Medicine through Time: The Old Operating Theatre, London Bridge

The Old Operating Theatre, London Bridge

Heading up the 32 step, narrow, circular stone staircase, I was thinking to myself “are we in the right place?” It felt more reminiscent of exploring the tower of Oxford Castle or the spire of St. Peter’s Basicillia rather than heading up to a museum. But it was the right place, for hidden in the attic of St Thomas’s Church in Southwark, is the oldest surviving operating theatre in Europe, dating from 1822.

The operating theatre was originally part of St Thomas’s hospital but when in June 1862 the hospital moved from its original site in Southwark to make way for a railway line to Charing Cross, the theatre was sealed up; only to be rediscovered almost a hundred years later in 1956. After discovery it underwent a process of restoration and was finally opened to the public as a museum in 1962.

The Operating Theatre itself was exactly like all the images I remember seeing in my GCSE Medicine Through Time textbook. It was very simple and in a way, quite clinical, although only if we substitute modern metal for wood, a lot of wood (and we know that that is not the most practical material for constructing an operating theatre from!) But what struck me most while standing there, looking down on the replica operating table, was just how audience centred the experience seemed to be. 

There was more room for observers to watch the surgery than for the patients and surgeons operating. A sense of spectacle really came across. Now that might be a wrong deduction, perhaps the emphasis then was on education and that doctors learnt best by observing surgery first hand, but I can see why the term ‘theatre’ was perhaps adopted to describe the places in which surgery took place. It was a somewhat bizarre experience to then stand at the bottom and look up – this would have overlapped with the age before anaesthetics and antiseptics – I’d have been awake and when I looked up could have had a hundred pairs of eyes staring back at me. Needless to say, I think the whole thing would have been absolutely terrifying!

Alongside the Operating Theatre there is also a Herb Garret, which was used throughout the 18^th and 19^th centuries by the St. Thomas’ Hospital apothecaries to store herbs and make medicines. I’d been warned about the smell of this part and so was somewhat relieved that it wasn’t too overpowering on this occasion, for this section of the museum is like a treasure trove, brimming with every type of herb, spice or plant needed to produce medicines and herbal remedies to cure an array of ailments. There were also lots of original surgical instruments, apothecary’s equipment, medical books and papers. We even spied the remedies of Thomas Holloway – the man responsible for the creation of Royal Holloway!

The Herb Garret

This was my favourite bit it has to be said. It was like stepping back in time and it encouraged you to use more than one of your senses – always a bonus! You could touch (although not everything), see and smell so many different things. You could have a go at producing pills, weighing ingredients and put back together an anatomical model. It was a good balance – you should know by know how highly I rate interaction and a ‘sense of place’.

Making Pills

Herbs & Spices

So why visit somewhere that induces images of blood, guts and gore? I’m not a fan of hospitals and am pretty squeamish these days, so thinking about it, it’s a pretty odd subject around which to formulate a museum. But also there are the ethical implications of medical case histories and as such, the ability or inability to add a “voice” to the narrative that the museum can tell. And I think this was what was actually missing from the experience – a sense of people’s stories. I know it’s incredibly complicated to convey those sorts of histories but even the voices of doctors or of nurses, wardens or even students were what was really lacking for me and I think that’s what would have given it that little more punch. It was missing a hook for me, the type that comes through connecting to an individual.

All said and done I am really glad we visited – it’s one of those off the beaten track places in London which is definitely worth a visit. I also wish we’d gone as a school trip back in the day, as it would have no doubt brought the whole topic that much more to life! 

As an additional note, it was also interesting that we spied a Rothschild connection in the form of the Evelina Hospital for Sick Children which was originally opened in 1869 having been funded by Baron Ferdinand de Rothschild of Austria in memory of his wife Evelina who had died, along with their son, in childbirth.

Düsseldorf’s Mahn- und Gedenkstätte

The Main Square

Back in December I took a bit of a break and went for a long weekend to Düsseldorf to do the Christmas Markets, but what’s a trip without a bit of history? We were a bit limited for choice, but chose to spend the afternoon at the Mahn- und Gedenkstätte in Aldstadt, which was established in the 1980s as a memorial for the victims of National Socialism.

Having looked it up retrospectively, it appears only to have reopened in May this year after a four year closure, with a new permanent exhibition - “Düsseldorf children and young people under the Nazis” and actually, even though I hadn’t know that at the time, the quality of the exhibit was fantastic and you can see that current museum display theory has been fundamental to its new design.

I’d always been a bit curious about how WW2 is remembered in museums in Germany never having visited before, so I’m really glad we chose this museum to visit. It’s steeped in history, both the area in which it’s situated and the building itself, which was once the state police headquarters.

As English speakers we were given audio guides, which we were completely dependent on and were our only real way to access information. They were fantastic bits of kit and well produced. The tier system of information has been used to structure the audio guide clips, each successive clip offering more in depth information, based upon what you’d previously heard. It also offered a ‘?’ option for some points or items if you wanted more information on them specifically.

At first I responded really well to the exhibition and accessing it through the audio guide. However, because I was completely dependent on it, it made it somewhat difficult to maintain that level of concentration. It wasn’t possible to listen to every single clip and I had to try and dip in and dip out of clips that I was particularly interested in.

That said, the exhibit was packed with information, images and photographs, oral history testimony and objects, many of which were shown or displayed in interesting and interactive ways. You could open drawers, slide or spin text panels and listen to testimony through a receiver. And at each step, there was a corresponding number for your audio guide. A huge amount of work has clearly gone into the redevelopment of the exhibit and as a visitor I really appreciated that and could see the huge effort that has gone in to make it modern and accessible.

There were two additional points that I was also particularly taken by. First, was the effort gone to put Düsseldorf in the context of wider history. Local history was told alongside national history and examples of how events we know of at a theoretical level materialised in the communities in Düsseldorf were also included. They wrote themselves and their community into the historical narrative and I thought that was both quite brave and very nicely done. The second point was how the exhibit was told from the perspective of young people, which doesn’t often happen, but also how it covered multiple perspectives - those of Socialists, Jews, Protestants, Catholics, Democrats, Homosexuals and Edelweiss Pirates vs. Hitler Youth. It was really interesting to see all those points of view side by side and talked about quite openly.

The aim for the memorial is that it remains a place of learning, of research and of remembrance (1). They also have a temporary exhibition gallery, which at the moment is ‘Helpers + Healers: Jewish Women in Medicine 1933-1945, and an open access reference library with books, documents, photographs and other archival material which invites visitors to look in more depth at the topics the memorial covers.

I was hugely impressed by this museum and am really glad we took some time to explore the culture of Düsseldorf beyond the Christmas Markets!

(1)    This is the webpage, although it’s in German! -http://www.ns-gedenkstaetten.de/nrw/duesseldorf/besucherinformationen.html

The Subterranean Secret Lair of Britain’s Second World War Leaders.

The Cabinet War Rooms

It’s been a long, long time since I last went to the Churchill War Rooms but after numerous visits to London in recent months where I’ve walked past it and said “I really must go back there”, I finally got around to it. It’s the second recent visit I’ve made to a place affiliated with Winston Churchill in the past month; the first having of course been Blenheim Palace which was the feature of another recent blog, and it is perhaps rather apt given that this year marks the 50^th anniversary of his death.

Having first become operational at the end of August 1939, it’s always struck me as a bit odd that the War Rooms remained largely intact immediately after the war, never having been fully dismantled or turned back into the stores and offices they had once been.  An odd view for a proponent of heritage to have perhaps, but also somewhat redundant as we know this didn’t happened.  It was as if someone knew how much of interest they would be in the future, for most of the important rooms have remained preserved and untouched for some 70 years since the end of the Second World War.

Visitor Feedback built into the exhibition

The War Room’s caretaker, Rance, stayed on post- war and after a 1948 press conference revealed the secrets of the Rooms, he began giving tours, enlightening visitors to what had once gone on there. This marked the beginning of a surge in interest in the War Rooms over the next thirty years, resulting in the Imperial War Museum being asked to restore the site and open it as a museum to the public, which it did in 1984. Ever since it’s commanded worldwide interest and remains a highly popular attraction with tourists visiting London – you only have to look at the admissions queue for evidence of this!

They may date from 1939, but it is under the leadership of Prime Minister Churchill, whose term in office began in 1940, that the War Rooms really began being used and with whom they will undoubtedly, forever be associated and remembered.  It was from these rooms that Churchill commanded the war effort of Britain and it’s Empire; held important meetings, as the Blitz raged on overhead; in which he contemplated and planned for the anticipated Nazi invasion; and into the adjacent map room that he brought some of his most important visitors to demonstrate the thorough and high-tech charting of the war. This subterranean network has some fascinating stories to tell, many of which are unveiled on a visit.

The War Rooms consist of a series of rooms connected by a network of narrow passages – what you’d expect really from an underground HQ. But as a visitor what this means is on a busy day it’s a bit claustrophobic and the day I visited, it was very, very busy. A lot of people were tripping over each other to get around and have a good look and I felt a bit harassed at the beginning, it has to be said. However, what I was immediately struck by was the sense of authenticity embodied here. The War Rooms really evoke the ‘sense of place’, that can really entice a visitor to connect with their experience.

Many of the rooms are still ‘dressed’ as they were left and it is like peering into a window in time. It’s not a museum in an abstract setting, the information being told here relates directly to events that went on within those exact rooms; that table is where the Cabinet met and made decisions, Churchill spoke on that telephone, and Mrs Churchill slept in that bed. These things are fact – ok they could be replicas - I’m pretty sure they weren’t but they could be - but you get my point. On the whole, this is a genuine piece of history, a snapshot in time, and in overhearing other visitors’ comments on this aspect; I would conclude that the War Rooms are successful in capturing interest on this very basis.

One of the Rooms occupied during the war

I was actually surprised at how much there was too see and how much has remained untouched; the map room being particularly impressive. The walls are still covered with wartime maps, each of which is punctuated by thousands of tiny pin holes, charting the movements of naval and military conveys across the world. There is even a key pinned to one wooden post providing an indication of which country is represented by each colour. It’s kind of eerie in a way, knowing that most of what occurred in the war would have been fed back into this very room. It sort of bought home the enormity of it all again, just in a different way.

One of the many maps still in situ.

In terms of transmitting information the War Rooms depend on visitors using an audio guide, each room having been designated a number which you then type in to hear the information. I was always a bit anti-audio guide, I much prefer making my own way around and not being dependent on a device to gain information, but in this context audio guides seem to be the best option. Realistically there is little space for information panels or guides and if there were, given how many people you’re battling your way around, I suspect they would be difficult to access and read. Having the audio guide means you can tuck yourself in a corner and have a listen at your convenience, either before, after, or while viewing the rooms it’s talking about. It’s also very helpful in finding your way around, signalling which way to go!

An artefact that particularly stood out for me was the map of Europe which proposed how Germany would be divided up in zones of occupation after the end of the war and which had been used by Churchill at the Potsdam Conference in July 1945. World War Two was the focus of most of my pre university history education in one way or another, so I knew at a conceptual level that this happened, but to see the actual map which had been drawn on, shaded in and annotated really bought it home.

What I hadn’t realised was that the War Rooms also contain the Churchill Museum, a dedicated sub-museum to the man some claim is ‘Britain’s greatest politician and historical figure’ (1) and I was very interested to read in the guidebook after my visit, the intention of this museum. Here’s the passage I found particularly insightful:

Winston Churchill, has become a two dimensional and slightly unreal character. His reputation rests largely on superficial knowledge, constantly replayed images and on one brief –albeit momentous – period of his life. The Churchill Museum has taken on the difficult task: a ‘personality museum’ could so easily slip into the pitfalls of dullness or hagiography. There was a clear need for a museum which could explore the complex nature of Churchill’s life and his long political career…

One they further outline would challenge the existing narrative and reveal aspects of his life and personality that were otherwise unknown or forgotten (2). And what a way to do it. The exhibition puts into perspective his whole life, focusing on five key areas; his childhood, early political career, ‘Wilderness years’, War Leader and Cold War Statesmen. And I have to say, I came away having learnt a great deal, because I too was guilty of having this ‘two dimensional’ view of Churchill that did only really concentrate on his role as a war time leader.

As you enter the Churchill Museum, the introductory panels explain at the outset how ‘This exhibition explores the real man behind the icon’, so early on you are being challenged to reconsider any existing knowledge you may already have. This was something my friend had mentioned to me when we were at Blenheim, and something she argued the War Rooms explored more directly than at the former. I just hadn’t realised how head on they really do deal with it. I dare say they could have taken it even further, but as it stands they have pushed those preconceived ideas we have as a society about Churchill, and even more impressively, have done so without alienating themselves from more traditional 'thinkers' in the process. I didn’t feel like the museum had ruined by perception of Churchill, just encouraged me to reconsider it and I did leave feeling as though I’d been given a more rounded perspective of him; one that included his odd habits and more controversial politics.

Interactive Screens challenge what you know or
understand about Churchill, in this case his views on the Empire

The use of touch screens was also particularly helpful in encouraging visitors to engage with this idea. Through this medium visitors are asked quite thought provoking questions about some of Churchill’s more controversial politics. For example, one screen poses the view ‘Churchill’s views on India were based on race’ and you’re invited to cast your vote (Strongly Disagree, Disagree, Not Sure, Agree or Strongly Agree). You’d then be offered access to further information - primary sources and research that you could read and continue to take further until you’re asked again if you'd like to reconsider your original response. Once you’ve made that decision you are then shown the rest of the results and can see what other visitors have thought when doing the same activity. I think it’s a really well done element, tackling something quite challenging. It wasn’t lecturing or pushing a view point on you. Each screen offered you further information upon which to draw your own conclusion – museum visitors doing their very own history - what can be better?!

A large interactive map provides the museum's 'centre-piece'
and allows visitors to interact with far more archive material than could
otherwise be displayed.

A display of personal family photos
and letters between Winston
and Clementine

The techniques used by the Churchill Museum are broad and varied across the space and offer visitors an experience which is something of an assault on the senses which I liked, but also found to be a bit over whelming. A high level of modern technology has been used to make it interactive. There were sound effects, video excerpts, photographs and objects; all exhibited in designated areas that focused on a particular period of his life, with each segment being centred on a large interactive table offering visitors a platform through which to engage with a more extensive range of the museums archive material about Churchill’s life and career. There is really a sense that the museum wants to project a rounded image of Churchill to the public, but also to arm them with as much material as possible to draw their own conclusions and move beyond this overriding image and understanding we have of him as the War Time leader.    

One of many interactive screens - this one picking out
Churchill's famous and lesser known quotes.

I have a vague memory of visiting the war rooms when I was younger but this recent visit has been really thought provoking and has really challenged my pre-existing understanding and knowledge of Winston Churchill. I think the Churchill War Rooms offer visitors a chance to engage dynamically with this area of history, offering a good balance of good ‘academic’ history, as provided by the Churchill Museum, and good ‘popular’ history, as provided by the War rooms. It was a great day out and one I would certainly recommend - I’m very glad I finally got around to spending my afternoon there!

P.S....

....There always seems to be a wild/exotic animal trade/gifting link in the unlikely of places! 

(1)    Churchill War Rooms Guidebook.
(2)   Churchill War Rooms Guidebook.

Blenheim Palace: Two opinions are better than one!

Bloggers Unite!

Blenheim Palace is one of those places that I expect is on a regular driving route for many people and every time you pass it, you probably think as I do, “I really must go and see what it’s like”. Other than this vague notion that it was Churchill’s family home, I had no idea what it was like or what to expect, only that the word palace evoked this sense of grandeur in my mind.

How about you Katy?

As a local, I visited Blenheim Palace as a small child on a school trip. I recall a grand house with many paintings but little else had stayed with me. Like Elle, it was on my 'places to visit list' despite being so close!

Well a few weeks ago we ended up making a visit. It was a lovely sunny day, if a bit windy, we packed a picnic and off we went to investigate. So, what exactly did we two public historians make of this historic house?

First Impressions:

Katy: My immediate reaction upon seeing Blenheim was surprise at how large the building and the surrounding grounds were. When you return to places visited as a child, they are usually much smaller than you remember and so I was stunned at how much land there was in the estate! It is an impressive, aesthetically -pleasing building which deserves the title palace rather than house. We noticed straight away that the car parks were already very full and I was keen to get inside and have a look around!

Blenheim Palace

Elle: As soon as we drove up the driveway and the Palace came into view I was impressed. It’s an amazing looking building, although not quite what I had imagined. It seemed more continental than I’d perhaps envisaged, the yellowish brick work reminding me more of the Palace of Versailles than other English aristocratic houses and ‘palaces’. I was also amazed at how many people had already arrived, I mean we were early but it was already a hive of activity, and that certainly added to my anticipation about what was in store.

What does Blenheim Offer:

We chose to start the day by upgrading our day tickets to an annual pass which is a free upgrade. A lot of heritage institutions are doing this now and while I’m always a little sceptical that I will revisit within the year it’s always worth doing I think, if for no other reason that it gives you the option. However, it was while upgrading our tickets that our attention was drawn to the WW2 memorabilia that was around, including a Winston Churchill look-a-like and military personnel walking around the site. It was explained to us that the day we’d chosen to visit marked the anniversary of the D-Day Landings and several things would be going on to mark this occasion. But had we not been told this, the presence of a spitfire in the courtyard and fly pass would have been bewildering. As it was there was no real attempt to explain this, I think it was pure chance our attendant had been so chatty and told us about it. So that was a little baffling. Anyway…

Spitfire on Display in the Courtyard

Winston Churchill enjoying a refreshment on the Water Terraces.

Our first stop was to head into the Palace itself. Groups are held in the foyer area and given an explanation of the layout, before being invited to join one of the regular tours that are given of the state rooms. There appeared to be plenty of staff/volunteers around, each of whom came across as very approachable and well informed. You can’t help but overhear sometimes and I noticed how captivated the audience were with the stories and anecdotes they’re being told by their enthusiastic guides, and the sheer size of the groups for that matter.

A Collection of Winston's Own Art work on display

We opted to make our own way around, first doing the Winston Churchill Gallery, then the State Rooms and finally the Untold Story gallery. The Winston Churchill exhibit has recently been redone to coincide with the 50^th Anniversary of his death. It’s very nicely done and it well presented. A lot of family photographs have been used and objects – I particularly like the inclusion of Churchill’s own artwork for I hadn’t realised he was such a talented and keen painter. The curators have really emphasis certain periods of Winston’s life and his abilities – his childhood and romantic life are featured heavily, his time as a wartime leader and state funeral also receive notable attention, as do his skills as an orator, and some of his famous quotes are printed on blank wall space and onto window coverings.

There are notable omissions however; Churchill’s mental health, his career before being Prime Minister and his less palatable views towards those within the British Empire were not included. I think we would both recommend visiting the Churchill War rooms in London for a more detailed understanding of Churchill’s life and personality. Although they did an excellent job of going through Churchill’s main achievements in a physically small space, the information glorified Winston instead of presenting a more balanced portrait of one of Britain’s best loved leaders.

The Library

What can be said about state rooms? Well they’re much like any other really, with the exception that they feel more lived in. When we were in the dining room for example, a member of staff was cleaning the glasses and laying the table, we suspected, for an upcoming dinner at the Palace. It’s an occupied residence and you actually get a sense of that, unlike at Windsor Castle for example. Family photographs are strewn about the place and you get a real sense of the people that lived and, still live there. It has a recent history, as well as a historic one.

The Column of Victory

And that just leaves The Untold Story for gallery’s in the main Palace – however I suspect that it was both of our favourite bits, or at least something that really stood out, so might leave that for us to discuss later on. We then opted for lunch in the grounds, overlooking the lake with a commentary of a rowing competition going on in the background. It was noticeably busy, with a huge demographic of visitors – it’s clearly a popular destination. After lunch we took a stroll to the Column of Victory, a memorial to the 1^st Duke of Marlborough, and then went for a wander around the gardens, which are beautifully landscaped and provide a nice scenic route for a stroll on a sunny day.

We also came across The Temple of Diana, which we’d earlier learnt was the location for Winston’s proposal to Clementine and the Water Terraces where we stopped for an afternoon refreshment. Talk about a wedge of cake. The day really did fly by, but we made a last ditch effort to head over to the pleasure grounds which would appear to cater for family groups of visitors, with a butterfly garden and hedge maze.

Katy stood by the Temple of Diana

It really was a jammed packed day and actually I can now see why they offer an annual ticket. We did a lot, but there’s still things left for us to return and see.

So what was your favourite part:

A shot of The Untold Story Gallery

Elle: By far my favourite part was the The Untold Story gallery. I don’t think I’ve ever experienced anything like it. It did really fit into the ‘edutainment’ category of being more like a feature in an amusement park than a historic house, but at the same time I thought it was brilliant. Katy commented on the day how state rooms can all begin to merge together and I couldn’t agree more. However beautiful they are, after a while they all become a bit samey and you don’t really remember specific details. However, The Untold Story really bucked this trend and offers something much more memorable.

The combined use of reconstruction, mechanics and digital technologies that moved the visitor through a time line and series of experiences and encounters was hugely effective. It was also interspersed with more traditional galleries with text panels, objects on display and screens to interact with – the only drawback being that you didn’t really get a great deal of time to read this material before you were encouraged to move on, everything being timed. I suppose we could have gone around again, but the ‘wow’ factor might have worn off if we only wanted to read the more traditional bits and there was still so much to see. Also, given that much of Blenheim Palace is still an occupied private residence, this method is advantageous in that it presents a fair chunk of the Palace’s timeline in smaller space and doesn’t depend on access to authentic and original rooms. I’m not sure I’d be a fan of historic houses always opting for this approach, but it will certainly make Blenheim stand out in my memory and did add to my overall visitor experience.

As a side note, I also want to mention how much I loved the gardens - especially the fact that the huge lake and cascades are manmade and part of a design by Capability Brown, who was also responsible for much of the landscape at Longleat. The whole site, palace and gardens, made for a great experience as a visitor – there was so much to see both indoors and out, I loved it!



View looking back down the Avenue from the Column of Victory

Katy: I totally agree with Elle – The Untold Story was excellent! It really helped to explain the family’s history through the ages and worked well for Blenheim given the limited space. If you are slightly wary of live actors and the forced interaction that often occurs, this approach allowed you to be addressed directly and immerse in the time period without the pressure of bantering with the actors. I wish there had been more time to enjoy the interactive sections as they provided additional information about the family and the times, which was fascinating. Unfortunately, it would be difficult to achieve given the strict timing needed for the experience to run smoothly. I found it refreshing that the flaws and quirks of the various family members were acknowledged and explored, rather than presenting them as faultless heroes.  If you are visiting the Palace, I would encourage you to make sure to include this section in your itinerary for its unique approach to discovering the family’s history!

Did you find anything particularly surprising?

We don’t know if surprising is the right word or not, but we certainly hadn’t realised that Blenheim Palace wasn’t Winston Churchill’s family home, but rather was the ancestral home of the Churchill family as the Dukes of Marlborough. It took visiting Blenheim for us to piece together his family history and how it was his uncle who inherited the title of the 9^th Duke – we hadn’t quite worked out that Winston was a cousin of the direct line and not part of it.

Did anything else particularly stand out?

Katy: The grounds were particularly beautiful and I am tempted to return in order to spend the day exploring the secrets gardens, water features and temples at a much more leisurely pace than we did!



The Cascades

Elle: Yes, I suppose so. I was quite struck by how homely and warm it felt – there were lots of personal items, photographs and the like around which made it feel quite different from other stately homes I’ve been too. And I also hadn’t realised that Winston had trained as an Officer at Sandhurst (just down the road from me) and that he’d seen active service as a cavalry officer in the Queen’s Own Hussars. I have to admit this led me to admire him that little bit more, knowing he’d been a soldier (all be it an officer and war correspondent) because I suspect this later influenced his decisions as a wartime leader. It might not have, but I can’t see how that sort of experience wouldn’t influence you in some way.



There were lots of photographs all around the Palace

What was lacking?:

Elle: I’m not sure anything in particular was lacking, as a visitor I had a really good experience. Although, I suspect I agree with Katy here, that there needed to perhaps be a more balanced exhibit on Churchill, moving away from that narrative of him as the Great War Leader. It’s great they include his childhood and show the room in which he was born and romance with Clementine, but at the same time there’s a lot more that could have been said and challenged. I think it was safe, when it could have been more forward thinking in terms of the Winston Churchill story.

Katy: What Elle said. It would be great if they allowed people to move beyond the heroic image of Churchill; I have a deeper understanding and a cautious respect towards Winston thanks to the Churchill War rooms’ honest approach. I was a little disappointed that the history of the Palace being used during the Second World War was not emphasised more as that could be a really interesting way to engage the public beyond Winston as a leader.  Also, the oral history films of those who have lived or worked at the Palace are fascinating, and it would be great if these were made more obvious!

And most importantly, how was the cake? Well it wouldn’t be a public history outing without sampling the cuisine…

Katy: It was extremely delicious and the generous portion was excellent value for money. I would recommend sharing it...

Elle: Never thought I’d say it, but that wedge of cake defeated me!

So would we recommend it?

Both: It’s definitely worth a visit!

We'll be back...!

Åland Maritime Museum: An ethos to aspire too!

Is it possible to love a museum that you’ve never actually been too? Well that was how I felt after hearing the director of Åland Maritime Museum, Hanna Hagmark-Cooper, speak at the recent Rhul Public History Alumni Seminar. I found her talk completely fascinating and decided I’d take the time to share a summary of it and its key themes with you.

Maritime industry is a key part of the island’s history and both national and cultural identity are tied to this historic relationship with sailing ships. The Museum began in the 1920s as a private collection, and as a reaction to a decline in the maritime industry. Soon after, a club emerged to support this private collection, the purpose of which was to create a dedicated museum to preserve the maritime industry and its part in the Island’s history. Exhibits were collected through donations, but club members also petitioned for donations – there was, and still is, a strong level of personal investment in the museum. It was run as a private enterprise until the 1980s when it became a charitable trust as it remains today.

Now when the decision was made to rebuild the museum, I was surprised to learn that it faced no opposition – I can’t imagine a similar attitude necessarily being adopted here in the UK, for I don’t think a single museum is seen as that important to our national or cultural identity. But people from the Åland Islands wanted this redevelopment and were happy for investment to be diverted from other sectors towards the museum project.

Hanna began work at the museum in 2004 at which time the focus was very much on the display of sailing ships. However, since it’s re-opening in 2012 and under the instruction of Hanna, the museum has now introduced topics which broaden its scope, including the impact of steam engines, ship building and safety at sea. From what was described, it is no longer just a showcase for old boats, but has more substance and narrative for visitors to experience. 

It was this element that originally caused slight resistance, for there was a fear of what modernism might mean for the museum. Museum staff and supporters were aware of the need for a new approach to draw in new visitors, however at the same time they didn’t want to alienate the core visitor group. This led to what I have to admit finding most fascinating – the strong sense of shared authority between museum staff and specialist groups invested in museum. Huge emphasis appears to have been placed on consultation, staff being acutely aware of the ‘strong local commitment’ to seeing the museum be a success, both in terms of its original goals and what would draw in visitors.

With only a core staff of 5, this emphasis on shared authority has also been beneficial in other ways. Museum staff have been able to call on specialist groups, those with expertise in ship building, mechanical engineers and sail makers for example, for help during the redevelopment. Hanna described how a sense of mutual respect has developed between museum staff and specialist groups, because they each have knowledge of their own ‘trade’ and appreciate the limits to their own abilities. By working together, sharing ideas and exchanging information, they’ve created a productive and effective environment in which the redevelopment has been able to prosper. And amazingly this relationship continues, currently three years on, with no sign of that ending soon. The community spirit and shared investment in what is clearly such an important part of their shared heritage, is something I found really inspiration and evocative.

Also particularly interesting, and in fact the intended main focus of the talk, was the museum’s use of social media to create and research new and interesting exhibitions. In this case Hanna referred to a Facebook exhibition, which successfully broadened the museum’s reach by presenting a topic of greater interest to people beyond the core group of visitors.

Hanna recalled how she had first been invited to a closed group on Facebook where people involved with the maritime industry, exchanged photos and stories of their experiences. I’m sure we are all part of a similar group, perhaps a school reunion group, or local history? Anyway, Hanna described her interest in watching this develop over time and the end result was a temporary exhibition. The Museum took just 14 of the thousands of images uploaded to the group, and displayed them, together with accompanying comments, in a temporary exhibition in the museum. The group was consulted throughout this process and was involved in, from what it sounds like, most decisions. It had the community element right at its heart and I just think it’s such a fantastic idea. Again, the museum is enacting the principle of shared authority and I just think a lot could, and should be learnt from this example and it's methods adopted by other museums.

Hanna speaks with a degree of pride about how this exhibition made marginal histories central to the narrative told by the museum, if only temporarily, and drew in a new audience demographic. We were told how usually objects are what survive from ships and therefore are displayed, not the stories of the people who served and sailed upon them; and in fact thinking of examples of ships I’ve visited, at Portsmouth Historic Dockyard and the  S.S Great Britain, this is true. I can remember clearly some of the objects, but nothing particularly about the people. And so as you would expect, by displaying these stories, interest in the museum increased and people’s perceptions of the museum were dramatically altered.

I came away from this talk with two key phrases in my mind – community collaboration and shared authority and I just so impressed to hear how well the Åland Maritime Museum has invoked these principles. Hearing of how this one temporary exhibition has changed the museum’s outlook and opened up further opportunities for collaborative projects, including the collection of items and inclusion of photos and comments from Facebook in the archive, reinforced my belief in the importance of Public History and the emphasis that should be placed on community/visitor involvement.

Having been so UK-centric in my studies, it was really interesting to hear how the Public history philosophy is carried out in a European context and I think it would be really interesting to see some of the UK’s museums adopt some of these approaches and the resulting impact it might have on their appeal and level of visitor engagement.

Trip to the Åland Islands anyone?

Museum of London Docklands: A Trip to Sailor Town

London Docklands

I’ve tried to let some time pass between writing this blog and my visit to the Museum of London Docklands to see if my initial disappointment would subside and I could gain some objectivity. However, on this occasion that logic doesn’t appear to have worked because I still feel quite disappointed by my recent visit and am left feeling that the museum has so much potential, but that has yet to be fully realised.

Traveling out to the Docks is not something I get to do very often and my first impressions were really good. I was excited to be there and excited to visit one of the major London museums that I hadn’t visit before. The sense of atmosphere was striking. The juxtaposition of old against new and the character of the former warehouse building, where the museum is located, was exactly as I’d envisaged. It didn’t matter that the warehouse now houses a museum and various restaurants and bars; you could just imagine it once bustling with industry, as ships were unloaded and produce from around the world was moved into storage. It still has that Victorian age vibe and it felt as if things had happened there.

Museum Location

I think the trouble is I went with an agenda. My fascination with the docks ties in with 19^th century imperialism and… wait for it…. the exotic animal trade. That’s why I’m interested in the docks and surrounding area - for the role they fulfilled in the trade. So I was quite disappointed at how little this topic featured in the narrative told within the museum. There were limited references - the odd twentieth century photograph, whale jaw bones from the late 1700s found in the Thames; a cabinet of curiosities featuring animal products bought in from around the world, ostrich feathers, eggs, shells and ivory; while I also honed in on a reference to the gifting of turtles. It’s there I suppose, but in fleeting references and I just feel so much more could have been made of it – as a hook, to capture people’s interest who might not otherwise find the docks of interest. Perhaps I had hoped for too much.

However, that lack of substance didn’t just apply to the animal trading side of things. I’m fortunate to be aware of how much trade was being done in London across the Victorian period and preceding that, but as a visitor I didn’t really get a sense of that from the museum. I mean it’s there within the narrative, but the impact and sheer scale of it just gets lost. I’m not entirely sure how you would convey it, but it just felt very flat. I can’t really explain it. Even galleries that you would think could have bought in some emotion, like the London, Sugar & Slavery and Docklands at War, didn’t really do so.

Animal Related Items

Don’t get me wrong the topics covered are fascinating; they were just not presented very well. Well that, or, they’ve struggled to stand the test of time. Perhaps my view on this is sort of like the struggle I had with the IWM before its refurbishment? Times have changed and as visitors, we’ve begun to expect something different now. We don’t want a “book on the wall” approach, we want to be engaged, enticed and intrigued. We want to be able to control our “learning journey”, by reading more about the bits we are interested in and leaving the rest and to do that the information needs to be presented in a particular way. Small chunks, with “sign post” headings, images, eye catching quotes, directionality, and a strong narrative.  The museum has the content; the design is just somewhat outdated.

There is part of me that feels I am being overly critical and I probably am because there were people clearly engaging with the exhibits, I just felt disappointed. And perhaps that’s the risk of going with a preconceived idea of what you’ll find, or hope to find.

The nearest we got to anything particularly strong in terms of the animal trade was in Sailortown, which features the ‘Animal Emporium’ of George Bignold. Great, we have a recreation of his shop with accompanying sound effects and objects such as skulls and shells, but there was no information and it just felt like there was a missed opportunity to really entice people’s interest. I mean a group of 40+ schools kids just strolled past it without stopping to engage and yet, I know it’s something people find interesting when they know a little more about.

Advert in Sailor Town

Now hands up, this is my area of expertise and one I want to tell everyone about it, but it need not have been this element that captured peoples interest, it could have been barrel making or knot tying – I don’t know, but there was nothing really to interact with, no single industry that left an overriding impression. You had to read and observe, occasionally watch (if the screen wasn’t being affected by technical issues, as most were on this visit) – it wasn’t a very forceful transmission of knowledge and I think actually it needed it to drive the museum narrative home. It needed a wow factor.

It’s a shame because the history of the docks is so colourful and multicultural, with interesting events and characters, but none of that really came across. Social history is the hook for me, I like to know about people and their stories and how that fits into the historical narrative, but the museum seem to have opted for themes within chronology and I don’t think that particularly works. One of my favourite bits was the small exhibit on East End identity, looking at both historic and modern perceptions, because it took a different approach and linked the two different periods together, making direct cultural references. It also used a range of tools to transmit that, from audio-visual to objects and texts. That had the “wow factor” I was looking for.

I am glad that I went and got to experience the Museum, it was interesting and I did take some nuggets of information away, the overall experience just felt flat. I know that isn’t a useful term to come back too, but I can’t think of how to describe it any other way. It just needs shaking up – making it more interactive with some wow factor, if it wants to keep pace with the other London museums. I mean in the Museum of London itself can achieve that, why not its sister branch?

Final Thoughts:

• I was surprised to learn…. That the Romans built the first timber bridges across the Thames in 110AD and were only replaced by stone c.1176-1209.
• I hadn’t realised that…. There was an African Community in Seven Dials that pre-dates 1778.
• I was left wondering… what on earth a Hogshead was. We narrowed it down to a measurement of some sort but it’s taken some post-visit research to discover that it is in fact a measurement, usually for beer and ale, that in the UK (after 124 adoption of the imperial system) was equal to 54 imperial gallons or approximately 245.49 litres.