Migration Museum Project: How We Got Here - The First Two Years by Rival

ÂŠ 2012 The Migration Museum Project ÂŠ 2012 The Migration Museum Project Produced by the Migration Museum Project (charity number 1142352) Produced by the Migration Museum Project (charity number 1142352)

www.brandingbygarden.com www.brandingbygarden.com Front cover image: postcard of two girls, Elizabeth and Balkina Mandlbaum, c.1910, Front cover image: postcard of two girls, Elizabeth and Balkina Mandlbaum, c.1910, imagecourtesy courtesy Museum Museum of image ofLondon London Brochure printing kindly sponsored by PricewaterhouseCoopers Legal LLP

Brochure printing kindly sponsored by PricewaterhouseCoopers Legal LLP

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Contents 1

Introduction

Executive summary

Our aims

3.1 What form will the Migration Museum take?

Our rationales

4.1 4.2 4.3 4.4

Contributing to a more reasoned public debate A gap in the market Community engagement countrywide Capturing the mood

10 12 13 14

Our long-term goal: a mobile Migration Museum

Outputs

6.1 6.2 6.3 6.4 6.5

Seminars Exhibitions Education Website What do our outputs achieve?

20 22 23 26 28

The next two years

7.1 7.2 7.3 7.4 7.5

Building organisation and support Raising awareness Developing exhibitions/museum content Developing the education programme Developing the website

29 30 31 31 32

Development strategy and sustainability

8.1 8.2 8.3 8.4 8.5

The marketplace and the market Location and the physical space The business case and the business model Building support Partners

33 34 34 35 36

Evaluation and impact

10 Organisation

11 Budget and accounts

Migration Museum Project the first two years page 1

Appendixes 1

Who we are

Distinguished friends

Strategic plan

Five migration museums in other countries

Mobile museums built of shipping containers

Germans exhibition and Christmas exhibit outlines

Education committee

Meetings held with museums and others

Volunteers

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1 Introduction We have an exciting big idea: to create a national Migration Museum for Britain. In the short term we will build the Migration Museum through a range of exhibitions and events to be held throughout the country in concert with a systematic education programme that will contribute to the British public debate about migration and change attitudes. Public understanding that our shared history is a history of migration will open up conversations and discussions about Britishness and belonging in a way that polarised media and political debates will never be able to do. In the longer term we aim to do something entirely new – to create a mobile Migration Museum constructed out of shipping containers. Together with our outreach programme, this will take the story of Britain’s heritage as a migrant nation to every corner of the country. Led by former Minister for Immigration, Barbara Roche, the Migration Museum Project is driven by a cohesive group of individuals1 who have devised this creative project and are committed to seeing it through. During the past 18 months we have, with very limited resources, made more progress than we could have imagined possible: we have established ourselves as a charity, built a website visited by more than 20,000 people, held three major events attended by more than 500 people, drawn in over 60 distinguished friends2 – including two former Home Secretaries of differing political persuasions – run a photo competition with the Guardian,3 developed partnerships with leading cultural and community organisations, attracted national media coverage and begun to form an innovative, low-cost business model. We have tested the temperature and found it to be warm; we have built significant support for the concept and demonstrated our ability to create high-quality outputs with minimal resources. We now seek development funding of £300,000 to take this project to the next level. In particular, we need to enable development of the web and education content and to carry out robust feasibility work on the longer-term options for a physical space.

For details of who we are, see Appendix 1.

For a list of distinguished friends, see Appendix 2.

Entrants to our ‘100 images of migration’ competition were invited to submit images resonant of migration. Winning images can be seen on our website at http://www.migrationmuseum.org/, and a selection will feature in Weekend magazine. Migration Museum Project the first two years page 3

2 Executive summary We aim to create a new national Migration Museum, telling the story of migration to and from the UK in a fresh, engaging and non-political way that is accessible to everyone. We need an Ellis Island for the UK:4 an inspiring and moving institution that puts the migration story right where it belongs, at the forefront of our national consciousness. There are four key rationales:  We can contribute to a more reasoned public debate about migration and promote civic integration. British attitudes to migrants are hostile and becoming more so, and what people are concerned about are assaults on their ‘culture’. A Migration Museum is an appropriate cultural medium for addressing attitudes, humanising migrants by telling their stories, and illustrating how they are woven into the social fabric.  There is a gap in the market. Britain has no museum of British history and is increasingly behind the rest of the world in not having a dedicated Migration Museum.  We can engage communities countrywide in a permanent institution that is national in scope, created by and for the people.  Capturing the mood – popular interest in investigating personal roots has never been higher and people will want to engage with the Migration Museum in the same way that they want to watch Who Do You Think You Are? Migration studies is a burgeoning field of academic research and a front-page news story that never goes away. The migration story is not a new one though it is still waiting to be told. At first there was no one in Britain; and then people came. The tale of migration to the UK is as rich and thrilling as that of emigration to Empire and the New World. We all have some sort of migration story – it just depends how far back we go. That is something that unites us all. We will create an enterprise that is genuinely popular – not marginal or ‘difficult’ – but which is also a challenging social history museum and a museum of ideas. The Migration Museum must have a physical space: ours will be built out of shipping containers – funky, adaptable, expandable, portable and cheap – and with a migration resonance all of their own. And our museum will be mobile, literally taking the tale of migration round the country and building the story as it goes. We have an innovative business model to match our pioneering structure: we are not looking for £50 million to put up an iconic building but for something much more affordable 4

The Ellis Island Immigration Museum in New York is described in Appendix 4. Migration Museum Project the first two years page 4

– no more than £3 million in total to get the project up and running. We do not aim to acquire a collection of our own but to borrow and breathe new life into what is already available; at least 80% of museums’ collections are in storage, and there are countless ‘resting’ exhibitions. We are bursting with ideas and will pursue inventive partnerships: we may seek to deliver the Migration Museum together with an established museum partner, and we will look to the Wellcome Trust for DNA, DC Thomson for genealogy, Pearson for education, and also to the individual communities themselves – Jewish, Bangladeshi or Italian. The migration story lends itself well to multi-media tools and subscription-based buy-in from a wall of honour or similar, and we will develop these and other income-generating ideas along the way. Our outputs to date have been impressive. We are running a well-developed and successful seminar programme in conjunction with prestigious partners. We have secured a partnership with the Goethe Institut to deliver a thought-provoking exhibition about Germans in Britain, and we have exciting plans to mount an exhibit about DNA and migration, possibly at Somerset House. Education is at our heart and we have already formed a high-powered education committee. One of our first priorities is to appoint an Education Officer to develop and drive our programme. We aim to reach every school child in the country, increasing migration content in teaching and issuing Robert Winder’s Bloody Foreigners5 as a textbook. We plan to develop our website as a hub for learning and as a source of excellent resources, and to influence policy by lobbying the government in its review of the history curriculum. We recognise that much excellent work is already being done to tell the migration story in various institutions around the country. But the overall picture is patchy and incomplete; we aim to build on what is already out there, linking up existing initiatives and filling in some gaps. Our website will also become a forum for migration-related arts, a vehicle for assessing our reach and impact, and a fundraising and communications tool. Over the next two years we aim specifically to have achieved the following:  To have developed our website so that it is a hub for migration-related education and arts and a national focus for initiatives telling the migration story around the country  To have a well-developed education programme dedicated to increasing migration content in schools, colleges and community education

5 Robert Winder is a member of the Migration Museum Project working group. His best-selling Bloody Foreigners: The Story of Immigration to Britain, Little Brown, 2004, has been an inspiration to us.

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 To have put on a number of temporary exhibitions and events in conjunction with established institutions  To have completed a robust feasibility study for the mobile Migration Museum Our strategic plan for achieving these outputs is in Appendix 3. Our budget and accounts are in Chapter 11. Our development strategy (see Chapter 8) illustrates how we plan to achieve our outputs sustainably:  We will research the marketplace both here and abroad – for the mobile Migration Museum, for our education and multi-media products and for a portable DNA-testing facility that will give every visitor a permanent ancestral history souvenir  We will research the Migration Museum’s locations and the containers themselves, looking at resonant sites and partners around the country  We will develop the cost base and business model  We will build support, broadening the expertise of our trustees and improving our fundraising structure – we will seek funding from a range of sources  We will build strong partnerships in order to deliver the Migration Museum, drawing on others’ expertise, reach and commercial possibilities: with businesses, museums, the media, publishers and beyond Our vision is that, at the end of two years, we will be a well-supported educational and cultural charity, with a sustainable future, and one that has had a real impact on the public’s perception of Britain as a migrant nation. We will be run by a director, projects manager, education officer, fundraiser and 15 volunteers and will have a significant public and media profile. We will have reached 100,000 visitors via our website – a quarter of whom will have engaged with our education programme – and we will have reached live audiences of 7,000, via our own and externally run events. We will be well on the road to delivering the mobile Migration Museum and will have raised at least £1.5 million, which is 50% of its establishment cost.

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3 Our aims We aim to create a new national Migration Museum, telling the story of migration to and from the UK in a fresh, engaging and non-political way that is accessible to everyone. Britain has hundreds of museums dedicated to a variety of themes – aerospace, golf, toys, silk, wool, rowing and stained glass – but no major, comprehensive Migration Museum. The US has Ellis Island, and Britain needs something similar – an inspiring and moving institution to celebrate the role that migration has played in the national story. Migration is a hot political topic with far-reaching implications for our national identity. Above all, it is a gripping story, full of stirring individual tales. A serious, A-list Migration Museum – an intriguing genealogical project, an inquiry into where we all come from and where we are going – would position this story where it belongs: in the mainstream, as a central part of our collective memory. Migration to the UK is not a new story, but it is one that is still waiting to be told; it encompasses medieval Jews, 17th-century European Protestants, African slaves escaping the transports, Irish and Italian labourers in the 19th century and the long, 20th-century stream of arrivals from Britain’s dwindling overseas Empire. Without migration we would not have Ritz, Schweppes, Brunel and Selfridge. We could lay no claim to Eliot, Conrad or Naipaul; and we would not have Marks & Spencer, Dollond and Aitchison, Triumph, ICI, Warburg or Rothschild. We would not have pizzas and pastas, curries and spring rolls, kebabs and oxtail soup. And who would we cheer on without our thousands of migrant sports stars? Even characters who seem typically British – Winston Churchill, Audrey Hepburn and Stephen Fry – often turn out to have foreign parentage. Some of our cherished national symbols are not as British as we might imagine: St George was a Turkish knight, the Royal family is German, medieval Italian financiers gave us lire, soldi and denari – pounds, shillings and pence – and John O’Groats was Jan de Groot. Our institutions have been shaped by foreigners: Christianity came from the Middle East, via Greece, Rome and Germany; the English language is Latin, Germanic and French; the British armed forces contained a third of non-nationals in the First World War; and intellectual life has been immeasurably influenced by our Nobel laureates, of whom nearly one-fifth arrived in the country as refugees. The tale of British emigration is thrilling, too. It begins with late-16th-century journeys to the Americas, and embraces the movement of indentured servants, transportation of convicts in the 18th and 19th centuries, the massive emigration of millions of Britons between 1830 and 1930 in response to rapid industrialisation, and events like the Irish potato famine at home and the Australian Gold Rush abroad. It takes in the stories of Welsh nationalist Migration Museum Project the first two years page 7

settlers in Patagonia, Cornish miners in Mexico, and the forced migration, often by wellintentioned Christian organisations, of tens of thousands of poor and orphaned children to the healthy open spaces of the New World. These voyagers inevitably shaped the communities they joined and, outside the UK, over 60 million people worldwide now claim to have British ancestry. Immigration is popularly perceived to be a post-war phenomenon, but its roots reach back much further than that. We think the time is right to tell the migration story in all its antiquity and complexity. We aim to emphasise our shared history and to establish a Migration Museum which is relevant and attractive to everyone. After all, we all have a migrant history: it just depends how far back you go. We aim to create something that is not marginal or ‘difficult’, but which is solidly mainstream, with broad popular appeal. That is not to say that it should be bland – it should have the authority and confidence to tackle difficult issues about identity and belonging, prejudice and protest – but it should, above all, be something that is inspiring, engaging and moving. There is strong public curiosity about genealogy and personal roots and a massive appetite for television programmes such as Who Do You Think You Are? We can tap in to this swell of interest and create something that is genuinely popular and which is also a social history museum and a challenging museum of ideas. Britain is unusual in the world in not having a museum of national history, and increasingly behind the times in not having a national Migration Museum. We aim to fill this gap by creating something new – a showcase for the power of migration, but also an archive and research body – an exhibition space and a think-tank rolled into one. A dedicated, permanent national institution will dignify the important subject of migration and will stand as a powerful cultural symbol in its own right, playing a major role in the ongoing national conversation about identity, history and all aspects of Britishness. In all these ways the Migration Museum will be a telling addition to the national landscape.

3.1 What form will the Migration Museum take? We have a clear long-term aspiration to see a Migration Museum in a physical space. We have considered the advantages and disadvantages of a number of models, and our favoured option (subject to a detailed feasibility study) is to create a mobile – or migrating – museum. If, as we believe, the migration story touches us all, then the idea of housing our museum in a single location seems wrong; our innovative and pioneering operating model would enable the museum literally to move around the country, taking it to its audiences, inviting participation and developing the migration story on the way. It would, for several months at a time, visit city centres – Cardiff, Leicester, Liverpool, Southampton – which may have been hubs of migration for centuries. The museum would generate considerable

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excitement – like a travelling circus – and could tie in with local arts programmes and history societies, as well as touring a permanent exhibition. However, we also want the Migration Museum to be accessible in other ways: online, in schools, and through links with partners – such as museums – who are interested in exploring migration issues. In order to achieve this, we have set ourselves four goals over the next two years. These are designed to establish the museum’s brand and capability, which will be critical in securing future funding and locations for the physical museum and ensuring that from the outset we are delivering high-quality outputs and reaching and understanding our key audiences. Our four key goals are to produce: 1

a website as a centre for migration-related education and arts and as a national focus for initiatives telling the migration story around the country

an education programme dedicated to increasing migration content in teaching

temporary exhibitions and events mounted in conjunction with established institutions

a feasibility study for the mobile Migration Museum

All of these are discussed in greater detail below.

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4 Our rationales 4.1 Contributing to a more reasoned public debate Our primary goal is to educate the public by telling the story of Britainâ&#x20AC;&#x2122;s heritage as a migrant nation. We aim to contribute to a more reasoned public debate about migration, reduce hostile attitudes and promote civic integration. Attitudes to migrants in Britain are hostile and becoming more so, especially among young people. A range of survey evidence6 reveals that 70â&#x20AC;&#x201C;80% of people say there is too much immigration and that immigration should be reduced. The Transatlantic Trends survey (see Figure 17) shows that 65% believe that immigration presents more of a problem than an opportunity, and that Britain is an outlier in that attitudes are more hostile than in Europe and the US. This hostility is stable and not a one-off. Figure 1 Respondents in eight countries saying immigration is more of a problem than an opportunity (%)

More worryingly, there is evidence that young peopleâ&#x20AC;&#x2122;s views on immigration are becoming more hostile. English teenagers are becoming increasingly intolerant of immigrants and refugees as they get older, and hold notably harder views on the issue than their counterparts in other countries.8 There is strong evidence that opposition to immigration in 6

IPSOS MORI, YouGov, British Social Attitudes, Transatlantic Trends.

http://trends.gmfus.org/immigration/doc/TTI2010_English_Key.pdf

8 Mass longitudinal study carried out by the National Federation for Education Research cited in the Guardian: http://www.guardian.co.uk/uk/2010/nov/22/teenagers-harden-views-immigration-age

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Britain comes from feelings of threat to one’s group – especially to national identity or culture.9 On the positive side, however, there is a long-term change in attitudes, from a belief that Britishness is ancestral (rooted in whether one’s family is British)10 to an understanding that it is civic – based on citizenship, shared understanding and the rule of law.11 Furthermore, at a local level, evidence from a citizenship survey12 suggests that just 15– 20% of people believe that groups do not get along in their neighbourhood. More direct questions on immigration suggest that, while immigration is perceived to be a national problem, few people believe it to be a problem in their local area. It is a staple of social contact theory13 that evidence exists to show that contact between groups promotes more positive, or less negative, attitudes towards ‘others’. Other research suggests that the most effective teaching about migrants stresses common humanity and personal experience – mirroring Holocaust education, where individual stories are used to introduce this difficult subject. For this reason, museum collections and oral histories have a key role to play in helping young people explore their attitudes to immigration.14 Active and participatory learning (such as that attached to museums) and a safe space in which to discuss concerns have also been shown to lessen hostility to newcomers.15 Though it is notoriously difficult to change attitudes, still less behaviour,16 the above findings suggest the following: that Britain faces a real (and comparative) problem with social attitudes to migrants; that people are more tolerant towards neighbours than towards those they regard as ‘others’; that the perceived threat to British identity is largely cultural not ancestral; and that a cultural institution – like a museum – is a potentially effective vehicle for influencing cultural attitudes.

9 Blinder, Scott (2011) UK Public Opinion Toward Migration: Determinants of Attitudes, Oxford: Migration Observatory. 10 Heath, Anthony and Tilley, James (2005) ‘British National Identity and Attitudes Towards Immigration’, International Journal on Multicultural Societies 7 (2005): 119–32. 11 Saggar, Shamit, Somerville, Will, Ford, Rob and Sobolewska Maria (2012) The Impacts of Migration on Social Cohesion and Integration, final report to the Migration Advisory Committee. 12 Department for Communities and Local Government (2010) Citizenship Survey: 2009–10 (April 2009–March 2010), England. Cohesion Research, Statistical Release 12, London: Crown Copyright http://www.communities.gov.uk/documents/statistics/pdf/164191.pdf 13

Hewstone, Miles (2003) ‘Intergroup contact: Panacea for prejudice?’ The Psychologist, 16, 352–5.

14 Lemos, G (2005) The Search for Tolerance: Challenging Racist Attitudes and Behaviour Among Young People, York: Joseph Rowntree Foundation. 15 Rutter, J (2006) Refugee Children in the UK, Buckingham: Open University Press; Rutter J (2012) ‘Migration’ in Maitles, H and Cowan, P (eds) Teaching Controversial Issues in the Classroom, London: Continuum. 16 Crawley, Heaven (2009) Understanding and Changing Public Attitudes: a review of existing evidence from public information and communication campaigns, Swansea: Centre for Migration Policy Research.

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We lay no claim to being able to bring about a change in public attitudes singlehandedly, but we consider that we can positively influence the debate about migration. We can humanise migrants by telling their stories, transforming ‘others’ into more-familiar neighbours. We can address concerns about cultural threats to the national identity by focusing on Britain’s shared heritage as a migrant nation. And the medium of a cultural institution – the Migration Museum – is appropriate to address a cultural threat. The choices that museums make about what they show and collect are powerful symbols of what is culturally valued by the nation. We will give the migration story the prominence it deserves by treating it, not as a marginal issue, but by putting it right at the heart of the national consciousness, where it belongs. By this means we can make a real contribution to promoting a better-informed and more civilised public debate about the subject of migration.

4.2 A gap in the market The lack of a dedicated, permanent institution telling the story of migration to and from Britain is one of the most notable absences in the cultural map of Great Britain. The Migration Museum Project commissioned scoping research17 to investigate representation of migration in the museums and heritage sectors in Britain and abroad. Some key findings were:  Migration is not part of the national mythology of the British Isles – unlike many other nations – and there is a common perception that Britain had a homogeneous white population before 1945, bound together by a common history and set of values.  The migration story – though unquestionably well told in a variety of institutions round the country – is patchy and incomplete, and there is no single institution dedicated to telling the whole story. Previous initiatives have generally been temporary (for example the Museum of London’s Peopling of London exhibition) or have covered a specific migratory movement only.  The idea of a Migration Museum is not a new one on the international scene.18 There are dedicated migration museums in the US, Canada, Australia, New Zealand, Denmark, France, Spain, Italy, Luxembourg and Serbia, and plans to create them in Sweden, Germany, Switzerland and the Netherlands. There is a current boom in Emigration museums, notably in northern Europe, and a growing number of European networks, notably the International Migration Museums Network established in 2006 by

This research, by Dr Mary Stevens, Stories Old and New and A Moving Story is available on the Migration Museum Project’s website at http://www.migrationmuseum.org/publications/ 18

For a description of some of the world’s Migration Museums, see Appendix 4. Migration Museum Project the first two years page 12

UNESCO, the Association of European Migration Institutions founded in Denmark in 1989, and the European Routes of Migration Heritage, established in 1998 in Luxembourg. Britain is also unusual in not having a museum of National History. The British Museum tells everything but the national story, and arguably the closest thing we have to an institution that represents the whole of Britain’s narrative sweep is the National Portrait Gallery. Against this background, there is a strong case to be made for establishing a new national Migration Museum. We do not aim to eclipse or duplicate work that has already been done, but to build on the good practice of others, unifying existing initiatives, encouraging reinterpretation and filling in the gaps.

4.3 Community engagement countrywide We want to engage communities all over Britain and to deliver a museum that is created by and for the people – our model for the Migration Museum can do this. Community engagement – not mere consultation – is central to the Migration Museum Project and will be part and parcel of all stages of our development. We will implement a community engagement strategy which will foster a shared sense of ownership of the project. We are alive to the pitfalls of ‘empowerment-lite’ – creating the illusion of creative participation but actually treating communities, not as active partners, but as beneficiaries.19 We aim – like the Hackney Museum with whom we have good links20 – to embed communities within our fabric. We are already building community relationships – we have been invited to participate in events organised by Praxis, Black History Live, Who Do You Think You Are? (Live), Rich Mix and others – and we are part of the Diversity in Heritage Group. Our website will invite engagement from all communities – it aims to be a vibrant hub for discussion, learning and uploading of user-generated content and ideas. Our idea for a mobile Migration Museum is truly participatory: it will – like the WALL in Copenhagen – enable individuals and communities all round the country to add their stories, so that the narrative accrues layers of meaning as it goes from place to place. By contributing to the Migration Museum, individuals will engage with it as a co-production, gaining valuable experience as active citizens along the way. Our online presence will provide opportunities for future co-curation and co-production.

19 Lynch, B (2009) Whose Cake is it Anyway? A collaborative investigation into engagement and participation in 12 museums and galleries in the UK, London: Paul Hamlyn Foundation. 20 The museum director is a distinguished friend of the Migration Museum Project and the Hackney Museum will show our ‘100 images of migration’ competition winners in 2013.

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Our thinking is aligned with the government’s equality strategy, which says that targeting groups for ‘special treatment’ is ‘out’ and treating people as 62 million individuals is ‘in’. Obviously, we will still actively seek to engage certain groups – like new migrants or marginalised communities – but, by placing the migration story at centre stage, our museum can collaboratively weave communities into the very fabric of an institution that is permanent – overcoming the temporary exhibition status designated to much work about migration – and truly national, covering the length and breadth of the country.

4.4 Capturing the mood Our project is timely: popular interest in personal roots and identity has never been higher and migration is a field of burgeoning academic research and a constant front-page story. There are real possibilities for commercial partnerships as a result of current popular interest in genealogy, which will contribute to the Migration Museum’s sustainability. A massive rise in the genealogy industry has been fuelled by widespread and increasing internet use, the digitisation of millions of documents (census records, electoral registers, passenger manifests – making a wealth of information freely available for the first time), an ageing population (over-45s are more likely to investigate their family history), the rise in social networking as an investigative tool, and the popularity of programmes in which celebrities trace their roots (Who Do You Think You Are? is now in its eighth season in Britain). The 1940 US census, published in April 2012, is likely to promote yet further curiosity in the US and further afield.21 Online genealogy is roughly twice as popular in the UK as in the US.22 There is fertile territory here for partnerships with Ancestry.co.uk, FamilySearch.org, findmypast.co.uk and the Federation of Family History Societies, which represents 220 societies nationwide. A DNA fingerprint for visitors to the Migration Museum (whether physically or online) would be a ‘wow’, and we aim to market DNA testing kits in partnership with a genetic genealogy provider. This is another growth industry and there is an increase in global research on the subject.23 Static interactive museum exhibits are beginning to be a thing of the past – what people really want are smartphone apps. The migration story lends itself well to these: we can

A 100-year rule prevents publication of post-1911 UK censuses.

http://www.archives.com/blog/miscellaneous/online-family-history-trends-1.html#_edn27

For example, the Genographic Project, a partnership between the National Geographic and IBM. Migration Museum Project the first two years page 14

show German London or Huguenot Rochester through the camera lens24 and develop multimedia walking, cycling or driving tours. Migration is a vibrant and expanding area of academic study. There are three world-leading research centres dedicated to migration in Oxford alone25 and many more round the country. Migration studies are increasingly incorporated into the teaching of a broad range of subjects at university level.

See, for example, German Traces in New York http://www.germantracesnyc.org/index.php

COMPAS, International Migration Institute and the Refugee Studies Centre. Migration Museum Project the first two years page 15

5 Our long-term goal: a mobile Migration Museum It is our long-term aim to create a Migration Museum in a physical space, and we are open to the possibility of doing so in partnership with an existing museum. We are beginning to consider potential partners who may wish to deliver the Migration Museum with us and to extend their reach nationally in the way that – for example – the Tate and National Portrait Galleries have done. We have identified a likely construction method and contractor,26 which involves the use of shipping containers – which in themselves have an obvious and interesting link to the migration story.

Photos show shoe firm PUMA’s portable shop.

We are aware of two exhibits which already make use of shipping containers for touring purposes: the WALL in Copenhagen and Gregory Colbert’s Nomadic Museum. For details of these exhibits, see Appendix 5. This model has a number of practical and philosophical advantages:  It provides an opportunity to take the museum into every major town and city in the UK, thereby increasing significantly the audience reach and market  It provides an opportunity for local involvement through providing space for local content and education/events programmes which would run in partnership with other museums, local authorities and business  It avoids the inevitable challenge of finding a suitable permanent location and the potentially high costs of running and maintaining this  It avoids the competing interest of towns and cities with strong migration links  Any museum partner can take their brand around the country  It is cheaper to produce than bricks and mortar (approximately half the price)  The long-term running costs should be low

26 Eric Reynolds, managing director of Urban Space Management, and the pioneer behind Container City: www.containercity.com

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 It can be designed to provide inclusive access and be DDA (Disability Discrimination Act) compliant  High environmental standards and low-energy solutions can be designed in thereby reducing running costs.  The permanent storage and office costs would be low because we can occupy a yard with low rent or acquisition costs  Shipping containers can be constructed and taken down like Lego – a modular museum can be expanded as necessary and new exhibitions can be designed and built in rotating exhibition containers, thereby reducing ‘down time’ We anticipate that the museum would initially consist of the following modules, which would be delivered in nine containers:  Reception (1 container)  Introduction and permanent exhibits (3 containers)  Local content (1 container)  Permanent IT/science and family history advice suite (1 container)  Education suite (1 container)  Office, store, kitchen and services, e.g. heat and light (1 container)  Rotating local exhibition module (1 container, in preparation for next venue) Each container measures approximately 30 square metres and costs £30,000 to design and build. Nine containers would therefore cost £270,000 to construct. A feasibility study would look at this in more detail and would also address revenue costs, income, staffing levels and so on.

Who will visit? We have two broad audiences: The general public – A detailed market segmentation analysis – identifying the propensity to visit the Migration Museum as opposed to any other museum, gallery or exhibition – will form part of the feasibility work. However, using the Mosaic market segmentation model,27 we expect the following Mosaic segments to be interested in the attraction.  Alpha Territories 27 This is a consumer classification system based on in-depth demographic data prepared by Experian www.experian.co.uk/business-strategies/mosaic-uk-2009.html.

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 Liberal Opinions  Professional Rewards  Rural solitudes  Career and kids  New Homemakers Figure 2 below shows that these segments have greater propensity to visit galleries and exhibitions. Museum visiting follows a similar pattern but we are particularly interested in this data because, to the public, the Migration Museum will feel more like a temporary exhibition than a permanent attraction. Figure 2 Propensity of different population segments to visit art galleries and exhibitions (Mosaic Group model)

These segments represent 36% of the UK population and would form a solid base of likely visitors. Within this group there is a wide range of diversity in terms of socio-economic and ethnic backgrounds. We suspect, however, that, given the nature of the exhibition, other segments would also show an increased propensity to visit the Migration Museum, and we would test this thesis as part of the feasibility work. In addition to looking at the base Mosaic data, we have also identified research carried out by Britain Thinks for the National Trust in London, which highlights that one of the key factors determining the propensity to visit for Alpha Territories and Liberal Opinions is the

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concept â&#x20AC;&#x2DC;for a limited time onlyâ&#x20AC;&#x2122;.28 This also suggests that a moving or temporary exhibition model may be commercially more viable. Those with a special interest in migration â&#x20AC;&#x201C; our second broad audience would come from those who have a special interest in migration, either personally (interested in ancestral family or group history and, importantly, including visitors from abroad) or professionally: researchers, academics or policy makers in migration studies and related fields. In summary, the Mosaic segments, accounting for 36% of the UK population, plus those with a special interest in migration and visitors from abroad, provide a very large potential market, particularly given the mobile nature of the museum.

London Strategy Research, National Trust. Migration Museum Project the first two years page 19

6 Outputs Our outputs are designed to further our aims: to increase people’s knowledge and awareness of Britain as a migrant nation so as to contribute to a more civilised debate about the subject of migration and promote civic integration.

6.1 Seminars We have begun a successful seminar programme, which we aim to continue. Seminars are an effective means of raising the profile of the project, reaching new audiences, gauging responses and making relationships with partner institutions. We have held the following seminars in 2011 and 2012: Migrants and intellectual thought – Philippe Sands QC, Nobel laureate Sir Harry Kroto, Gita Sahgal and Mike Phillips spoke, and the event was chaired by Mr Justice Rabinder Singh. The venue was provided by the LSE Centre for Human Rights, and there was a capacity audience of 150. The event was followed by a drinks reception sponsored by Matrix Chambers. Migrants in the digital age – speakers were David Blunkett, Robert Winder, Sarfraz Manzoor and Dr Titi Banjoko, and the seminar was chaired by Sunder Katwala, Director of British Future. The RSA provided us with a 200-strong venue free of charge (rapidly fully booked), and the event was followed by a reception sponsored by PwC Legal. Migration and DNA – the Science Museum provided the venue (the Dana Centre) and sponsored a reception. The event was chaired by George Alagiah, and the speakers were David Miles, archaeologist and author of Tribes of Britain, geneticist Dr Turi King, Patrick Vernon, an expert on the history and genealogy of people of African descent, and John Revis, a white man from Leicester with surprising West African genetic markers on his DNA. Members of the panel and audience undertook DNA tests which were revealed at the event: Professor Robin Cohen, a distinguished friend of the Migration Museum Project, was shown to be descended from the 3,000 year old Cohanim priesthood. This event proved hugely popular and was quickly fully booked (120 tickets) with a lengthy waiting list. We plan to make it the basis of an application for funding to the Wellcome Trust for an exhibition based on DNA and migration. The event will feature on science news and features website Elements.

Migration Museum Project the first two years page 20

We have many more ideas for seminars, as follows, and propose to run at least one more in 2012, and at least two in 2013:  Migration and food – in collaboration with the Jewish Museum. Food is central to the cultural identity of most people, including migrants. We aim to involve Jamie Oliver, if possible, artist Sophie Herxheimer, creator of illustrated ‘food stories’, and others.  Migration and sport – Our distinguished friend Mihir Bose (former BBC sports editor) would like to chair. Robert Winder has also written extensively on sport, as well as migration, and there are many other possibilities for participants from the world of sport.  Migration and language – this could be double-sided and cover both the evolution of the English language and the language used to talk about migration. We would seek to involve David Crystal, the leading authority on language change, who was heavily involved in last year’s excellent exhibition ‘Evolving English’ at the British Library.  Migration and the history curriculum – given the review of the national curriculum and interest by government in the teaching of history, we propose to hold a seminar for the history teaching community, exploring ways of incorporating migration into the history curriculum.  East African Asians – 2012 is the 40th anniversary of the expulsion of African Asians from Kenya, and our distinguished friend Lord Lester QC, who was counsel in the East African Asians case in the European Court of Human Rights, is a possible speaker.  Migrants and intellectual thought – in partnership with the Council for Assisting Refugee Academics (CARA), we will run a series of seminars about architecture, science, the City, politics, economics, philosophy, literature and art.  Emigration to the New World – Liverpool Vision has plans to convert the Cunard Building on Liverpool’s Waterfront into an attraction principally focusing on emigration and would like to run a joint seminar with us in Liverpool.  Migration on Tyneside – the Director of Tyne and Wear Archives and Museums would like to do a joint seminar in the North East to complement the development of a new gallery on migration history in the Discovery Museum.  Law and migration – our distinguished friend Manjit Gill QC has proposed a joint event, comprising a lecture given by him about the legal challenges for the common law brought about by migration (including the arrival of East African Asians, retreat from empire and present debates about British identity – such as English language tests for migrants), and a concurrent exhibition of MMP’s ‘100 images of migration’, sponsored by his Chambers.

Migration Museum Project the first two years page 21

6.2 Exhibitions We plan to mount two exhibitions over the next two to three years, in conjunction with established institutions. We will test our skill in creating pilots which could potentially form part of a permanent Migration Museum, and aim to educate the public, raise awareness of the project and build partnerships, in particular with existing museums. Germans in Britain We plan to mount our first exhibition on the subject of Germans in Britain, which is a fascinating and much-overlooked story. The British are much more German than they like to think they are and have close linguistic and cultural associations going back hundreds of years – Kings and Queens from Hanoverian times, German industrialists, scientists, educators, dissidents, merchants and others have been hugely influential in British life. In the second half of the 19th century, Germans were the largest foreign-born population29 and, at the turn of the century, German culture was seen as quaint and folksy. All that changed as a result of the two World Wars, which saw a severing of friendly ties, and a distinct Germanophobia persists. The Germans in Britain would make a compelling exhibition – unusual, provocative and focusing on an ‘invisible’ minority – and would be an interesting vehicle for examining questions of belonging and national identity. We plan to show the exhibition in 2013 and to trail it with a Christmas exhibit in 2012.30 The Goethe Institut will deliver this exhibition in partnership with us and has agreed to fund a full exhibition brief prepared by Cultural Innovations.31 We have appointed our own researcher32 who will develop the brief with Cultural Innovations. We will seek a further museum partner for the exhibition: the German Embassy, Museum of London, Handel House Museum and the British Library have all shown interest. Professor Rudiger Goerner, director of the Centre for Anglo-German Cultural Relations, will be closely involved in the exhibition’s development. Our education committee will produce educational resources to accompany the exhibition. Once prepared, the full exhibition brief will be presented to potential funders (e.g. Siemens, Volkswagen) and host institutions (we may show the exhibition in shipping containers).

Even today, Germans are the sixth largest country of birth group (Annual Population Survey data 2011, ONS).

30 The precise storyline has yet to be established, but initial thoughts for the exhibition and the Christmas exhibit are at Appendix 6. 31 www.culturalinnovations.com/ The Goethe Insitut will pay 10,000 Euros for the brief and anticipates further contributing to funding the substantive exhibition. 32 Our researcher is Jamie Searle, a lecturer at Queen Mary, University of London, who holds an MA in Anglo-German Cultural Relations. Her research will be funded by our grant from Unbound Philanthropy.

Migration Museum Project the first two years page 22

DNA and migration Following our seminar at the Science Museum’s Dana Centre, we will apply to the Wellcome Trust for a ‘People Award’33 to fund an exhibit based on what DNA can and cannot tell us about migration. We will examine the extent to which DNA can reveal truths about migration of people and their ancestors (not as much as popularly believed), how important DNA is to people’s sense of identity, what they want to discover when they undertake a test, and whether recent scientific advances really call into question longstanding assumptions about how the British Isles was populated, first by Celts and then by Anglo-Saxons. We will look at the sinister connotations and controversial uses of DNA testing too – for example, government’s thwarted attempt to identify asylum seekers’ countries of origin. We have already met grant managers at Wellcome Trust and are discussing exhibition development in detail with a scientific curator and participants from the Dana seminar. It is likely that it would incorporate an interactive DNA-testing element. Possible partners are DC Thomson and Who Do You Think You Are? (Live). The Director of Somerset House, Gwyn Miles, may be interested in hosting this exhibit, and we will seek a genealogy partner to connect the exhibit with Somerset House’s historic association with births, marriages and deaths. We believe that such an exhibit would have tremendous popular appeal and would give us an opportunity to trial a DNA-reading facility, which might form part of the Migration Museum.

6.3 Education Public education about Britain’s heritage as a country of migration is at the heart of the Migration Museum Project, and young people will be a particular focus. We want young people to engage, thoughtfully and actively, with migration and related issues like citizenship, identity and belonging. A major part of our activity will be concerned with involving schools round the UK in order to promote and develop the formal teaching of migration, and also to encourage schools and their communities to embrace the issues around migration positively. We can bring these things alive for children – making connections between the past and the present and showing that, though circumstances might change, patterns of behaviour (e.g. riot and protest) often do not. The Migration Museum Project’s education committee,34 chaired by Sir Keith Ajegbo, was convened by Caroline Evans, former chief executive of the Teaching Awards Trust. During 33

These are grants of up to £30,000 which fund innovative and creative projects that engage the public with biomedical science. 34

For membership, see Appendix 7. Migration Museum Project the first two years page 23

the next twelve months we aim to fundraise for and engage an Education Officer to hone our education strategy and drive it forward. Website learning zone We aim to develop our website as a hub for evidence-based learning about migration. We aim eventually to become the first-stop portal for high-quality migration teaching resources with the equivalent educational authority and accessibility of a site such as that of the Science Museum. In developing our research and resources, we aim to grow an online community of teachers and other interested parties in order to build on existing good practice and generate new ideas. We will develop key partnerships in order to maximise our efficacy and reach. Potential partners are Facing History and Ourselves,35 which provides teachers with support and materials in the teaching of history so that students may better examine issues like racism and citizenship, and the Migration Observatory’s fledging Project for Schools, which aims to take evidence-based materials from the Migration Observatory36 into schools. Within the next two years, the Education Committee aims to produce four outputs, to be available online: 1

An audit of existing migration teaching resources – in print, online and available in a range of media. The purpose of this will be to:  establish the educational relevance of migration  make high-quality migration teaching resources centrally accessible, via our website, thereby providing interested teachers with the resources to introduce the subject with an account of its curricular fit  identify gaps where new materials might be created, without duplication This process will involve enlisting teachers, schools and pupils in the trialling and evaluation of existing resources. This – combined with the fact that the audit will be published online and that teachers and others will be encouraged to offer their own opinion on the resources – will serve both to build up an online community and to create educational ambassadors for the Migration Museum Project who will spread the word, trial future material and, potentially, produce new materials for future publication. The process will also entail approaching subject associations, special interest groups, organisations with a shared purpose, publishers and others who either produce materials in this field or have an interest in promoting other people’s materials.

http://www.facinghistory.org/offices/london

http://www.migrationobservatory.ox.ac.uk/ Migration Museum Project the first two years page 24

An account of the relevance of the migration story to the National Curriculum principally in History, Geography, Citizenship and English.

A historical time-line, with associated on-line resources, in partnership with the Historical Association.

A resource associated with the Germans in Britain exhibition.

Over time we aim to develop a range of facilities for teachers, including a bank of resources – videos, podcasts, articles, images and so on – together with online self-paced workshops, teacher strategies, discussion forums, lesson plans, subject modules and possibly access to a lending library. We aim to develop a ‘migration teacher network’, which may depend on participation in an online Migration Museum Project seminar or similar, comprising teachers, and leaders and administrators of education institutions. Mentoring and online or live ‘teach-meets’ will be available for participating teachers, thereby ensuring development and dissemination of good practice. Participating teachers will also, for example, be able to create their own online ‘pathways’, drawing together resources to enable teaching of a particular topic, functioning as mini-websites accessible to pupils and fellow teachers for reference or comment. We will also seek to involve non-teachers in our online education programme, for example parents, community and migrant groups, the media, academics and policy makers. Engaging with schools and communities As well as building an online community of teachers, we also aim to engage with pupils and teachers directly by arranging for school visits by representatives of the Migration Museum Project and others to explain our aims and activities. As our education programme develops, we will run live conferences and seminars for participating teachers and will participate in academic debates and events. We aim to reissue Robert Winder’s Bloody Foreigners in a form suitable for a younger audience (in print and online) and we will produce print versions of some of our teaching materials, both of which will generate revenue for the Migration Museum Project. We may develop physical teaching resources like boxes of objects relating to a particular topic which can be loaned, and also seek partnerships with organisations like Ice and Fire, who dramatise and explore human rights stories through performance so as to bring the subject matter to life for young audiences. We will develop engaging Who Do You Think You Are? and surname-investigation-type interactive activities which will pique the interest of children. Our exhibitions will have a strong emphasis on teaching and schools will be able to visit them, as they will also be able to visit the touring Migration Museum once it is developed. Through these means and others we aim to influence the teaching of migration

Migration Museum Project the first two years page 25

in schools and deliver materials which are engaging and accessible for every child in the country. Over time, we may also instigate our own live ‘community conversations’ in partnership with an organisation like GlobalNet21, with whom we have worked before. We will seek the involvement of communities via schools and more widely at all stages of framing and delivering our education strategy. Influencing the debate The story of migration enables us to explore the UK’s links with the wider world. Looking at successive waves of migration also helps children develop their chronological thinking, a skill that is championed by the Education Secretary, Michael Gove. We aim to influence any forthcoming review of the history curriculum in England by contributing to the consultation, to ensure that migration is written into the curriculum. We also aim to influence the teaching of migration within teachers’ discretionary areas outside the formal curriculum via our website and through engagement with schools, as set out above. We aim to hold a public lecture in 2012, sponsored by Lord Parekh, on the subject of migration and the curriculum. In time we may even develop an annual award for the most effective teachers about migration. We already have good links with organisations such as the Historical Association, Royal Geographical Society and Council for Assisting Refugee Academics. We will form partnerships with other relevant organisations such as the Museum Education and History departments at the Institute of Education, and university departments associated with educational research and training, and we will align ourselves with other organisations that have similar objectives to our own, such as Black History Week, Holocaust Memorial Day and Refugee Week. In all these ways, we will broaden our learning and extend our reach. Bloody Foreigners, when issued as a textbook, will be an authoritative and influential resource associated with our brand.

6.4 Website The Migration Museum will reach audiences nationally and globally through online communications and engagement. The online presence of the museum will be user-centric and participatory and enable audiences to contribute their own content. Our website was developed at low cost,37 using images generously provided by the Jewish Museum, Museum of London and others. During its first 12 months it attracted 17,000 visitors from all over the world. Over the next two years we expect the site to be seen by

Our website and brand were developed by Garden: http://brandingbygarden.com/ Migration Museum Project the first two years page 26

100,000 visitors. As already described, the website will be used to deliver a large part of our education programme, including multi-media education resources. We are developing a communications plan in order to build and engage our audiences. This will include:  A newsletter  Regular social media posting  Regular blog posts  Optimisation of the website (Google grant pay per click)  Syndication of content  Press contacts and activity We will continue to develop Facebook, Twitter, and Flickr channels in order to build our audiences and outreach and to drive traffic to the website. We will investigate specialist social media such as History Pin, Storify and Pinterest for user-generated content opportunities. These channels will be used to connect with relevant organisations including educational groups. We aim to develop our website so that it becomes:  a hub for unifying existing migration initiatives round the country – we already have links to the Science and Society Picture Library and Royal Geographical Society on our website and it is clear, from our researches so far, that many other institutions will wish to link their initiatives to our own  a hub for migration education – we will provide a portal for high-quality teaching resources, including those produced by our education committee; interactive games and engaging resources will be designed to be informative but also to enable data collection: a surname investigation activity, for example, might tell us much about a user’s profile (age, location, ethnic origin), depending on the questions asked  a hub for migration-related arts – we have been inundated with emails from artists seeking to showcase their materials (engaging and moving personal and public art projects about migration undertaken by individuals and communities); we will invite user-generated content enabling artists to share their work and contribute to the migration story  a forum for discussion for ways in which we might develop the museum and a showcase our activities, with downloadable materials, podcasts of our events and images

Migration Museum Project the first two years page 27

 a vehicle for communicating with our audiences – we aim to start a weekly blog (wellwritten and beautifully illustrated like Spitalfields Life38 or the Tenement Museum blog in New York) to highlight some of the website’s user-generated material and also to draw on other digital collections (like that of the Bishopsgate Institute in London) which tell parts of the migration story; the blog will be scholarly at times but also engagingly human, carrying personal stories with a migration angle – Bengali chefs, Synagogue life, market traders, Thames mudlarks and their diverse finds reflecting hundreds of cultures; academics and writers will be invited to write guest posts on the blog  a tool for evaluation – we will assess our reach and impact by surveying visitor numbers, analysing use of different parts of the website, and polling participants  a means of engaging the press – one or two key press events will be used to engage national press contacts and secure coverage of all aspects of the Migration Museum  a vehicle for marketing and fundraising – in time we will market multi-media materials connected to the migration story and these, together with some of our education materials, will be available to purchase via the website; we may develop other commercial operations associated with the website (for example, marketing of DNA testing kits or selected items from the shops of our museum partners); the website and all online properties will be a core part of fundraising activities – an Individual Giving plan will be developed that will use and grow our audience base

6.5 What do our outputs achieve? Our third seminar, on the subject of DNA and migration, generated palpable excitement at the notion that we are all more connected by our genes than we might have imagined; we consider that through this and other seminars we have already made a contribution to the public’s understanding of Britain’s migrant heritage. Our exhibition about Germans will challenge people’s perceptions of belonging and Britishness, creating a focus for discussion about migration. Our education programme and website will do the same thing; encouraging active participation and reflective learning such that preconceptions are challenged and attitudes explored. Our outputs are also designed to hone our own skills, measure our impact, research our audiences and test ideas for inclusion in the physical Migration Museum.

http://spitalfieldslife.com/ Migration Museum Project the first two years page 28

7 The next two years We achieved an enormous amount in our first 12 months, with no paid staff and grants of just £12,500. With funding of £300,000, we can realistically achieve the following over the next two years (our strategic plan is to be found at Appendix 3; for our development strategy for a sustainable future, see Chapter 8; for our budget and accounts, see Chapter 10):

7.1 Building organisation and support  Establish a funded organisation managed by a Director and Projects Manager, supported by an Education Officer, Fundraiser and 15 volunteers, and assisted by a Clore Fellow,39 operating from rented office premises.  Complete a feasibility study for the mobile Migration Museum and explore the possibility of delivering it in partnership with an existing museum. Based on feasibility findings, prepare a commercial business plan and audience development plan.  Broaden the experience of our trustees to incorporate greater commercial and operational expertise. Create a funding case for support, recruit a fundraiser and raise at least £1.5 million out of a total £3 million cost of establishing the museum. Build partnerships with commercial organisations and sponsors.  Develop new partnerships with museums and heritage organisations, and deepen existing ones, so that we are a hub for initiatives telling the migration story, linking their initiatives to our own and encouraging reinterpretation of existing collections. We already have good links with museums and cultural institutions,40 our strongest being with the Science Museum, Goethe Institut, and Hackney Museum. We aim to form solid partnerships with Black Cultural Archives, 19 Princelet Street, Museum of London, and others.  Develop an active partnership with at least one university. We already have good connections with Oxford University and the LSE and have been approached by numerous academics wishing to partner us in interdisciplinary research projects.41

We have applied to the Clore Leadership Programme for secondment of a Clore Fellow.

For list of meetings with museum professionals, see Appendix 8.

We intend to take forward three: with a team led by Professor Robin Cohen of Oxford University (about diasporas), with the Politics and Human Geography Department at Durham University (about representation of migration in museums) and with the Policy Research Centre of the Islamic Foundation (about first generation Muslim migrants to Britain). Migration Museum Project the first two years page 29

 Develop at least two media partners: a national newspaper, Somethin’ Else Sound Directions, We are What We Do,42 and possibly Channel 4.  Develop and deepen community partnerships to drive the museum’s development and co-curate its physical and online content.  Increase distinguished friends to 200 and diversify profile, to include private collectors, entertainers and politicians from across the spectrum.  Evaluate reach and impact by developing and applying measures of success in all areas: for example, longitudinal impact studies of awareness of Britain’s heritage as a migrant nation among teachers and students; customer/contributor satisfaction with the website via online user polls; and commissioned research (e.g. by IPPR) into various aspects of the efficacy of the Migration Museum Project.

7.2 Raising awareness  Put on six seminars and two lectures43 attended by 1,500 people.  Field specialist speakers at public events like conferences and seminars44 so as to reach live audiences of 5,500.  Increased, regular media coverage.45 Sunder Katwala at British Future aims to start a media conversation centred on the Migration Museum Project. We already have an established relationship with the Guardian and several of our distinguished friends are journalists. We have been approached for participation in Radio 4’s 2013 Race season. Launch high-profile ‘100 Britons born abroad’ or similar (competition attracting nominations) with national newspaper (e.g. Daily Telegraph).  Increase social media following: 3,000 Twitter followers and 1,000 Facebook likes.  Increase website visitors to 100,000.  Led by distinguished friend and former BBC sports editor Mihir Bose, pitch and air TV programme about the migratory roots of Olympic or Commonwealth Games medalists from Team GB, also featuring the migratory roots of selected sports.

Somethin’ Else Sound Directions is a leading independent radio and digital media production company; We are What We Do is a not-for-profit behaviour-change company (for further details see pages 36–7). 43

Lord Parekh will sponsor an annual Migration Museum Project lecture.

Members of the Migration Museum Project have spoken at events organised by TedEx, GlobalNet21, Migrants Resource Centre, International Bar Association and the RSA. 45

We have already featured in the Guardian a number of times (100 Images in Society, teaching materials in Education and second seminar covered by Alan Travis) and have been cover story in Migrant Voice. We have been approached by Whistledown Productions, London Chinese Radio and BBC London. Our 100 Images competition was featured in Polish, Romanian, British/Asian and other foreign language media. Migration Museum Project the first two years page 30

 Establish quarterly newsletter. Grow mailing list from 1,000 to 3,000.

7.3 Developing exhibitions/museum content  Exhibit Germans Christmas exhibit and Germans in Britain exhibition and be well on the way to delivery of DNA and migration exhibit.  Collect and evaluate responses to both exhibitions to inform future strategy.  Conduct extensive research into existing collections for prospective loans (we have no present intention to acquire a collection of our own).  Have well-developed plans for the museum’s core narrative and physical content, guided by an academic/curatorial steering committee.

7.4 Developing education programme  Fundraise for and recruit Education Officer.  Hold eight meetings of the Education Committee and produce six outputs, including: audit of existing migration teaching resources; historical time line with associated resources; account of curricular fit with the migration story across all subjects; and a resource associated with Germans in Britain exhibition.  Establish the Learning Zone of our website as a portal to the best (i.e. quality controlled) migration teaching resources countrywide (this will include links to relevant museum education resources, Migration Studies university departments and so on).  Attract 25,000 visitors to the Learning Zone page of our website, accessing, contributing to and commenting on teaching materials, taking part in discussions about migration, holding ‘teach meets’ and so on.  Establish partnerships with relevant organisations, for example Black History Week, Refugee Week.  Visit 50 schools around the country to introduce the Migration Museum Project.  Have a real impact on substantial numbers of schoolchildren’s understanding of Britain’s migrant heritage, with at least 50 schools participating in our teachers’ network, assisted by 10 mentors.  Effectively lobby for increased migration content within the history curriculum and influence migration teaching within other curriculum areas and outside the curriculum.  Start, and possibly complete, longitudinal assessment of teachers’ and pupils’ awareness of Britain as a migrant nation. Carry out or commission other impact studies as appropriate.

Migration Museum Project the first two years page 31

 Issue Bloody Foreigners as a school textbook (aimed at 11–16 year olds) with a circulation of 5,000 copies.

7.5 Developing website  Increase website visitors to 100,000.  Develop education content (see above).  Develop website as hub for migration initiatives that already exist around the country.  Develop website as a vibrant hub for user-generated migration-related arts.  Develop discussion forum for generating and gathering ideas around the representation of migration in museums and heritage sectors.  Issue weekly, illustrated blog to serve as Migration Museum Project journal.  Update website with additional content connected with the Migration Museum Project: news, events, images, podcasts, etc.  Capture user data and conduct online polls relating to efficacy of our outputs.  Use the website for marketing (select education and other materials), fundraising and engaging the press.

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8 Development strategy and sustainability Our concept provokes warmth and positive interest wherever it goes. That, of course, does not guarantee that the Migration Museum can be successfully launched and sustained in the market place. Our development strategy will ensure effective use of our income to build on present momentum and take the project sustainably forward.46 We will concentrate on the following key areas, some of which will be explored by our feasibility study:  The marketplace and the market  Location and the physical space  The business case and the business model  Building support  Partners

8.1 The marketplace and the market We will test our belief that the museum will have very wide appeal, in particular in its incorporation of a DNA-testing element. We think this offers something for everyone: a long-term personal asset that is also a social leveller and integrator. We will look at centres of population to understand what stories may play well in the different parts of the country. We will use focus groups and other research techniques to understand how our stories can best be told in shipping containers. We will use the groups to understand how our interactive and online expressions may be fashioned to best effect – for example, apps that reveal the contribution of migrants to whatever scene in the country is surveyed through the camera lens, curriculum programmes, participatory local history projects, and Bloody Foreigners in app form. We will review museum attendance patterns and consider reach, repeat visiting and engagement through educational and online outreach. We have pointed to a number of countries that have already established a migration museum (see pages 12–13); we propose to explore these comparators for their business performance and approach. In making contacts, we will also have an eye to partner arrangements relating to emigration from this country – e.g. to Australia, Canada and 46

We have considered our development strategy in consultation with Whetstone (www.whetstonegroup.org), strategy consultants who have been involved with developing the concept underlying the V&A at Dundee and the future direction of the Dartington Hall Trust. Migration Museum Project the first two years page 33

America. Ideally, we will appeal strongly to overseas visitors to the UK who have the potential to form an important audience segment, such as the 50 million expatriate Scots and Irish and their descendants.

8.2 Location and the physical space We plan to develop a mobile Migration Museum, but we will require a permanent headquarters – housing administration, research, education, media commissioning and so on – as well as a core of exhibition containers and a ‘back lot’ where new containers can be set up for distribution to locations around the country. Ideally, this base will be in a resonant location, and the following represent some possibilities: the Royal Docks in Newham – where the original passenger lounge for migrants still stands and where the new tax-favourable enterprise zone is located, Liverpool, Manchester, Birmingham, the Lake District, Cardiff or Leicester. Our considerations will be influenced by visitor numbers and funding advantages such as the availability of regional, regeneration and EU grants, and by other factors, such as transport. The Lake District, for example, has 15.5 million visitors from outside the region a year, and is, essentially, populated by Viking stock; Leicester has many migrants and is a long-haul transport hub. London, of course, will have a strong appeal among these possible locations as one of the two or three most visited cities in the world. We will examine how the mobile museum units might be placed: one business idea is to lease them to local authorities as pop-up local and tourist attractions to complement the appeal of their own museums – for example, the Viking unit set up at the Dock Museum in Barrow, where an entrance fee complements the existing free attraction, easing stress on local authority finances.

8.3 The business case and the business model The mobile Migration Museum, housed initially in nine shipping containers, would cost £270,000 to design and build. We have not yet evaluated the costs of the permanent display, transport and staffing costs nor determined what entry charge there should be, but it is clear that the initial capital cost is likely to be no more than £3 million. We are confident that we can raise this kind of money, and our business model will be innovative to match our structure – we are not looking for £35 million for the new V&A Renaissance Galleries but for funding from the communities themselves: £50,000 for the German container, £50,000 for the Italian and so on. The Jewish Museum can take its exhibits in one such container to Jewish communities around the country for a similar cost. We also imagine placing temporary units in school playgrounds to complement our approach to the

Migration Museum Project the first two years page 34

curriculum. We will strive to lower net capital costs by seeking sponsorship from haulage and construction partners, and maybe for individual stories told in the museum. Our broad plan, but a key area to be researched, is to charge a modest entry fee to reflect our modest costs. We believe that our proposal will attract external financial support (in the same way that our Germans exhibition has attracted the support of the Goethe Institut). We will research our likely costs (research, administration, funding, infrastructure, outreach and so on) and establish a basic cost model. We will assess the feasibility and viability of combining a basic charge with local authority and education market contributions (including catering, retail and merchandise income), seeking to create a self-sustaining model. Our overriding purpose is to bring about a reduction in hostility to migrants: we will investigate the most effective funding routes available as a result of our commitment to bring about a significant improvement in social outcomes. In due course we will consider registration as a social enterprise, the potential for creating a ‘social impact bond’ and seeking investment from the newly launched Big Society Capital. We may be able to generate subscriber income from something akin to Ellis Island’s Wall of Honour. We will complete both our business case and plan as a matter of priority to help shape our approach to fundraising and to partners. Although it is little more than an idea at this stage, we will explore the possible contribution of Intellectual Property to our long-term plans. This might include participation in a national DNA databank, apps and other media and educational publishing content.

8.4 Building support We will continue our programme of building support through events. We will develop our group of trustees, incorporating into the mixture some operational and commercial experience, looking at retail, media reach (including new media and publishing) and marketing as areas to be covered. We will constitute a fundraising committee, chaired by a funding trustee. Our initial £3 million target is essentially to get the Migration Museum up and running. Our ability to break even as an operation or, better still, to make a profit will be influenced by the prospective funding that we discover, as we aim to be wholly self-sustaining through longterm support and partnership deals, As we have stated, we seek to be education- and outreach-heavy. Normally, the larger museums achieve this through substantial philanthropy (e.g. Sackler at the V&A). We are hoping to convert early indications of support through the strong appeal of our social purpose and our aggressively modest cost base and approach. We hope that distinct migrant groups will support us for their stories.

Migration Museum Project the first two years page 35

We are seeking core funding for our operating costs over the next two years from trusts and foundations. Over the next two years, we will approach organisations and individuals who we believe may be keen to help with the funding campaign. We have been offered venues to hold fundraising events, including Marlborough House and PwC Legal facilities in More London. We have established a staffing budget; appointing a director will be an important milestone to give the operational leadership that the funding of the project will need.

8.5 Partners We will intensively seek partnerships in the following areas:  Business partners/sponsors: principal candidates include DC Thomson and the Wellcome Trust. DC Thomson is the dominant UK business in genealogy and personal heritage, with Friends Reunited just re-launched to attract personal memories. The Wellcome Trust is appropriate for genes, and we will investigate the possibility of establishing a travelling DNA-testing unit to enable visitors to understand their distant origins: we have seen this exercise fascinate a roomful of people in a most unifying way. We will approach those who might be more focused on long-term financial sponsorship, as well as parties who may double as business and sponsorship partners contributing to our sustainability.  Museums: we are not intending that the Migration Museum will be a collecting museum, save for the stories that will drive it. Some 80% of existing museums’ collections are in storage, and there are countless ‘resting’ exhibitions all over the country; we will access and give new life to some of these with our mobile museum model. We will also explore the strong idea of delivering the Migration Museum in longterm partnership with an existing museum. This would reduce the cost base and could enable access to the significant funds newly available to promote innovative collaboration between museums, where there is rarely buying efficiency or cost sharing. Such funds include the new £100 million Arts Council Catalyst funds. Possible collaborators include Ellis Island, Wellcome Trust (we would seek to place a unit with them permanently on a rotating basis), Pinewood Studios (which has plenty of back lot space) and a major local authority museum (e.g. Manchester City Galleries), since all are under pressure to diversify their income streams as the cuts bite further over the next two years.  Media and publishing: we will begin by exploring with Somethin’ Else Sound Directions, one of our prospective long-term media partners, the potential for developing profitable and educational products, using media other than print. Somethin’ Else Sound Directions has for some years been the top radio independent Migration Museum Project the first two years page 36

and has invested heavily in becoming platform-confident in any format – able, in their words, to make ‘stuff that audiences love’. They create, at speed, everything from book apps (for example, The Magic of Reality, Richard Dawkins’s latest book) to educational online and games programming for Channel 4 (for example, Superme, designed to give teenagers greater confidence about controlling their prospects and handling the pressures of exams and growing up). We want to develop our own multi-media resources: interactive, hand-held or audio tours of Bangladeshi London, Yemeni Gateshead and the East-Anglian Sikh trail, Bloody Foreigners in app form, and more. To this end we have begun discussions with We are What We Do, a behaviourchange company and creator of History Pin, which aims to reach massive audiences through products that people want to buy and which alter their behaviour in small ways. We will explore, initially with Pearson, the more traditional publishing opportunities for both the UK and the export markets – clearly, there is potential overlap between these two prospective partners. In summary, we have allocated a significant sum in our application for these strategic development initiatives and will as a matter of high priority set the ball rolling with a relatively aggressive timescale as soon as possible.

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9 Evaluation and impact 9.1 Reach We will measure our online reach by counting visitors to different parts of our website and assessing them according to captured profile data. We will measure take-up of our online resources and the online reach of our ‘migration teacher networks’. We estimate that at least 100,000 visitors will access the Migration Museum Project’s site over the next two years, of whom 25% will engage with the Education programme. We will count attendances at our events – conferences, workshops, lectures, ‘community conversations’ and so on. Over 500 people have attended our own events so far, and a further 1,000 have attended events in which we have participated. We would expect to reach at least 7,000 people via live public events during the next two years. We will measure distribution of our print resources. Bloody Foreigners could expect to have an initial distribution of 5,000 if issued as a school textbook.

9.2 Impact We will monitor our online discussion forums and teach-meets, evaluate responses and seek opinions via online polls. We will conduct qualitative assessments of the responses of key groups – for example, museum partners, mentors within our Migration Teaching Network and community representatives. We have started polling visitors to our events and will continue to do so.47 We can assess our impact according to relevant criteria, using longitudinal studies and baseline data we have captured online. We will measure the impact of our education programme, using techniques such as those employed in a national evaluation study of Facing History and Ourselves.48 We aim to create surveys of participating teachers and students that are both longitudinal and randomised (to address the possibility that participants are self-selecting for enthusiasm and ability), to test the following: 1

Teacher impact/efficacy – teachers’ beliefs about their knowledge and skills in the teaching of Britain’s heritage as a migrant nation and related issues, measured by factors such as their ability to make the subject matter personally relevant to students with diverse personal, cultural and social identities. Teachers’ assessment of their own

47 Nearly 100% of respondents at our second and third seminars were in favour of establishing a new national Migration Museum. 48 This was carried out by the National Professional Development and Evaluation Project in the US: http://www.facinghistory.org/sites/facinghistory.org/files/Continuing_a_Tradition_v93010_0.pdf

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efficacy is linked to student outcomes such as achievement, motivation and student efficacy (studentsâ&#x20AC;&#x2122; sense of confidence in their own academic abilities). Teachers with a higher sense of efficacy exhibit greater enthusiasm for teaching, have a greater commitment to teaching and are more likely to stay in the teaching profession. Higher teacher efficacy is also related to a more positive school atmosphere. 2

Student impact, according to criteria such as studentsâ&#x20AC;&#x2122; historical understanding of Britainâ&#x20AC;&#x2122;s migrant heritage, their critical thinking, tolerance, and their awareness of issues such as prejudice and discrimination.

We will carry out similar surveys among community groups and parents and we will monitor coverage of our activities in the media. We may make use of national survey organisations to carry out polls on our behalf, and we may use specialist researchers such as IPPR. We will use the results of data collection, impact surveys and our other observations to inform future strategy and activities.

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10 Organisation 10.1 Governance The Migration Museum Project is a charitable trust, constituted on 22 September 2009, with eight trustees. We are governed by our constitution as set out in a trust deed. We registered with the Charity Commission on 10 June 2011 (charity number 1142352) and are supported by an 11-member working group,49 comprising all trustees and three further members, which meets approximately monthly. We plan to expand and diversify our board of trustees to incorporate more commercial and operational expertise.

10.2 Management Barbara Roche has been very committed to the project, chairing all meetings of the working group, meeting distinguished friends and others, speaking at public events and discussing the project’s development in detail. Since January 2011, the project has been managed by one full-time volunteer, Sophie Henderson, one of the trustees, who has suspended her employment as an immigration judge to get the project off the ground. Her background as a lawyer has been useful in constituting the trust, dealing with the Charities Commission and drawing up contracts. The working group is notably cohesive and active. Caroline Evans, Jill Rutter and Andrew Steeds have formulated our education strategy, and convened and managed the education committee. Ian Wilson, Zelda Baveystock and Ratan Vaswani have advised in particular on matters relating to museums, audiences and community engagement. Danny Sriskandarajah devised the ‘100 images of migration’ competition and is the source of numerous valuable contacts, and Robert Winder is our wordsmith and the brains behind the ‘Germans in Britain’ exhibition. Emma Williams has contributed considerable development expertise. Our 67 distinguished friends are a very valuable resource for us and some of them have become closely involved with the project: to mention just some of their contributions, Sir Keith Ajegbo chairs our education committee, Richard Beswick has donated copies of Bloody Foreigners, Ian Blatchford arranged for the Science Museum to sponsor our DNA and migration seminar, Afua Hirsch and Kwame Kwei-Armah were judges in our ‘100 images of migration’ competition, Lord Moser is a close adviser, David Blunkett, Mike Phillips and David Miles and George Alagiah have spoken at our events, Julia Onslow-Cole arranged for PwC Legal sponsorship of our second seminar at the RSA, and Professor Francesca Klug arranged for our first seminar to be held at the LSE.

For details of who we are, see Appendix 1. Migration Museum Project the first two years page 40

10.3 Committees Our newly constituted education committee will meet quarterly. We have a new fundraising committee, chaired by Michael Soole QC, shortly to become chair of trustees of the Oxford Union, which will meet regularly. We will convene an academic/curatorial steering committee (we will invite Professor Robin Cohen, one of our distinguished friends, to chair).

10.4 Volunteers We have been assisted from time to time by a number of skilled volunteers â&#x20AC;&#x201C; for a full list, see Appendix 9. We look forward to working closely with Suzi Ardley, digital marketing manager at NMSI, in developing our communications strategy, and with others in developing our exhibitions and community engagement. We have no paid members of staff at present but are fundraising for the posts of Director, Projects Manager, Education Officer (each on the basis of four days a week) and, possibly, Fundraiser. We will recruit five volunteers to work 1â&#x20AC;&#x201C;2 days a week and 10 volunteers to assist as and when required.

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11 Budget and accounts 11.1 Budget over 24 months The budget below is an estimate of our likely costs over 24 months, amounting to just under £300,000 (though the table does not represent the likely staggered pattern of our income). Migration Museum Project’s estimated budget over two years (£) Budget item

First 12 months

Second 12 months

(£)

Director (0.8 f/t)

32,000

33,600

Projects manager (0.8 f/t)

23,000

24,150

Education officer (0.8 f/t)

18,400

19,320

Employment costs (at 10%)

7,340

4,347

Two desk rental

6,000

Fundraising and other consultant

6,250

50,000

–

4,500

–

4,500

9,000

13,500

8,000

8,400

173,490

124,567

costs (50 days at £250) Feasibility study for mobile Migration Museum Survey of artefacts for loan (30 days at £150) Further commissions (e.g. impact survey, review of effectiveness of migration representation in museums) Six education outputs (each 30 days at £150) Miscellaneous (office expenses, website costs, etc.) Total

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Our accounts for 2011 are below. Costs for volunteer time include very active participation of our chair, Barbara Roche, as well as contributions from members of the working group and others. Our present funds amount to £5,000, but all of this is committed to fund our Germans in Britain exhibition researcher.

11.2 Accounts (1 January 2011–31 December 2011) Income (£) Baring Foundation

5,000.00

Unbound Philanthropy

7,500.00

Donations

650.00 _________ 13,150.00 _________

EXPENDITURE (£) Website build, improvements, hosting and WordPress/CMS training, by Slick Media Website improvements, Slick Media

1,122.50 555.00

Website design, Garden

1,999.20

Website development, Garden

1,956.00

Leaflet/banner design, Garden

249.60

Letterhead paper

236.10

Leaflet design and printing

522.00

Leaflet printing

118.87

Travel

70.00

Event photography

30.00

Business cards

326.30

Books

175.00

Postage

307.59

Stationery

113.06

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Web registration

63.02

Virgin Money Giving

120.00

German exhibition researcher (committed)

5,000.00 ________ 12,964.24 ________

GIFTS IN KIND (ÂŁ) Project worker salary

30,000

Volunteer time

30,000

Branding/logo

5,000

Web/leaflet/banner design

3,300

Venue hire/receptions

7,500

Books Image use for website and publications

800 2,000 __________ 78,600 __________

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Appendix 1 Who we are Barbara Roche Zelda Baveystock Miriam Cherti Caroline Evans Sophie Henderson Jill Rutter Dhananjayan Sriskandarajah Andrew Steeds Ratan Vaswani Emma Williams Ian Wilson Robert Winder Barbara Roche Barbara Roche is a former Government Minister and MP who was a Minister of State in the Home Office, Cabinet Office and the ODPM. She was also Financial Secretary to the Treasury and a DTI Minister. As Minister of State at the Home Office, she was the Immigration Minister and has been a long-standing advocate of the need for a National Museum of Migration. At the Cabinet Office and the ODPM, Barbara was the Minister for Women and Equalities and responsible for the Social Exclusion and Neighbourhood Renewal Units. She has extensive European experience â&#x20AC;&#x201C; chairing the EU Telecoms Council and representing the UK on the Home Affairs Ministerial Council. Barbara now works as a freelance consultant with major corporations, is chair of one of the largest national housing associations and a visiting university professor. Zelda Baveystock Zelda Baveystock is a freelance museums and heritage consultant and teaching associate at Newcastle University. She has extensive experience in the capital development of history museums from her previous role as acting deputy director at the Museum of Liverpool,

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where she managed the delivery of content for this new £72 million museum on the banks of the River Mersey. As Senior Keeper of History at Tyne and Wear Museums she was part of the team that led the £13 million redevelopment of Discovery Museum in Newcastle, transforming it into one of the most popular free family museums in the north-east. Zelda’s interest in migration museums started in 2004 when she won a Winston Churchill Memorial Fellowship to investigate representations of multiculturalism in Australia, Canada and the USA, which involved visits to many of the world’s most significant migration museums. Dr Myriam Cherti Myriam is a senior research fellow at the Institute for Public Policy Research. Caroline Evans Caroline is deputy director of the Queen Elizabeth Prize for Engineering. She was previously CEO of the UK Teaching Awards and a founder director of the agency EdComs. She has worked in educational publishing and consultancy and has experience as a school governor in primary and secondary schools. Sophie Henderson Sophie Henderson practised as an immigration barrister for many years, latterly at Tooks Court, Chambers of Michael Mansfield QC. She specialised in all areas of immigration, asylum and human rights law, appearing in a number of leading cases. She was a trainer for the Immigration Law Practitioners’ Association and others, and provided voluntary legal advice at Praxis and various law centres. In 2002, she became judge of the Asylum and Immigration Tribunal, and was also appointed to the Social Security and Child Support Tribunal to hear social security appeals. She is a trustee of Our Hut, an organisation that delivers architecture-based workshops in schools. Since January 2011 she has been managing the Migration Museum Project full time. Jill Rutter Jill Rutter is policy and research officer, Daycare Trust, formerly head of policy and communications at Refugee and Migrant Justice and an associate fellow at the Institute for Public Policy Research (IPPR) where she worked between 2007 and 2009. At IPPR, Jill led research on refugee and asylum issues and on migrant integration, including a refugee oral history project. Prior to joining IPPR, Jill was senior lecturer and course director in Citizenship Education at London Metropolitan University and also worked in the policy team at the Refugee Council for 13 years. She has published extensively on all aspects of the refugee experience in the UK and abroad with well over 40 books, chapters, and Migration Museum Project the first two years page 46

papers on the issue. She has worked with a number of museums and archival collections to develop educational work on migration and contributed to the educational work of the ‘Peopling of London’ exhibition. Dhananjayan Sriskandarajah Danny Sriskandarajah has been director of the Royal Commonwealth Society since 2009. Previous to this he was a director at the IPPR and head of the institute’s Migration, Equalities and Citizenship team. He is an internationally recognised expert on migration issues. He has written numerous reports, books and articles on issues such as migration policy, diasporas, identity and ethno-political conflict. Danny has been a consultant to various international organisations, has given evidence to the UK House of Commons and the UN General Assembly, is an analyst for Oxford Analytica, and sits on the boards of Equality Works Limited, Ockenden International, and Praxis Community Projects. He writes regularly in the Financial Times, Guardian and BBC Online. Born in Sri Lanka and a national of Australia, Danny has lived and worked in the UK for the past eight years. He holds a first class degree from the University of Sydney, and an MPhil and DPhil from the University of Oxford, where he was a Rhodes scholar. Andrew Steeds Andrew Steeds is a writing and editorial consultant, who runs two companies – Simply Put Ltd and the Writing Clinic – that work with organisations to make public written communication clearer and more accountable. He started off working as a teacher, before going on to work in educational research and educational publishing. He was heavily involved in the publication of the then Department for Education and Skills’ adult core curriculum documents, including manuals on working with refugees and asylum seekers, and with EAL learners (learners with English as an additional language). Ratan Vaswani Born in Nigeria of Indian parents, Ratan Vaswani grew up in Manchester. His academic background is in Russian and Slavic Studies. He taught languages in schools, colleges and universities in Spain, France, Russia and the UK. In his late thirties he had a career change and entered the world of museums. He has an MA in Gallery Studies from the University of Essex and volunteered at the Geffrye Museum and the Museum of London. He joined the Museums Association in 1999 as its first ethics adviser and then went on to lead its Professional Development department. He delivered UK-wide training for the Association on professional Migration Museum Project the first two years page 47

development and ethical issues. For four years he wrote a popular monthly column in Museums Journal. He later became the Association’s head of events, responsible for developing its programme of conferences and training courses. In 2009, Ratan worked at the Geffrye Museum, leading the museum’s contribution to Stories of the World, a set of creative youth projects taking place across the UK as part of the London 2012 Cultural Olympiad and he is now events manager at the Wellcome Collection. Emma Williams Emma Williams is chief executive of Student Action for Refugees (STAR) the national network of 5,000 students working to improve the lives of refugees in the UK. Emma has been working with refugees in the UK for 17 years. She previously ran a community centre for refugees from Vietnam and worked at Freedom from Torture where she established four new centres for survivors of torture. Ian Wilson Ian Wilson is head of Government Affairs at the National Trust. Ian was, before this, responsible for the Trust's operations and community work in London, in which capacity he was also responsible for the acquistion by the Trust of the home of Kenyan-born poet and artist Khadambi Asalache. He was also a trustee of the Heritage Alliance. Prior to running London for the National Trust he was English Heritage’s lead on urban regeneration policy. Ian’s migratory roots lie in a combination of the Jewish community of east London and the constant flow of peoples between Scotland and England. He is married and has two children who have English, Irish, Scottish, Dutch, German and French roots. Robert Winder Robert Winder has been deputy editor of Granta and was literary editor of the Independent for five years. He is the best-selling author of Bloody Foreigners: The Story of Immigration to Britain and has also written books about cricket and golf and three novels. He is a regular contributor to the Independent, the Observer and the New Statesman.

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Appendix 2 Distinguished friends Sir Keith Ajegbo George Alagiah OBE Professor Sir Michael Atiyah Professor Peter Atkins Helen Bamber OBE Dr Rob Berkeley Richard Beswick Sir Geoffrey Bindman Sir Nicholas Blake Ian Blatchford Rt Hon David Blunkett Mihir Bose Alain de Botton Rickie Burman Saimo Chahal Shami Chakrabarti Dr Jung Chang Professor Robin Cohen Lord Dholakia Ayub Khan Din Lord Alf Dubs Rt Hon Lord Dyson Graham Farmelo Baroness Flather Manjit S Gill QC Teresa Graham CBE Professor James Hathaway David Hencke Professor Sir Bob Hepple QC Afua Hirsch Rt Hon Lord Howard of Lympne CH QC Tessa Jackson OBE Sir Ralph Kohn FRS Professor Francesca Klug

Sir Hans Kornberg FRS Professor Sir Harold Kroto Kwame Kwei-Armah Brian Lambkin Lord Lester of Herne Hill QC Joanna Lumley OBE Michael Mansfield QC Heather Mayfield Sue McAlpine David Miles Lord Moser Hugh Muir Sir Vidia Naipaul John Oâ&#x20AC;&#x2122;Farrell Julia Onslow-Cole Lord Herman Ouseley Lord Bhikhu Parekh Caryl Phillips Mike Phillips Trevor Phillips OBE Sir Salman Rushdie Professor Philippe Sands QC Sir Konrad Schiemann Rt Hon Sir Stephen Sedley Saira Shah Jon Snow David Spence Michael Soole QC Rt Hon Lord Steyn of Swaffield Lord Taverne QC Edmund de Waal Jake Wallis Simons Benjamin Zephaniah

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Develop website • Add education, arts, partnership and project news content • Develop blog and discussion forums, enable contributions, collect data and conduct web-based evaluation • Social media feeds, web optimisation, press and fundraising activity

Develop education program • Education committee to develop teaching materials and advise on migration teaching • Establish website as hub for excellent teaching resources • Establish partnerships with aligned organisations • Grow teachers’ migration network • Lobby for inclusion of migration in curriculum • Issue Bloody Foreigners as a textbook

Develop exhibitions/museum content • Create exhibition briefs on ‘Germans in Britain’ and ‘DNA & Migration’ • Plan exhibition venues, partners and funders • Conduct extensive research into existing collections and exhibitions • Constitute academic/curatorial steering committee to establish museum’s core narrative

Raise awareness • Public events (seminars, annual lecture and fielding specialist speakers at external events) • Identify and target specific audiences • Raise media profile (e.g. 100 images competition) • Pitch and air Olympics TV programme • Drive traffic to website via social media • Quarterly newsletter and weekly blog

Build organisation and support • Establish funded management team and organisation • Complete feasibility study for mobile museum • Build and diversify board of trustees • Business, strategic, communications, community engagement, audience development plans. • Constitute fundraising committee and fundraise for staff posts and mobile museum • Build museum, community, university, media, commercial and other partnerships • Public consultation and evaluation • Recruit distinguished supporters & private collectors

• Website as education, arts, partnership and discussion hub • Website as hub for migration initiatives nationally • Website as survey and fundraising tool

• Website as hub for excellent migration teaching materials including those produced by education committee • Teachers’ migration network established • Strong schools and other partnerships • Government lobbied to increase migration teaching • Bloody Foreigners as textbook

• Pilot exhibitions • National collections / exhibitions surveyed for loans • Museum’s core narrative established

• Seminar/lecture series • Olympics TV programme • Strong brand awareness • Earned/donated media • Increased web traffic • Debate and communication among key audiences

• Established organisation with diverse trustees (a) operating model (b) business plan (c) audience development plan • Critical mass of supporters with clear sense of mission • Established brand • Strong partnerships • Engaged communities • Effective fundraising apparatus • Mobile museum planned and partly funded • Reach and impact data collected

Outputs

• Education officer in post, education programme established, 10-20 schools engaged, 12,500 visitors to education web page

• Knowledge of available loan material. ‘Germans in Britain’ exhibition brief complete and exhibition partly funded. ‘DNA and Migration’ exhibition funding applied for.

• Rise in awareness in key audiences through exposure to seminars/lectures/ speakers (3,000 reached), website (50,000 total visitors), mailing list (2,000) and national media coverage

• Mobile museum feasibility study complete and partly funded

• Well-supported and funded educational and cultural charity with engaged communities, increased number of supportive allies and key partners

Short term outcomes (1yr)

• Measurable impact on teachers’ and children’s awareness of Britain as a migrant nation

• Well-developed interactive website engaging 100,000 visitors. Well-developed education programme reaching 50 schools and 25,000 website visitors. Live audiences of at least 7,000 reached. Mailing list of 3,000

• Public support for a cultural asset dedicated to telling the story of British migration

• Significant collection of materials, regularly exhibited, and an education programme reaching substantial numbers of children aged 5-17

• Increased public support, and awareness of Britain’s heritage as a migrant nation

• Well-established fundraising apparatus in place and at least £1.5m (50% establishment cost of mobile museum raised) • One exhibition shown, second exhibition in development and Migration Museum established as national hub for migration initiatives and arts nationwide

• Significant capacity to develop and create a new mobile museum

Long term outcomes (4-5yrs)

• Thriving organisation run by 3-4 employees and 15 volunteers

Intermediate outcomes (2-3yrs)

External Factors: Social unrest related to immigration; public spending climate and economic growth; government policy on arts/culture and migration

• No existing educational or cultural institution fills the gap and there is significant material available for loans, and in exhibitions, that could support a Migration Museum

• There is a critical mass of active individuals, both immigrants and non-immigrants, partner organisations, and funders committed to migration education through a museum model.

Assumption

• Engaging communities countrywide

• A gap in the market; no existing Migration Museum or British history museum

• Conducive public mood

• A museum-based educational programme (kinaesthetic plus online) will inform attitudes of 3-5, 5-17, 18-21 year olds and inspire a new dynamic in public discourse

• Improving understanding of, and public opinion about, immigrants requires understanding of Britain’s migration history

Rationales

Activities

Goal: To create a museum of migration that will contribute to more-reasoned public debate and attitudes and promote civic integration. To be achieved through (a) an educational and learning programme of migration history, (b) related exhibitions and content for a museum and (c) a physical museum.

Why we exist: To address the gap in knowledge and appreciation of Britain’s heritage as a country of migration which contributes to hostile attitudes, poor debate and less civility

MIGRATION MUSEUM

Appendix 3 Strategic plan

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Appendix 4 Five migration museums in other countries Ellis Island, New York Ellis Island acted as the ‘Gateway to the New World’ for over 60 years between 1892 and 1954. It processed over 12 million emigrants. President Lyndon Johnson declared it part of the Statue of Liberty National Monument in 1965 but it was only opened to the public in 1976, on a limited basis. A major restoration project, begun in 1984, raised over $160 million. The main Ellis Island building was opened in September 1990 as the Ellis Island Immigration Museum.

The main self-guided exhibition is open to the public free of charge and tells the story of Ellis Island’s role in America’s immigration history. It includes artefacts, photographs, prints, videos, interactive displays, oral histories and temporary exhibitions. The Wall of Honor is in the foreground. The American Immigrant Wall of Honor is a permanent exhibit of individual or family names that have migrated to America. It is open to any immigrant from any time period at any point of entry. New Americans inscribe their names to celebrate their naturalisation. Over 700,000 names are featured on the wall, and new names can be inscribed for a contribution of $150. Visitors can also purchase a 45-minute audio tour for $8, which allows them to ‘relive the experience as if they were new arrivals’. The tour is offered in nine different languages and is multi-layered, allowing visitors to listen to certain commentaries in greater depth and detail. There is also a special audio tour for children.

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An American Family Immigration centre was opened in 2001. It allows visitors to search the database of passenger records. Ellis Island also has a rolling programme of temporary exhibitions and regular living theatre productions. A new play celebrating Lady Liberty’s 125th anniversary and chronicling the immigration experience will run between April and June of this year. Ellis Island has about 2 million visits per annum.

German Emigration Centre, Bremerhaven The German Emigration Centre is billed as Europe’s largest migration museum (4,400 m² with 3,500 m2 dedicated to exhibition and café space). It is located at a point from which more than 16.5 million people migrated to the New World between 1852 and 1974. The concept for the museum came from a group of local residents who formed the Society of Friends of the German Emigration Centre in 1985. It gathered a collection over the next 20 years before the museum opened. The project gathered momentum in the late 1990s when a number of local companies got behind it, followed by the creation of a new urban area directly on the Weser River in the centre of Bremerhaven. The museum was built at a cost of €20.5 million and opened to the public in August 2005. The museum is privately operated and is not in receipt of central funding, although it has recently been awarded a €2 million capital grant from federal government. Admission is €10.80 for adults and €6 for children. It won the European Museum of the Year award in 2007. It has had consistently around 220,000 admissions a year since opening in 2005, 90% of the visitors being German, with around 33,000 school trips each year. Most international visitors are from the USA and Canada.

The museum is heavily themed and ‘experiential’ with a series of walk-through attractions that tell the story of the experience, including the reasons why people emigrated, the conditions of the journey, the impact of emigration and the fate of individual emigrants. The walk-through experiences are enhanced with the biographies of migrants and refugees Migration Museum Project the first two years page 52

who passed through Bremerhaven over the years, together with a growing collection of personal memorabilia and keepsakes. The museum has around 80 complete personal stories in its collection and over 2,000 fragmented stories. Visitors are given a smart card that is loaded with the name and picture of an emigrant. The emigrant’s story is chosen randomly from the collection and the visitor then experiences a unique tour based on this particular emigrant’s story.

Immigration Museum, Melbourne, Australia Located in the centre of Melbourne in the former Customs House (close to Flinders Street Station), the Immigration Museum tells the stories of the people from all over the world who have migrated to Australia and to the state of Victoria in particular. It is one of three museums operated by Museum Victoria, which is responsible for the state of Victoria’s scientific and cultural collections. The admission charge is $8 for adults; children are free. It opened in September 1998 and generally attracts about 120,000–135,000 visits a year.

The museum is laid out over three floors with a number of permanent and temporary exhibitions, a research centre, an education centre, a small theatre, a shop, a cafe and a tribute garden. The museum has a full programme of educational sessions for all ages and across a range of curriculum areas, including immigration, history, design, drama, media and English. Sessions are delivered in the purpose-built education centre on the ground floor. The museum includes a Discovery Centre, which provides a range of resources to assist with research on family history, general immigration history and community information. Admission is free (visitors do not have to purchase a ticket to the museum) and resources include a collection of books in the reference library, and online and multimedia resources to learn more about migrant communities and about your own migration history.

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The Tribute Garden is located in the northern garden. It features the names of immigrants who came from over 90 countries, from the 1800s to the present day. Entry is free.

Migration Museum, Adelaide, Australia The South Australia Migration Museum is located in Adelaide and tells the story of immigration into the Australian state of South Australia. It opened in 1986 and claims to be the first museum of immigration history in the world. It consistently attracts between 150,000 and 160,000 visitors a year. Out-of-state and international tourists account for 70% of visitors. Admission is free. The museum is operated by the History Trust of South Australia, a state government organisation which also operates the National Motor Museum and the South Australian Maritime Museum. The collection includes a significant number of objects, with particular strengths in documents and textiles. A computerised database extends these stories with information on the origins, history and traditions of different groups who live in South Australia. The galleries explore, in particular, why people chose to emigrate to South Australia, who came, how they came, what they brought with them, and the effect immigration had on those already living in the area. Settlement Square allows South Australians to acknowledge their forebears and families. Paving stones in the Square may be engraved with the name, birthplace and date of arrival in Australia for a donation of $300.

Canadian Museum of Immigration at Pier 21, Halifax, Nova Scotia Between 1928 and 1971, 1.5 million immigrants, war brides, displaced people, evacuee children and Canadian military personnel passed through Pier 21. The museum opened in 1999. It tells the story of all immigration to Canada. Admission is $8.60 for adults, $7.60 for seniors and $5 for children. It has about 50,000 visits annually.

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The main exhibition is dedicated to the years when Pier 21 operated as a reception centre and is supplemented by a 30-minute multimedia presentation telling the history of Pier 21 from the late 1920s, through the depression, war and post-war years. The collection has been growing over the years and now includes over 2,000 stories, 600 oral histories, 1,000 donated books, 300 films and thousands of archival images and scans of immigration and Second World War documents. Pier 21 is also the site of a recently unveiled monument called The Wheel of Conscience, which is a memorial to the hundreds of Jews aboard the MS St Louis who were turned away from Canada on the eve of the Second World War. The Sobey Wall of Honour pays tribute to individuals and families that have helped to shape Canada. Names can be inscribed on the Wall of Honour for a donation of $250. The museum was established by the Pier 21 Society, which is a registered non-profit organisation with a board of 18 volunteer directors. The society employs 25 staff to operate the museum and has a large contingent of volunteers. In 2009, the government of Canada announced plans to make the museum a National Museum and to spend $25 million to develop it over the next five years.

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Appendix 5 Mobile museums built of shipping containers Copenhagen Museum’s the WALL In May 2010, the Copenhagen Museum created a giant, multi-touch mobile multimedia installation (‘the WALL’) built out of shipping containers, which allows visitors to explore the cultural geography of the city.

Its public face is a bank of interactive high-definition plasma screens which allow real-time user interaction with the collection’s media data base, housed within the shipping containers, along with the supporting infrastructure. Visitors can navigate a 3D-cityscape and timeline, calling up images and information from the museum’s collection (which is also searchable by theme and area), and can send digital postcards. Visitors can also upload their own images and stories at the WALL itself or via its website. The WALL was devised to be a playful, intuitive way of making the Copenhagen Museum more relevant and integral to its diverse, modern, urban setting; its interactivity was designed to foster a sense of ownership of, and belonging to, the city. Outreach programmes have been designed to reach diverse groups including those who have not traditionally been represented in the museum’s collections. In the first half year of operations, the WALL attracted more than 400,000 users, who viewed more than 2 million images, sent more than 60,000 personal postcards, and uploaded 2,500 new contributions of their own.50

You can see a video of the WALL at http://www.youtube.com/watch?v=GlxIa0OUcYc&context=C44a5f5dADvjVQa1PpcFPBCOLPhk82CyP5iHWOW3 W7e2bghc9STog= and read about it in ‘Museums and the Web 2011 Taking the Museum to the Streets:’ here http://www.museumsandtheweb.com/mw2011/papers/taking_the_museum_to_the_streets Migration Museum Project the first two years page 56

Gregory Colbert’s Nomadic Museum Canadian photographer and film-maker Gregory Colbert created his 45,000 square foot Nomadic Museum to take his one-man show, ‘Ashes and Snow’, around the world: 148 empty containers are stacked in a self-supporting grid and a tent-like fabric fills in the gaps between the containers and serves as the roof.51

The interior has no natural light and the installation is a three-part experience, comprising an exhibition of 100 images, a ‘floating library’ in which pages from a novel written by the artist are projected onto screens, and a film. The Nomadic Museum started life in 2005 at Pier 54 on New York’s Hudson River at 13th Street and then travelled to Santa Monica, Tokyo and Mexico City. It has reportedly attracted over 10 million visitors to date.

New York Magazine: Have Museum Will Travel http://nymag.com/nymetro/arts/architecture/11077/ Migration Museum Project the first two years page 57

Appendix 6 Germans exhibition and Christmas exhibit outlines Exhibition outline When people think of immigration to Britain they do not often think of migrants from Germany, but this migration is one of the most striking and profound in our history. Germans have been settling Britain since the Angles and Saxons sailed here, turning a Roman–Celtic colony into a Germanic nation-state. We can show this with maps, lights, etc. After the arrival of the German tribes, and the subsequent incursions of Vikings and Normans, German businessmen came in the Middle Ages as merchants, active in the North Sea trade. As busy members of the Hanseatic League, they set up an HQ called the Steelyard in London, partly to escape the anti-foreign taunts of the natives. In the late 15th century the Steelyard was attacked by anti-foreign mobs. These merchants were followed, in the 16th and 17th centuries, by craftsmen and businessmen. Daniel Hoechsetter, a smelter from Augsburg, set up one of Britain’s first joint-stock companies when he opened a mining operation in Cumbria, bringing 150 German workers to dig for copper and silver. Fearful Protestants, fleeing violence in the Counter-Reformation, sought refuge in post-Catholic England; artists such as Holbein and Peter Lely found royal patrons this side of the channel; scholars like Samuel Hartlib and Heinrich Oldenburg became sufficiently at home to found the Royal Society, along with cavalier aristocrats like Rupert of the Rhine (from Prague). In the 18th century, Germany provided Britain with a Hanoverian family of monarchs (George I, George II and George III), whose descendants reign over us today. High society acquired a German flavour (horseracing and cards) while Handel, our own Hanoverian court composer, wrote the soundtrack of the burgeoning British Empire. In the 19th century, Britons thought of Germany much as we, today, think of Switzerland – twee, inoffensive, gemütlich, a land of chocolate, children (we imported the German concept of the kindergarten), toys, sugar plum fairies, carols (‘Silent Night’) and folk tales. Victoria’s marriage to Albert brought the German idea of Christmas to Britain – brightly wrapped gifts, candles on pine trees. There were three German newspapers, German churches, benevolent societies, schools and hospitals. Stepney became known as Little Germany. By the end of the 19th century there were 50,000 Germans in Britain, of four distinct types (some byproducts of the larger migration from Bremen and Hamburg to America):

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 Business leaders like Ludwig Mond (ICI), Johan Ellerman (shipping line) Sir Ernst Cassel (whose daughter Edwina became Lady Mountbatten) and Siegfried Bettman (Triumph); and bankers like Rothschild, Kleinwort, Warburg and Baron Schroder.  Intellectuals and dissidents such as Marx (London) and Engels (Manchester), whose Communist Manifesto had much in common with Dickens’s critique of Victorian capitalism.  Teachers and clerks: two of the first senior teachers at University College School in London were German, and the school was favoured by German families.  Jews across the Baltic into the East End – mostly from Russia, but from Germany, too. The world wars of the early 20th century were uncomfortable for Germans. There were riots against German butchers and bakers in the First World War, especially after the sinking of the Lusitania in 1915. The government swept up Germans at the rate of a thousand a month and interned them in temporary prison camps. The one on the Isle of Man eventually held some 23,000 unwanted Germans, some of whom had sons in the British army. And in 1939 Churchill issued his famous command – ‘Collar the Lot!’ – which sent thousands of Germans back to the Isle of Man. These refugees from Hitler were extraordinary: thinkers – Isaiah Berlin, Ernst Gombrich and Karl Popper; publishers – André Deutsch and George Weidenfeld; musicians – this is where the Amadeus Quartet met, and other musicians included Otto Klemperer and George Solti. A German trio of impresarios also founded the perfectly English Glyndebourne. As one leading politician said: ‘Thank you, Hitler, for sending us men like these.’ Famous joke. When the British royal family changed its name in the run-up to war, they considered various names – ‘Plantaganet’, etc. – but settled on ‘Windsor’. Apparently, when the Kaiser heard this, he quipped that he was very much looking forward to the new Shakespeare play at the Staatstheater: The Merry Wives of Saxe-Coburg-Gotha! Postwar Germans migrated freely as citizens of the EU, urged on by cheap-flight, globalising culture. The last census estimated 40,000 Germans in London, 240,000 in the UK. Against this remarkable background we will mount an exhibition describing various aspects of German migration, for example two vividly contrasting German arrivals from the early 18th century. 1. The Poor Palatines – In 1708 the Whigs won the national election and introduced the Naturalisation Act, a kind-hearted offer of free passage to European Protestants. The following summer, thousands of oppressed peasants from the Rhineland began to pass through Rotterdam and across the Channel. Many had their sights set on America. By the end of the summer, some 13,000 weak and destitute travellers landed in London, more Migration Museum Project the first two years page 59

than the Lutheran German church could handle, even with the support of Queen Anne, whose relief fund, in an impressive show of generosity, raised some £20,000 (each Whig MP contributed £100). A thousand army tents were put on Blackheath in what was possibly the world’s first politically sponsored refugee camp. Londoners would walk there at weekends to have a beer and gawp at the new arrivals. The following summer they were shipped off to Ireland and America, and two years after that, a second, very different German migration appeared in London. 2. George, Elector Hanover, came on a smart royal yacht called the Peregrine, in 1714 – a choppy two-day crossing from the Hague. Nearly a million people lined the route from Greenwich to greet the new king. Unlike the poor Palatines, he rode in a glass carriage drawn by eight horses and accompanied by 200 other carriages stuffed with dignitaries and servants (grooms, tailor, trumpeters, footmen, pages and so forth). England’s upper crust went German: courtiers like Baron von Bernsdorff and Baron Bothmar controlled access to the King’s ear, and soon acquired English lands and titles. In their wake came artists like Henry Fuseli and Johann Zoffany, musicians like Handel and JC (the English) Bach. By the middle of the 18th century, in the reign of George II, there were some 5,000 Germans in Britain, mostly in prominent positions.

Germans Christmas Exhibit Our specific idea is a small seasonal installation – a Christmas tree – in December. The tree would serve as a colourful reminder of the German roots of the ‘typically British’ Christmas. The lights in the branches derive from Martin Luther (symbolising stars above a forest sky); many traditional carols (‘Silent Night’, ‘Oh Christmas Tree’) are German; and the whole aesthetic was popularised in this country by Victoria and Albert. The ‘decorations’ hanging from the tree could reveal other aspects of German immigration to Britain: the miners and engineers in Elizabethan times; the musicians and painters (and kings) in the Hanoverian era; the Protestant refugees during the Counter-Reformation; the teachers, bankers, industrialists and intellectuals (Marx and Engels) in the Victorian period ... and much else besides. There could be an accompanying seminar or lecture – a talk on Prince Albert (and Albertopolis), or a deconstruction of the Christmas pageant – as well. There could even be echoes and flavours of a German Christmas market. Such an exhibit could be an illuminating public display, but also an unusual setting for a Christmas party or two.

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Appendix 7 Education committee Sir Keith Ajegbo

Chair

Jill Rutter

DayCare Trust/Migration Museum Project

Rebecca Sullivan

Historical Association

Steve Brace

Royal Geographical Society

Sam Hunt

Sandhurst School

John Siblon

City and Islington Sixth Form College

Una Sookun

Woolwich Poly

Almir Koldzic

Refugee Council

Angie Kotler

Schools Linking Network

Sughra Ahmed

Policy Research Centre of the Islamic Foundation

Laura Wintour

Council for Assisting Refugee Academics

Ryan Mundy

Council for Assisting Refugee Academics

Prof Geri Smyth

University of Strathclyde School of Education

Andrew Steeds

Secretary

Sophie Henderson

Migration Museum Project

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Appendix 8 Meetings held with museums and others We have had meetings with the following museum contacts: Rhian Harris, trustee, 19 Princelet St and director, V&A Museum of Childhood Paul Reid, director, Black Cultural Archives Ray Barnett, collections manager, Bristol Museums (and site manager, MShed) David Spence, director, Docklands Museum Caro Howell, director, Foundling Museum Sabine Hentzsch, director, Goethe Institut Sue McAlpine, director, Hackney Museum Tessa Jackson, chief executive, Iniva Brenda Goldberg, director, Jewish Military Museum Rickie Burman, director, Jewish Museum Cathy Ross, director, Collections and Learning, Museum of London Ian Blatchford, director, National Museums of Science and Industry Heather Mayfield, deputy director, Science Museum Gwyn Miles, director, Somerset House Lizzie Carey-Thomas, curator, contemporary British Art, Tate Britain Iain Watson, director, Tyne and Wear Archives and Museums Tessa Murdoch, deputy keeper, sculpture, metalwork, ceramics and glass, V&A Achim Borchardt-Hume, senior curator, Whitechapel Gallery (soon to be head of exhibitions, Tate Modern) We are hoping to have meetings shortly with the following among others: Martin Roth, director V&A, the new director of the Museum of London; Sandy Nairne, director of the National Portrait Gallery; and representatives from National Archives, and the former British Empire and Commonwealth Museum. Other contacts We have had meetings with many, many others, including representatives from the Mayorâ&#x20AC;&#x2122;s culture and immigration and asylum teams, the Institute of Philanthropy, HLF, Oral History Society, Architectural Heritage Fund, English Heritage, Historical Association, Royal Geographical Society, Council for Assisting Refugee Academics, Facing History and Ourselves, British Future, and arts organisations such as MotiRoti. We have also met with others planning to develop migration-related attractions (Liverpool Vision and the Cunard Building), Kampfner Associates (advising Port of London about developing Tilbury Docks and trustees of SS Robin) and with Eric Reynolds of Urban Space Management, a developer who creates temporary and permanent spaces using shipping containers. Migration Museum Project the first two years page 62

Appendix 9 Volunteers

Name and occupation

Actual/anticipated contribution

Sophie Henderson, immigration judge

Full-time project co-ordinator

Caroline Evans, former chief executive Teaching Awards

Convening education committee

Andrew Steeds, consultant

Managing education committee, producing education materials on relevance of the Migration Museum Project to curriculum

Michael Soole, QC

Chair, fundraising committee

Chloe Wong, Oliver Letwin’s office

Intern – seminars, exhibitions and social media

Marjorie Isabelle, fundraiser Whittington Hospital

Fundraising advice

Tola Dabiri, Carnival Arts, previously MLA senior policy advisor

Convened team of four to pursue Olympics TV programme idea

Clare Askew, politics undergraduate

Website updating

Oana Nenciulescu, MA student international communications

Advertising ‘100 Images’, translating and placing feature in Romanian media

Suzi Ardley, digital marketing manager NMSI

Digital communications assistance

Emilie Yerby, civil servant

‘100 Images’ publicity, translation, IT

Frances McGee, retired assistant head teacher

Education

Melanie Brown, MA in multimedia journalism, exfundraiser, charity and refugee worker

Multimedia resources

Karen Pirie, Whistledown Productions

Audio content for website

Jess Mullen, Community Development Foundation

Exhibitions, cohesion policy and practice

Dr Natalie Tobert, cultural diversity trainer, former curator and archivist, Horniman Museum and Museum of London

Exhibitions, community engagement

Adeline Afi Ouro-Gnao, MPhil/PhD student in migration and cultures

General

Silaja Suntharalingam, head of programmes, development, Tate,

Events, exhibitions, fundraising

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Brochure printing kindly sponsored by PricewaterhouseCoopers Legal LLP

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