Museum Activism

`Museum Activism’, edited by Robert R Janes and Richard Sandell and published at CRC Press in 2019, is a welcome addition to the `Museum Meanings’ series which highlights new research and ideas exploring the role and significance of museums in a vastly changing world. The focus of Museum Activism is on contemporary activist work within the sector, as well as looking forward to the future of progressive museum activism. Over 35 chapters, Janes and Sandell have curated a thorough insight into the topic, ranging from practical to theoretical, and coming from over fifty contributors covering six continents. 

 

The editors set out in their introductory chapter their central argument the book revolves around: the need to for the museum sector to turn towards more activist, critically engaged, and purposeful thinking and practice. In the following, the publication is split into three sections - nurturing activism, activism in practice, and assessing activism. The multitude of topics covered within the publication include museum responses to the refugee crisis, grassroots activism in American museums, or repatriation and restitution. Readers are likely to find chapters which speak specifically to them and their interests. For arts managers, I have selected three chapters, one from each section, which I think are particularly relevant.

 

 

Catherine Kudlick and Edward M. Luby’s chapter on ‘Access as Activism’ provides compelling arguments for the need for changes within museum workforces and for museum management to consider accessibility in all aspects of their organisations, from the museum front door to the boardroom. The authors argue that museums currently see people with disabilities as a group who need to be accommodated and to have things done for them, not by them. The `Patient No More’ touring exhibition used as an example throughout provides an array of vital learning points which can, and should, be implemented in the design of any new exhibit or display. For example, a Braille text included in the exhibition was not just a reproduction of the main text, instead it added further information relevant for Braille readers, as well as questions which those could ask to engage sighted visitors. 

 

 

The zeitgeist nature of this book is perfectly displayed in the chapter ‘From Vision to Action’ by Sioned Hughes and Elen Phillips about the activist journey taken by the recently awarded Museum of the Year, St Fagans National Museum of History in Wales. The chapter provides an insight into the complete organisational change that was required to become an activist museum, including some of the challenges faced. Their ‘Hidden Now Heard’ oral history project with the Mencap Cymru hospitals in Wales is an excellent example of utilising short-term funding to achieve long term impacts. By collecting the living memories of patients, families and staff from long-stay hospitals, it allowed them to create an archive, whilst also changing Mencap Cymru’s perceptions of past and present care practices. , The key relationships established with organisations and charities like this stand out as an example of the activist work that museum and heritage managers should take on board. 

 

 

Finally, the question that is continually asked of museums - to demonstrate their impact - is addressed in the final section of the book. Jennifer Bergevin’s chapter ‘Narratives of Transformation’ is particularly relevant for those considering how museums can capture the stories of their visitors in order to demonstrate a transformation in people’s attitudes and actions. The overview of longitudinal studies in the museums and heritage sector is useful for managers considering how to design projects to elicit longer-term impacts upon their visitors. 

 

 

During the last years, I have been wondering, surely like many others, if my work in learning and engagement counts as activism. When reading this publication, I found myself reflecting throughout about what activism means to me as an employee within the museums sector. I found two chapters particularly useful in consolidating this:

 

Given Tristram Hunt’s highly controversial article in the Guardian in June 2019, I would recommend all museum and heritage staff to read the ‘Detoxing and Decolonising Museums’ chapter. Sara Wajid and Rachael Minott sum up very eloquently and with complete honesty about the process of being ‘Insider Activists’ (who are activists being employed by the museum and working there towards their strategic goals) working on the exhibition `The Past is Now’. The roles of Insiders, Outsiders and Allies really chimed with my experiences of working in museums and summarised the challenges we often face. 

 

Sharon Heal’s chapter ‘Museums in the age of intolerance’ includes definitions of activism from a range of people working across the museum sector. As current Director of the Museums Association, she included many well-known museum activists and campaigns within the UK, such as Adele Patrick from Glasgow Women’s Library and Matt Turtle from the Museum of Homelessness. I felt this worked well alongside the more in-depth topic-specific chapters as it gave a snapshot of some of the key work in progresses across the sector. In five years’ time, it would be interesting to revisit this chapter, to see how far we’ve come as a sector. 

 

Reflecting on current museum activism in the UK, I think many of the examples are still being driven by individuals or those working with specific groups of people to undertake change in the museums themselves. Fewer examples come from museums who are wider activist institutions, but that is ultimately the aim of the publication, to challenge individuals to change the wider museum sector. 

 

 

Alongside many articles focussing on Western museums, particularly in the UK and North America, there are insights into activism taking place across other countries including Brazil, Zimbabwe and Hong Kong. I was fascinated to read about the complex process of planning of the National Museum of Memory in Columbia, as detailed in the article ‘Memory Exercises’ by Cristina Lleras, Michael Andrés Forero Parra, Lina María Díaz and Jennifer Carter. The Museum’s aim to represent the country’s historic armed conflict and the impact on Columbian society was taken into consideration throughout all aspects of the planning, including the architectural design. Currently (July 2019), the international call for architectural design ideas has amassed over 100 entries, and as it takes shape, it will be an interesting example to follow as a museum with activism built into its foundations. 

 

 

In conclusion, this publication is vital reading for those arts managers who are interested in progressing their own activist ideas or activism within their organisations. It is primarily suitable those working in the museums and heritage sectors, but as many of the case studies touch on wider fields, it is also highly relevant for those working in arts, community learning and science engagement settings. Although the book was published in January 2019, and contributions must have been written far in advance of this, it feels as if it was written last week such is the contemporary nature of the vast number of chapters. Each one, as I read through it, I could match up to current issues being reflected in online news articles, journals and debated on social media. 

 

Time will tell whether arts and museum managers will read and taken on board the activist principals argued within it. I, for one, hope that it marks a step change in museum addressing inequalities, injustice and environmental changes and becoming activist organisations. Altogether, it is an excellent publication providing theoretical and practical examples of how museums can embrace activism and be harnessed as a force for good.