to Hull 2017’s role within impacted upon audiences. It was felt that education the partnership. partnerships and/or those which target student and school audiences should be mindful of term dates and when staff and students are around. For instance, it The relationship between Hull 2017, was felt that Larkin: New Eyes, Each Year would have “ who have been our major partner had a greater student and schools’ audience if it had and funder during this year, has been schedule outside the summer months. grown hugely. There were some There were also differences in understanding of the role, vision and ambitions of different partners really tough moments, early on, within partnerships between artists and heritage with that relationship, and trying venues. In one museum, there were expectations that to establish between us and them, the commissioned artists would fulfil the role of an exhibition designer. However, this was not the case. were they our funder or were they In reflecting on the relationship the museum staff felt a co-producer? They thought they the final exhibition was not as family-friendly as they were both, which isn't really a thing, would have liked for their core audiences and that they would have liked greater control over the PR and in that sense. marketing. ” Delivery Partner Similarly, the Turner Prize 2017 exhibition at Ferens Art Gallery involved a complex relationship between The partnership relationship with Hull 2017 required a multiple partners: Hull 2017, Ferens Art Gallery, Tate, great deal of effort and trust on all sides and at times BBC, Heritage Learning and artists. As was the case at the control over the relationship was a struggle. Late Hull Truck, it was felt that these relationships grew and contracting placed a lot of pressure on the planning developed over the course of the project from initial for Hull Truck and its ability to allocate the right level feelings of mistrust and miscommunication to a more of resources for the programme. The Hull 2017 team effective working relationship. changed many times during the course of the year, which meant Hull Truck was constantly re-establishing its relationship.

194 HERITAGE EVALUATION REPORT EVALUATION REPORT 195 Elements of the learning and engagement programme The focus on delivery had detracted from time for 5.3. ARTISTS WORKING WITH HERITAGE that accompanied the Turner Prize 2017 were felt teams to meet and reflect on their experiences from to have been a successful collaboration, although each project. This was felt to be partially influenced by there were still many challenges with timescales and the timescales and the conversations about funding partnership working. not being fully resolved until quite close to the year Inviting world-class artists to come and work with a free rein and embracing them as part of the city has itself. proved invaluable in realising stories that are not only, only historically important, but that can resonate with contemporary audiences. The partnership element was Overall, creative partnerships have involved local “ quite challenging and we ended businesses and suppliers, community groups, arts up with parallel programmes to organisations, engineers, visual artists, crafts people, musicians, music producers, politicians and local In the visual art strand of the programme, the Artist Claire Morgan visited the Maritime Museum; some degree. Turner Return was authorities, playwrights, prisoners, technologists and core project team trusted the quality professional Clare Barber researched online using the resources of successful thanks to the dedicated theatre directors and this has helped to engender a contemporary artists they selected to engage with Hull History Centre and all artists were introduced by team working on it. sense of inclusivity about the programme. elements of heritage as legitimate rich source material the curators, to architect and master planner Patrick to inspire the new ideas for their commissions. Artists Abercrombie’s printed plan that was produced for

” were guided by the briefs set, but were ultimately free Hull after the Second World War. Claire Barber also Core Project Team Member Hull 2017 has enabled us to to do what they do best. received a travel grant from the University of Hull and “ showcase the Humber Bridge to a went to Ellis Island, New York where, through the help For Look Up, the curators encouraged artists to visit Effective collaborative and partnership working much wider audience. We have also facilitated by Historic England (York), she viewed and required a negotiation of modes and frequencies Hull, to explore places that are off the beaten track, actually felt some of the luggage that migrants had of communication to suit the various partners. benefited financially, with many and visit at different times of the day to use the city’s brought with them. The detail of the artist’s research Conflicting priorities from the scale and quantity of visitors to The Height of the Reeds fullest infrastructure as a source of information and was absolutely integral to the quality of the artwork. projects delivered during 2017 caused frustrations history that could inspire their own new perspectives amongst project participants. and other events at Hull 2017 paying about Hull. Artists have surfaced stories that have been the toll to come across the bridge imaginative, challenging and surprising. This has and back. The great success of The meant that Hull’s year as the UK City of Culture has not What we didn't want to do, we been celebrated in a prescriptive way, but has revealed Staff felt that whilst the experience of Height of the Reeds is shaping our “ weren't going to brief anyone to look many unexpected positive outcomes for all involved, delivering activity during 2017 had presented thinking for our plans in developing at fishing, and we weren't going brief and particularly for the city as a whole. Hull and its a lot of opportunities for learning, these had the Bridge as a visitor attraction, communities still have many more stories to tell, so not been maximized due to the amount of anyone to look at the wall (Beverley continuing to work with artists in this way will continue activity being delivered during the year. with a wide range of events etc. We Gate) 'cause you'd think that's all to be fruitful for Hull to make itself better known to the will continue to work in partnership people think about. We wanted wider world. with Hull 2017 in our plans. people to look at things differently ” so we managed to avoid that. Delivery Partner ” Bringing artists and communities together Core Project Team Member has helped producers understand how to use heritage to create better empathetic connections with audiences, through real life If an artist is going to deal with stories and immersive productions. “ history and heritage they really have to deal with it in a meaningful way and with depth. There are too many examples of ‘heritage on the lapel'. ” Core Project Team Member

196 HERITAGE EVALUATION REPORT EVALUATION REPORT 197 There are lots of things up there that we could do that wouldn’t need so much “ interpretation but that people are interested in, and get them into the building, and we could use them for workshops as well. ” Core Project Team Member

At Hull Maritime Museum, work with artists was able to engage core audiences as well as begin to build new ones by experimenting with approaches which will now be applied in their longer HLF funded project Yorkshire’s Maritime City. Audiences were generally aware of the upcoming redevelopment and this was Local audiences especially have developed a bigger We don't know how long it's going reflected in their comments around what could be improved: appetite for trying new things as a result and are now “ to take but the first step is to capture confident in establishing their own relationships with it and then try and figure out what art and heritage. The museum's presentation feels a the next stage is, and what access There are many young artists emerging who are little dated but I am keenly aware of means and when can we reasonably “  experimenting in different ways to create new music the redevelopments planned for the and sound art installations, often inspired by local give it, without risking institutional future. I think what you are doing places and elements of their heritage. Artists felt that reputations…we're among the first lessons could be taken from 2017 to support the ‘DIY to pave the way forward is great. I to try and go down this road. We scene’ for sound artists, musicians and multimedia know so many people in Hull who artists in the city. need to look at other examples and have visited again. what's best practise in this field. We ” It's very hard if you're a musician know that there'll be a clear need Audience member “ who wants to promote an evening of for knowledge exchange. We've noise music or something, it would already been talking to the National The permanent collection seems cost you an absolute fortune to have Archives to exchange perspectives “ quite dusty and stuffy- some a venue. And that's not the case in and knowledge with the next City of brilliant stuff there when you look any other city in the country. I can Culture. though - looking forward to the new have a space in London cheaper ” interpretation and display in the Archivist than one in Hull. That's a problem … next few years. we need to make sure that we keep What is known is that the archive will have a huge ” having events and projects that are amount of potential interest for researchers, for artists Audience member and also for individuals to reflect upon the year’s of the same scale as The Height of activity. the Reeds. And also supporting the DIY scene where the future culture For venues with existing collections, working with Working with artists allowed heritage artists has provided many learning opportunities. professionals to see their collections through builders are coming from. From their experiences during 2017 working with arts- new eyes and with new possibilities for

” inspired approaches, staff at Hull History Centre felt presenting the collections to audiences Artist that they had learnt a significant amount about visitor to stimulate meaningful engagement. In interests and motivations which would inform their addition, working with heritage provided Traditional heritage archives and collections have future programme. artists across all artistic disciplines with huge set storage expectations and practical dimensions inspiration. that may need to be rethought if arts are used more and more as a catalyst for connecting people with heritage. In some cases, the art becomes a new archive for example but it is not a document that can be easily stored in today’s archive storage facilities and institutions. Lessons are continuing to be learnt through the process of assembling the archive of Hull’s UK City of Culture year.

198 HERITAGE EVALUATION REPORT EVALUATION REPORT 199 5.4. MARKETING & COMMUNICATIONS In some cases, there was a gap in awareness, knowledge and experience in merchandise and the potential for commercial opportunities from heritage professionals in comparison to artists and producers. The curated seasons for the year have helped manage people’s expectations in relation to the broad- Where opportunities were identified, such as for the reaching themes whilst also creating an eager anticipation of what will happen next, giving the 365-day Larkin exhibition, the partnership parameters and programme a real sense of energy and momentum. funding agreements further clouded the commercial opportunities. Similarly, the Anita Corbin Girls Revisited exhibition was also felt to have been an opportunity that could have made better earned People’s perceptions globally about Hull have been income returns. Staff at Ferens Art Gallery reported positively transformed through the new narratives that they felt unable to maximise the commerciality Hull 2017 has created through the commissioning of of their programme due to the volume of activity they new festivals, plays, and music as well as visual art were delivering in 2017 compared to previous years. installations and exhibitions. Some stakeholders felt signposting audiences to how Hull 2017 helped to significantly enhance the they could follow up with their interest and learning marketing and PR profile for Hull Truck’s programme. in some of the heritage presented could have been Even though there was not more money per show strengthened and invested in more. For example, during 2017, the theatre benefited from being the signposting people from the Larkin New Eyes, Each star of season launches. This attracted major press Year exhibition at the University of Hull to Hull History coverage, including a constant TV presence, which led Centre to see more of the collection or following up to the majority of the 2017 theatre programme being with information on how they could join the Larkin a sell-out success as well as the city and its heritage Society. receiving a substantially higher and more positive However, there was strong evidence that audience awareness more generally. members who attended performances that related to the maritime heritage of the city felt it was easy to Online marketing methods proved popular with know where to turn for more information and followed audiences during 2017 with 35% of residents stating up their interest with visits to Hull Maritime Museum, However, it was felt that the delivery of such they had visited the Hull 2017 website during the year. Arctic Corsair and Spurn Lightship. quantity of heritage-linked activities, amongst For Hull Maritime Museum, 36% of visitors had found others, within the Hull UK City of Culture information before their visit on the Hull 2017 website 2017 programme led to challenges around in contrast to 18% who had done the same with the marketing and communications elsewhere. museum’s own website. This suggests that there were benefits from a central point of information for the whole cultural programme. The limitations of the museum’s website and a lack of social media presence Heritage venues cited the limited lead in times and the for some museums, galleries and heritage sites in the late confirmation of funding and details as creating city has been identified as causing frustrations for difficulties in promoting activities. Similarly, it was felt visitors. Visitors to the Ferens Art Gallery commented that projects were competing with each other for press on the lack of information available through their coverage: website.

I don’t think [the exhibition] got the A separate website from the council “ attention it deserved and the nature “ would be ideal as it would be easier of 2017, there’s so much going on… to see upcoming exhibitions and there’s a flip side: everyone wanted share these with my friends and to hear about Hull but then there family. was so much here you have to ” compete to be heard. Audience member ” Core Project Team Member

200 HERITAGE EVALUATION REPORT EVALUATION REPORT 201 5.5. VOLUNTEERING & COMMUNITY ENGAGEMENT So we had volunteers as “ participants, so we did a recruitment and think we ended up with about Heritage-inspired arts projects offered diverse and enriching volunteer experiences, contributing to 12 volunteers as participants. But self-confidence and self-esteem. Though, when planning projects that involve extensive community engagement and grassroots outreach, thought and provision should be made for how these then we had volunteers that worked relationships and impacts can be sustained. from the performance, as stewards, and some as dressmakers as well that were supporting the costume Investing in a project that changes people’s attitudes However, the artists and producers involved appeared designers. But I think they were and behaviours (and lives in some cases), and then to have an inclusive way of working and were able to disappearing when the project ends through lack of bring volunteers from very different backgrounds and really supportive and nurturing to funds or resources could seriously undermine the expertise levels together with heritage professionals the younger people in the group as great work done. in ways that made everyone feel equal and valued. well. Very focused and dedicated. This approach had a direct impact upon the way the Groups of volunteers and community members who heritage was interpreted and explained in terms of They felt like there was a backbone Working with volunteers enabled staff members to engaged in performance roles in particular, received diversity and relevance to a wider audience. to the project so you knew you had develop skills they are now able to use elsewhere in a huge confidence boost from their participation and their roles. this created a keenness to continue to participate. Over 300 volunteers were trained to support with them, and that they were consistent Participants in 7 Alleys created a Facebook group to the delivery of Made in Hull. The positive feedback in turning up to all the rehearsals, keep in touch during rehearsals and used this social on the volunteer experience was very strong and and then there was these other I think our team in particular indicated that the volunteers were an integral part of network to keep in touch about other opportunities, as layers of groups added to it. So they “ [developed new skills] because we well as to maintain social connections after an event. the process, learning and enjoyment for audiences. needed support with the briefs of Similarly, LGBT50 offered a wide range of volunteer gave it depth and consistency really, opportunities and the consultation indicated that the the City of Culture volunteers. We Our dynamic as well. Because we which was great. majority of volunteers did not come from the LGBT trained the whole of the staff, so just gelled as a group straight away, community. The consultation also evidenced that ” “  Core Project Team Member we've got around 45 members of I’ve never known anything like those who came into contact with the volunteers found them to be a foundation stone for the success of staff. We trained everyone to be it. You always get one but we just the festival. able to brief the volunteers so that never did, did we? We just all gelled when staff are tight, it means that together. we could rely on them. Because of ” Participant that, they've learned a lot of new skills. They learned to brief others, During the year, many individuals found their own they learned how to engage with route between opportunities, for example many of the public a little bit more. Before those involved in the community cast for 7 Alleys later engaged with opportunities at LGBT50 and Freedom that, they'd only really dealt with Festival and auditioned for community casts at Hull students. It was very different. They Truck Theatre. There are strengths to these grassroots also learned a lot of knowledge and self-organised approaches to facilitating further participation, not least its sustainability. Yet having about Larkin. an established plan and an ability to formally offer ” longer term opportunities could have heightened the University Team Leader impact for these individuals whilst also ensuring the

continued engagement of the most vulnerable or least Some of the artists expressed a desire to have had confident participants. more time to train volunteers and communicate their artistic vision. They felt that the rota systems for the volunteering was not always conducive to having a core and consistent set of volunteers for roles such as Gallery Assistants. However, volunteers fulfilled a vital role in improving visitor welcome and promoting Hull’s museums, galleries and archives. Using volunteers who were engaged across a variety of venues and activities enabled a more joined up and well-informed visitor experience in the city.

202 HERITAGE EVALUATION REPORT EVALUATION REPORT 203 5.6. SUMMARY

By working with artists, heritage professionals were able to see their collections through new eyes and create new possibilities to stimulate meaningful engagement. In return, working with heritage provided artists across all artistic disciplines with huge inspiration. Teams of artists, core project teams and volunteers were able to work together in ways that made everyone feel equal and valued.

Overall, core project teams suggested that the quantity of activities delivered and the timescales involved impacted on elements of the process, which they would seek to do differently in the future. However, working at a more ambitious scale of projects while ensuring they were rooted locally created a distinctive and memorable cultural year for the city. This required extra capacity and resource to match that high-level ambition along with the space and time to develop work in partnership with others. An extraordinary level of trust from all partners and stakeholders and audiences was invested in Hull UK City of Culture 2017, resulting in a new belief about what the city can achieve in the future.

204 HERITAGE EVALUATION REPORT EVALUATION REPORT 205 6.1. CONCLUSIONS 6. CONCLUSIONS AND Overall, the Hull UK City of Culture 2017 programme delivered across 10 outcomes as specified by the Heritage Lottery Fund, including outcomes for heritage, people and communities. This evaluation RECOMMENDATIONS has demonstrated the value of investing strategically in a place and in projects which join together arts and heritage.

The majority of audiences agreed that using art based approaches to present the history and heritage of Hull made it more interesting and easier to understand, delivering on the ambition for heritage to be better interpreted and explained through the year’s “ It made me appreciate that Hull is a far activities. more accepting city than I thought and it Heritage has been identified and recorded through several projects: from discovering new items within a makes me happier to be living here collection to establishing a new one documenting the ” year, as well as capturing local heritage stories through Audience Member artistic approaches. Between two-thirds and three-quarters of local people have learnt about heritage as a result of the Hull UK City of Culture 2017 programme, with another three-quarters of those attending events with a direct heritage connection reporting they learnt a lot.

Attitudes and behaviours have changed, most notably pride to live in Hull (from 45% in 2013 to 75% at Audiences had enjoyable experiences throughout the end of 2017) and participation in arts and cultural the year and participants on average felt happier as activities (reaching 95% in 2017). Over three-quarters a result of their participation in a heritage-inspired of local residents had also attended a museum, gallery project. or other historic attraction during the City of Culture year. There was also widespread evidence that By the end of 2017, there were 2,404 Hull 2017 encountering history and heritage stories depicted volunteers still volunteering their time to ongoing through the arts was a catalyst for individuals to projects across the city, having proved to be an undertake follow up research. invaluable resource during the delivery of the year itself. Project team members, artists, volunteers and participants have developed their skills across a wide Through the Hull UK City of Culture 2017 programme range of areas and specialisms through their work and there were more and a wider range of people participation in the programme. For some individuals, engaging with heritage. The use of local stories at this has had life changing results as their knowledge the core of Hull 2017 projects enabled an increased and confidence has grown. sense of ownership amongst residents and had a direct impact on participation levels.

The pride residents have in their city is also testament to Hull being a better place to live, work and visit. Other indicators suggest improved community cohesion and 70% of residents would speak highly of the city.

Finally, through the year-long programme, the local economy has been boosted. Full economic impact analysis is yet to be completed, though there are indicators of a positive impact such as increased hotel occupancy rates and increased numbers of visitors to the city.

206 HERITAGE EVALUATION REPORT EVALUATION REPORT 207 6.2. RECOMMENDATIONS 6.2.2. The UK City of Culture title has increased the scale and ambition in The experience of heritage across the programme highlights six recommendations linked to the delivery how individuals and organisations of any future UK City of Culture and heritage-inspired work with heritage arts projects, whether in Hull or elsewhere. Working at a much more ambitious scale of projects, but ensuring that they were rooted locally has created a very distinctive and memorable cultural year for the 6.2.1. Using the arts can make history city. This has required extra capacity and resource to and heritage more interesting and match that high-level ambition along with the space easier to understand and time to develop work in partnership with others. Working with artists allowed heritage professionals to Taking heritage ‘out and about’ in public and see their collections through new eyes and with new unexpected places is a major advantage of using art possibilities for presenting the collections to audiences 6.2.3. Using the arts to explore history forms to interpret and explain history and heritage. to stimulate meaningful engagement. Heritage Using the arts and artists to interpret and explain provides artists across all artistic disciplines with huge and heritage can lead to deeper the heritage made it more relevant and meaningful inspiration. An extraordinary level of trust from all engagement to a wider and more diverse audience base. Arts partners and stakeholders and audiences has been based activities provided successful grassroots and invested in the City of Culture, resulting in a new belief The artists, producers and audiences consulted community engagement with the main heritage about what the city can achieve in the future. unanimously felt that using the arts to interpret and projects in terms of reaching audiences who might In order to get the most out of a heritage and arts present history and heritage facilitated a much deeper not otherwise come. Examples of this included the partnership it is important to play to each other’s engagement and emotional response than traditional photography workshops run by Anita Corbin for the strengths and allow the artists and/or arts producers heritage approaches. Core project team members felt Girls Revisited exhibition and taster sessions used freedom to use the history and heritage creatively that the quality and depth of experience should be to research, engage and develop the stories and towards agreed and shared outcomes. The next year rated much more highly than statistical measures such audiences for Into the Light. presents an opportunity for those involved to reflect as visitor figures. Presenting heritage to people through the arts helps on the successes and challenges and to use these Bringing artists and communities together, has helped them to make their own minds up about history lessons learnt in a sustainable way. producers understand how to use heritage to create and heritage rather than presenting a one-sided better empathetic connections with audiences, perspective. Using the arts to interpret history and through real life stories and immersive productions. heritage facilitates debate and discussion in a stronger Across all of the projects learning was most powerful way than traditional approaches. when it translated into empathy. When audiences empathised with the heritage they were learning about Projects should consider how they can provide it made a much greater impact on them, and the arts signposting to other sources of information, for were the catalyst to extending learning to empathy. example Hull History Centre successfully promoted Local audiences especially have developed a bigger itself through a small exhibition in Hull Truck Theatre’s appetite for trying new things as a result and are now foyer during The Hypocrite production. confident in establishing their own relationships with Heritage professionals, organisations and institutions art and heritage. would greatly benefit from partnering with artists When working to attract hard to reach audiences and and arts producers to bring their stories to life, make communities who would not normally engage with them relevant to target audiences and in doing so history and heritage, it is important to meet them make more people and a more diverse audience enjoy where they are, on their terms and in their spaces. Be learning about heritage. Proactively pursuing these visible in their world. Use arts based activities to create partnerships with local and national artists and arts an enjoyable and safe space to introduce hard to organisations would therefore be beneficial to build reach audiences to history and heritage and facilitate into heritage strategic plans. dialogue and understanding. Impacts are also often felt on the individual level. When planning projects that involve extensive Evaluation techniques and focus needs to account for community engagement and grassroots outreach the less tangible but clearly transformative outcomes some thought and provision should be made for how that arise when a heritage-based arts project changes these relationships and impacts can be sustained. individual lives. A shift from quantitative targets Taking history and heritage out of buildings and into to qualitative learnings will help to facilitate this the public realm through arts based activity should approach. be increased and built into ongoing strategic plans for heritage organisations and institutions.

208 HERITAGE EVALUATION REPORT EVALUATION REPORT 209 6.2.4. Volunteering was critical to the 6.2.5. Site specific projects and those 6.2.6. Using heritage within living success of heritage-inspired projects which draw upon local history and memory resonates strongly with heritage were successful in engaging audiences Volunteers played a huge role in the delivery of all the audiences projects and this aspect of the projects was marked Part of the city proved invaluable in realising stories out as exceptional and best practice by the artists and that are not only historically important, but which can stakeholders involved. The responses to the projects featured in this report evidence that heritage which is site specific or that resonate with contemporary audiences. History and From the start of the volunteering programme through speaks to the sense of place works very well in heritage that has happened within living memory to the end of 2017, over 2,400 volunteers undertook capturing both audience and artists’ imaginations and resonated very strongly with audiences. over 84,000 shifts with a total level of volunteering subsequent engagement. When planning arts-based heritage activities and exceeding 337,000 hours across the Hull UK City of Artists have surfaced stories that have been events consider ways to bring diverse audiences Culture 2017 programme. This quantity of volunteering together. The case studies showed shared heritage is calculated as equivalent to roughly £5.4m. imaginative, challenging and surprising. This has meant that Hull’s year as the UK City of Culture has not presented through the arts to be a powerful catalyst Local people should be actively involved in the been celebrated in a prescriptive way, but has revealed for community cohesion and wellbeing. development of arts-based heritage activities and many unexpected positive outcomes for all involved, Using the arts to explore and present local history and events which develops their skills. It adds authenticity and particularly for the city as a whole. Hull and its heritage in large scale events such as Made in Hull and and community ownership of the end product and communities still have many more stories to tell, so LGBT50 significantly contributes to a sense and spirit creates vital word-of-mouth communications. continuing to work with artists in this way will continue of place and undoubtedly makes places better to work, to be fruitful for Hull to make itself better known to the live and visit for their communities. This approach The continuation of a volunteering programme in Hull wider world. has the potential to make a significant contribution to to interpreting and explaining heritage consistently the city’s heritage offer. In particular, there is potential delivers across all the HLF outcomes for heritage, for lessons to be taken from the Hull 2017 volunteer people and communities. programme to inform the Yorkshire’s Maritime City Heritage organisations and institutions can therefore project. use the arts to contribute to placemaking strategies and objectives for the local and regional areas they operate within as well as other venue audience development plans.

210 HERITAGE EVALUATION REPORT EVALUATION REPORT 211 WITH THANKS The evidence, data and research findings that inform the Heritage Evaluation Report are a result of the collective contribution of many. Our thanks go to the following for their time, honesty, and insights in developing this document and delivering the UK City of Culture project in Hull. HOST CITY University of Hull Culture, Policy & Place Institute Hull 2017 Monitoring & Evaluation Team Franco Bianchini, Professor of Cultural Policy & Planning Phil Batty, Director of Public Engagement and Legacy Dr Jo Byrne, Research Manager Elinor Unwin, Head of Monitoring and Evaluation Dr Catherine Alexander, Research Fellow Pippa Gardner, Monitoring and Evaluation Manager Dr Alice Borchi, Research Fellow Abigail Bell, Assistant Project Manager - Evaluation PRINCIPAL PARTNERS Dr Nigel Morpeth, Research Fellow Christie Parkin, Project Coordinator – Evaluation

With the support of commissioned agencies: &Co Cultural Marketing Courtney Consulting

With huge thanks also to Rosie Millard (Chair of Hull 2017) and Martin Green (CEO & Director of Hull 2017), to the whole board of trustees who have each volunteered their time, expertise, skills, and knowledge, and to the Department for Digital, Culture, Media and Sport (DCMS) and the UK City of Culture Independent Advisory Panel chaired by Phil Redmond for recognising Hull’s potential. MAJOR PARTNERS Significant gratitude is owed to all of Hull’s museums, galleries and other heritage orgnaisations, and to Hull City Council, for their ongoing support and commitment to the project. A heartfelt thank you to the volunteers, who continue to provide boundless energy and passion to help make this year unforgettable. The funding partners for the project for the generous investment and support they have given. Their commitment and enduring confidence in the project has enabled this year to be truly remarkable. Without them, this would not have been possible.

And finally to the people of Hull for their participation, ongoing cheerleading and ultimately for being part of the story. Thank you.

CITY PARTNERS Report Design & Production: Mattix Design in collaboration with Home PR Photography & Image Credits: Almas Badat, Amy Johnson Festival, Anna Bean, Claire Barber, Chris Pepper, Feet First, Hull News & Pictures, Hull Truck Theatre, James Mulkeen, Mike Bartlett, Neil Holmes, Pete Le May, Patrick Mateer, Perry Curties, Sean Spencer, Sodium, Thomas Arran

BUSINESS CLUB BID ANGELS HULL 2017 SUPPLIERS

• AAK (UK) Ltd • East Trans • Edwards & Pearce • Crown Paints • F&T Vending • FirstGroup • Daifuku Logan Ltd • Gosschalks Solicitors • House of Townend • East Yorkshire Motor Services Ltd • Hull College Group • Hull Trains • ESP Group • Hull Kingston Rovers • Lincoln & York • Hudgell Solicitors • Keepmoat • magneticNorth • Humber Galvanizing • Nagra Properties • Pipers Crisps • Jelf Insurance Partnership • Neill and Brown • Shoosmiths • JR Rix & Sons Group of Companies • RSM • Spektrix • Morco Products Ltd • Spencer Group • Star Events • Northern Gas Networks • The Deep • Strata Group • Premier Galvanizing • TransPennine Express • SGS International • UK LED Lighting • Smailes Goldie Group • St Stephens • Strawberry HERITAGE EVALUATION REPORT Hull UK City of Culture 2017