Migration Museum Project by Rival

How we got here: the first three years JUNE 2013

ALL OUR STORIES

Contents 1

Introduction

Executive summary

3 3.1

Our aims What form will the Migration Museum take?

5 6

4 4.1 4.2 4.3 4.4

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

8 8 10 11 12

5 5.1

Our long-term goal: a mobile Migration Museum Who will visit?

13 14

6 6.1 6.2 6.3 6.4 6.5 6.6

Outputs Seminars Exhibitions Education Website What do our outputs achieve? â&#x20AC;&#x2DC;100 images of migrationâ&#x20AC;&#x2122; at the Hackney Museum

16 16 17 18 19 20 21

The next two years

8 8.1 8.2

24 24

8.3 8.4

Development strategy and sustainability The marketplace and the market Exploring options for a physical space and building the business model Building support Partners

25 26 26

9 9.1 9.2

Evaluation and impact Reach Impact

27 27 27

10 10.1 10.2 10.3

Organisation Governance Management Committees and volunteers

28 28 28 29

Appendixes 1

Who we are

Distinguished friends

Five migration museums in other countries

Mobile museums built of shipping containers

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 construct a mobile Migration Museum out of shipping containers. 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. In our first two years, with very limited resources, we made more progress than we imagined possible: we established ourselves as a charity, built a website visited by more than 40,000 people, held four major events attended by more than 600 people, drew in over 70 distinguished friends2 – including two former Home Secretaries of differing political persuasions – ran a photo competition with the Guardian which in turn became the basis of a joint exhibition with Hackney Museum,3 developed partnerships with leading cultural and community organisations, attracted national media coverage and began to form an innovative, low-cost business model. We tested the temperature and found it to be warm; we built significant support for the concept and demonstrated our ability to create high-quality outputs with minimal resources. Our initial activity clearly resonated with the funders who have so generously enabled us to get this project off the ground. Grants from the Baring Foundation, Esmée Fairbairn Foundation, Rothschild Foundation, City Bridge Trust, Migration Foundation, Rayne Foundation, Alfred Caplin Charity Settlement, Unbound Philanthropy, Kohn Foundation, Nadir Dinshaw Charitable Trust and Artistic Endeavours Trust have enabled us to appoint a few members of staff to take this exciting project forward. We are now looking for further funding and support so that we can really make it fly.

For details of who we are, see Appendix 1.

For a list of distinguished friends, see Appendix 2.

Winning images can be seen on our website at www.migrationmuseum.org/; a selection has appeared in the Guardian’s G2 section. For more on ‘100 images of migration’, see page 21.

Migration Museum Project – the first three years, page 1

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, with people concerned about assaults on their ‘culture’. A Migration Museum is an appropriate cultural medium for addressing attitudes, humanising migrants by telling their stories (which, of course, turn out to be all our stories, too), 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 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.  We can capture 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 will have a physical space, most likely 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 – no more than £3 million in total to get the project up and running. We do 4

The Ellis Island Immigration Museum in New York is described in Appendix 3.

Migration Museum Project – the first three years, page 2

not aim to acquire a collection of our own but to borrow and breathe new life into what is already available; as much as 90 per cent 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 and the Paul Hamlyn Foundation 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 partnership with the Council for Assisting Refugee Academics (CARA). We have secured a partnership with Hackney Museum to put on an exhibition on ‘100 images of migration’, and with the Goethe-Institut to deliver a thought-provoking exhibition about Germans in Britain. Education is at our heart and we have already formed a high-powered education committee. With generous support from our funders, we have been able 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 an educational resource. 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 revision of the history curriculum. 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  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

Robert Winder is a member of the Migration Museum Project working group. His best-selling Bloody Foreigners: The Story of Immigration to Britain (2nd edn, Little Brown, 2013) has been an inspiration to us.

Migration Museum Project – the first three years, page 3

Our strategic plan for achieving these outputs is given on pages 22–3. 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 DNAtesting 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, before the end of 2014, 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. In addition to our current director and education officer, we will be run by a projects manager, fundraiser and 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 half its establishment cost.

Migration Museum Project – the first three years, page 4

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, 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 – and, since the 1990s, a broader range of migrants from the European Union and beyond. 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 pasta, curries and spring rolls, kebabs and oxtail soup. And who would we cheer on without our thousands of migrant sports stars, so winningly characterised by Mo Farah in the London 2012 Olympics? 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; non-nationals comprised a third of the British armed forces 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 settlers in Patagonia, Cornish miners in Mexico, and the forced

Migration Museum Project – the first three years, page 5

migration, often by well-intentioned 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 behind the times, increasingly, 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 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 excitement – like a travelling circus – and could tie in with local arts programmes and history societies, as well as touring a permanent exhibition.

Migration Museum Project – the first three years, page 6

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 and building 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.

Migration Museum Project – the first three years, page 7

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 Britain’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 recent British Social Attitudes report6 reveals that 75 per cent of people say that immigration should be reduced, with 51 per cent advocating a large reduction; the same survey showed an increase in the number of people believing that migrants had a negative economic impact (from 43 per cent in 2002 to 52 per cent in 2011). The Transatlantic Trends survey (see Figure 17) shows that 68 per cent 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 six countries saying immigration is more of a problem than an opportunity (%)

There is some evidence that young people’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

Ford, R, Morrell, G and Heath, A (2012) ‘Immigration: “Fewer but Better”? Public Views about Immigration’ in British Social Attitudes 29. 7

Blinder, S (2012) 'UK Public Opinion toward Immigration: Overall Attitudes and Level of Concern', Migration Observatory Briefing, COMPAS, University of Oxford.

Migration Museum Project – the first three years, page 8

counterparts in other countries.8 There is also evidence that opposition to immigration in Britain comes from feelings of threat to one’s group – especially to national identity or culture.9 More-recent evidence, however, appears to contradict these findings, reporting that 51 per cent of those surveyed thought that levels of racial prejudice were lower today than they were 20 years ago.10 Also on the positive side, there is a long-term change in attitudes, from a belief that Britishness is ancestral (rooted in whether one’s family is British)11 to an understanding that it is civic – based on citizenship, shared understanding and the rule of law.12 Furthermore, at a local level, evidence from a citizenship survey13 suggests that just 15–20 per cent 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 theory14 that evidence shows 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.15 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.16 Though it is notoriously difficult to change attitudes, still less behaviour,17 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 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

Blinder, S (2011) UK Public Opinion Toward Migration: Determinants of Attitudes, Oxford: Migration Observatory.

Katwala, S (2013) ‘The Integration Consensus: 1993–2013 – How Britain Changed since Stephen Lawrence’, London: British Future. 11 Heath, A and Tilley, J (2005) ‘British National Identity and Attitudes Towards Immigration’, International Journal on Multicultural Societies 7 (2005): 119–32. 12

Saggar, S, Somerville, W, Ford, R and Sobolewska, M (2012) The Impacts of Migration on Social Cohesion and Integration, final report to the Migration Advisory Committee. 13

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

Hewstone, M (2003) ‘Intergroup Contact: Panacea for Prejudice?’ The Psychologist, 16, 352–5.

Lemos, G (2005) The Search for Tolerance: Challenging Racist Attitudes and Behaviour Among Young People, York: Joseph Rowntree Foundation.

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. 17

Crawley, H (2009) Understanding and Changing Public Attitudes: A Review of Existing Evidence from Public Information and Communication Campaigns, Swansea: Centre for Migration Policy Research.

Migration Museum Project – the first three years, page 9

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. 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 Great Britain is one of the most notable absences in our cultural map. The Migration Museum Project commissioned scoping research18 to investigate representation of migration in the museums and heritage sectors in Britain and abroad. Some key findings were:  Unlike many other nations, migration is not part of the national mythology of the British Isles – 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.19 There are dedicated migration museums in the US, Canada, Australia, New Zealand, Denmark, France, Spain, Italy, Germany, Luxembourg and Serbia, and plans to create them in other countries. There is a growing number of European migration networks, notably the International Migration Museums Network 18

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/

For a description of some of the world’s Migration Museums, see Appendix 3.

Migration Museum Project – the first three years, page 10

established in 2006 by 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 every story except the national story; the closest thing we have to an institution representing the whole of our country’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.20 We aim – as does the Hackney Museum, with which we are already in partnership21 – 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 (see page 40) – 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. 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 (such as new migrants or marginalised communities) but, by placing the migration story at 20

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. 21

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.

Migration Museum Project – the first three years, page 11

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. As a result of current popular interest in genealogy, there are real possibilities for commercial partnerships, 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 ninth season in Britain). The 1940 US census, published in April 2012, is likely to promote yet further curiosity in the US and further afield.22 Online genealogy is roughly twice as popular in the UK as in the US.23 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.24 This is another growth industry and there is an increase in global research on the subject.25 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 show German London or Huguenot Rochester through the camera lens26 and develop multimedia walking, cycling or driving tours. Migration is a vibrant and expanding area of academic study. There are three worldleading research centres dedicated to migration in Oxford alone27 and many more around the country. Migration studies are increasingly incorporated into the teaching of a broad range of subjects at university level. 22

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

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

We observed the buzz this generates in our seminar on Migration and DNA at the Science Museum.

For example, the Genographic Project, a partnership between the National Geographic and IBM.

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 three years, page 12

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,28 which involves the use of shipping containers – which in themselves have an obvious and interesting link to the migration story.

Photos courtesy of Urban Space Management (Container City™) Ltd

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 4. 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

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

Migration Museum Project – the first three years, page 13

 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  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’ A feasibility study will consider this in more detail and also address revenue costs, income, staffing levels and so on.

5.1 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. Using the Mosaic market segmentation model,29 we expect the following Mosaic segments to be interested in the attraction.  Alpha territories  Liberal opinions  Professional rewards  Rural solitudes  Career and kids  New homemakers 29

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

Migration Museum Project – the first three years, page 14

Figure 2 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. These segments represent 36 per cent 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. Figure 2 Propensity of different population segments to visit art galleries and exhibitions (Mosaic Group model)

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 reveals that one of the key factors determining the propensity to visit for Alpha Territories and Liberal Opinions is the concept ‘for a limited time only’.30 This also suggests that a moving or temporary exhibition model may be commercially more viable. Those with a special interest in migration – 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 per cent 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 three years, page 15

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 are running a successful seminar programme. 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 between 2011 and 2013, all of which have had capacity audiences: 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 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, 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 3,000year-old Cohanim priesthood. We plan to make this event the basis of an application for funding to the Wellcome Trust for an exhibition based on DNA and migration. Migrants and medicine – this was also hosted by the Science Museum (again at the Dana Centre) and chaired by Ian Blatchford, the Science Museum’s director. Eva Loeffler, daughter of Sir Ludwig Guttmann, discussed her father’s work at Stoke Mandeville and his legacy as founder of the Paralympics; Ross MacFarlane, from the Wellcome Collection, explored the work of Henry Wellcome and his pharmaceutical research laboratories; Professor Dinesh Bhugra, chair of the Mental Health Foundation, presented some of his research into migration and mental health.

Migration Museum Project – the first three years, page 16

Linda Colley, professor of history at Princeton University, will be presenting a keynote address in 2014 on migration. In partnership with CARA, we will develop our ‘great minds’ seminars on migrants and intellectual thought in the next two years, the first three of which will look at the connection between migrants and architecture, philosophy and politics respectively. Other current ideas include:  Migration and leadership – we plan a series of in-conversation events with leaders with migrant backgrounds.  Migration and food – food is central to the cultural identity of all people, and we aim to develop an exhibition and events in collaboration with the Jewish Museum  Migration and sport – involving distinguished friend Mihir Bose and trustee Robert Winder  Migration and language – involving our distinguished friend David Crystal  Emigration to the New World – possibly 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 new gallery on migration history in the Discovery Museum  Law and migration – with our distinguished friend Manjit Gill QC

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. 100 images of migration Our first real footprint in the world of museums was in June 2013, when we joined forces with Hackney Museum to display photos taken from the ‘100 images of migration’ competition, which we ran with the Guardian newspaper. This exhibition is a perfect illustration of the way in which we plan to work on future events – in partnership with other organisations and soliciting the input and stories from the communities in which the events are to be held. (There are photographs from this exhibition, and more details about the competition, on page 21 of this brochure.) Germans in Britain With the support of the Goethe-Institut and the Museum of London, we plan to mount an exhibition on the subject of Germans in Britain, which is a fascinating and muchoverlooked story. The British are much more German than they like to think they are

Migration Museum Project – the first three years, page 17

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 population31 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; 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.

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, 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. In April 2013 we appointed an education officer,32 who will be honing our education strategy and driving it forward over the next twelve months, supported by the Migration Museum Project’s education committee.33 These are some of the likely areas of activity:  We aim to develop our website as a hub for evidence-based learning about migration, so that it becomes 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.  We will produce 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 31

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

Emily Miller, who has an employment background with Teach First, the Youth and Philanthropy Initiative, the Institute of Philanthropy and as a project co-ordinator for United Network of Young Peacebuilders in the Hague.

For membership, see Appendix 1.

Migration Museum Project – the first three years, page 18

 We will provide an account of the relevance of the migration story to the National Curriculum principally in history, geography, citizenship and English.  We will develop a historical time-line, with associated on-line resources, in partnership with the Historical Association.  We will develop a resource associated with our exhibitions. 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 selfpaced workshops, teacher strategies, discussion forums, lesson plans and schemes of work. 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 – parents, community and migrant groups, the media, academics and policy makers. 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. Over time, we may also instigate our own live ‘community conversations’ in partnership with an organisation such as 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. We already have good links with organisations such as the Historical Association, Royal Geographical Society and CARA. 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 Month, Holocaust Memorial Day and Refugee Week. In all these ways, we will broaden our learning and extend our reach. Bloody Foreigners, if issued as a learning resource, will be an authoritative and influential resource associated with our brand.

6.4 Website The Migration Museum will reach audiences nationally and globally through on-line communications and engagement. The on-line presence of the museum will be usercentric and participatory and enable audiences to contribute their own content.

Migration Museum Project – the first three years, page 19

Our website was developed at low cost,34 using images generously provided by the Jewish Museum, Museum of London and others. During its first two years it attracted 40,000 visitors from all over the world. Over the next two years we expect the site to be seen by 150,000 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 and 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 already have more than 1,300 followers on Twitter). We aim to develop our website so that it becomes:  a hub for unifying existing migration initiatives around the country – we hope to do this in partnership with organisations such as We Are What We Do, creators of History Pin  a hub for migration education  a hub for migration-related arts  a vehicle for communicating with our audiences – we aim to start a weekly blog (well-written and beautifully illustrated like Spitalfields Life35 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  a tool for evaluation  a means of engaging the press  a vehicle for marketing and fundraising

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.

Our website and brand were developed by Garden: http://brandingbygarden.com/

http://spitalfieldslife.com/

Migration Museum Project – the first three years, page 20

6.6 ‘100 images of migration’ at the Hackney Museum We made our first footprint in the world of museums with an exhibition on ‘100 images of migration’, in partnership with Hackney Museum, from 11 June to 31 August 2013. The exhibition arose out of a competition we ran in partnership with the Guardian newspaper in 2011. We invited entrants to submit an image resonant of migration, with a short explanation of what the image meant to them. We attracted over 700 diverse entries covering the long story of Britain as a migrant nation. Sue McAlpine, curator at the Hackney Museum and a distinguished friend, decided to turn the competition into an exhibition focusing on 20th-century migration to and from the UK, with a special emphasis on Hackney. Right Photo credit: © 2010 Kajal Nisha Patel Mother, great-aunt and maternal grandmother wait for the groom, Khurram Ahmad, on the day of his shaadi (wedding) in Leicestershire. The women were born in pre partition India, now Pakistan; Khurram is British-born. He upholds the tradition of living with his parents and taking care of them in their old age. He is discussing the final arrangements of his wedding day with friends. This is the official day of the wedding, but Muslim weddings are often celebrated for several days: mehndi (henna party), civil ceremony, nikah (religious ceremony) and a walima (reception).

Right Photo credit: Stephen Sedley (distinguished friend and former judge of the Court of Appeal) My grandfather’s shop, 1913. The crochet in the window was made by my grandmother.

Right Photo credit: © Tim Smith Leeds children play – Beeston area of Leeds I like this picture as it asks as many questions as it answers, and suggests the way in which second and third generations of migrant communities are creating new identities and navigating new ways of living in Britain, as well as having to overcome significant obstacles.

Far right Photo credit: © Colin O’Brien Raymond Scalionne and Razzi Tuffano, Hatton Garden, Clerkenwell, 1949 This area was known as ‘Little Italy’ because of the large Italian community in the area surrounding the Catholic Saint Peter’s Church in Clerkenwell Road.

Migration Museum Project – the first three years, page 21

7 The next two years MIGRATION MUSEUM PROJECT â&#x20AC;&#x201C; STRATEGIC PLAN Why we exist: To address the gap in knowledge and appreciation of Britainâ&#x20AC;&#x2122;s heritage as a country

of migration, which contributes to hostile attitudes, poor debate and less civility. MIGRATION MUSEUM PROJECT â&#x20AC;&#x201C; STRATEGIC PLAN

Why we exist: 4O ADDRESS THE GAP IN KNOWLEDGE AND APPRECIATION OF "RITAIN S HERITAGE AS A COUNTRY Goal: To create a Migration Museum that will contribute to more reasoned public debate and OF MIGRATION WHICH CONTRIBUTES TO HOSTILE ATTITUDES POOR DEBATE AND LESS CIVILITY attitudes, and promote civic integration. To be achieved through (a) an educational and learning programme of migration history, Goal: 4O CREATE A -IGRATION -USEUM THAT WILL CONTRIBUTE TO MORE REASONED PUBLIC DEBATE AND ATTITUDES AND PROMOTE CIVIC INTEGRATION (b) related exhibitions and content for a museum and (c) a physical museum. 4O 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

Activities Activities

Rationales

Rationales â&#x20AC;¢ Improving understanding s )MPROVING UNDERSTANDING of, and public opinion OF AND PUBLIC OPINION about, immigrants requires ABOUT IMMIGRANTS REQUIRES understanding of Britainâ&#x20AC;&#x2122;s UNDERSTANDING OF "RITAIN S MIGRATION HISTORY migration history

Build organisation and support

Build organisation and support â&#x20AC;¢ Establish funded management team and organisation s %STABLISH FUNDED MANAGEMENT TEAM AND ORGANISATION â&#x20AC;¢ Complete feasibility study for mobile museum s #OMPLETE FEASIBILITY STUDY FOR MOBILE MUSEUM â&#x20AC;¢ Build and diversify board of trustees s "UILD AND DIVERSIFY BOARD OF TRUSTEES â&#x20AC;¢ Business, strategic, communications, community engagement, audience development s "USINESS STRATEGIC COMMUNICATIONS COMMUNITY ENGAGEMENT AUDIENCE DEVELOPMENT PLANS s #ONSTITUTE RELEVANT COMMITTEES â&#x20AC;¢ Constitute relevant committees s &UNDRAISE FOR CORE COSTS AND MOBILE MUSEUM â&#x20AC;¢ Fundraise for core costs and mobile museum s ! MUSEUM BASED s "UILD MUSEUM COMMUNITY UNIVERSITY MEDIA COMMERCIAL AND OTHER PARTNERSHIPS â&#x20AC;¢ AEDUCATIONAL PROGRAMME WILL museum-based â&#x20AC;¢ Build museum, community, university, media, commercial and other partnerships s 0UBLIC CONSULTATION AND EVALUATION educational programme will s 2ECRUIT DISTINGUISHED SUPPORTERS AND PRIVATE COLLECTORS â&#x20AC;¢ Public consultation and evaluation INFORM ATTITUDES OF n

plans

inform attitudes of 5â&#x20AC;&#x201C;18 YEAR OLDS AND INSPIRE A NEW â&#x20AC;¢ Recruit distinguished supporters and private collectors DYNAMIC IN PUBLIC DISCOURSE year olds and inspire a new Raise awareness s 0 UBLIC EVENTS SEMINARS ANNUAL LECTURE AND lELDING SPECIALIST SPEAKERS AT EXTERNAL EVENTS dynamic in public discourse s ! GAP IN THE MARKET NO Raise awareness EXISTING -IGRATION -USEUM

â&#x20AC;¢ AOR "RITISH HISTORY MUSEUM gap in the market; no existing Migration Museum s ,IKELY POPULAR APPEAL or British history museum s %NGAGING COMMUNITIES

â&#x20AC;¢ Likely popular appeal COUNTRYWIDE â&#x20AC;¢ Engaging communities Assumption countrywide s 4HERE IS A CRITICAL MASS OF ACTIVE INDIVIDUALS PARTNER ORGANISATIONS AND FUNDERS Assumption COMMITTED TO MIGRATION EDUCATION THROUGH A â&#x20AC;¢ There is a critical mass of MUSEUM MODEL active individuals, partner

organisations, and funders s .O EXISTING EDUCATIONAL OR CULTURAL INSTITUTION lLLS THE committed to migration GAP AND THERE IS SIGNIlCANT education through a MATERIAL AVAILABLE FOR LOANS museum model. AND IN EXHIBITIONS THAT COULD SUPPORT A -IGRATION -USEUM

â&#x20AC;¢ 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

s )DENTIFY AND TARGET SPECIlC AUDIENCES â&#x20AC;¢ Public events (seminars, annual lecture and fielding s 2AISE MEDIA PROlLE E G @ IMAGES COMPETITION â&#x20AC;¢ Identify and target specific audiences s $RIVE TRAFlC TO WEBSITE VIA SOCIAL MEDIA s .EWSLETTER AND BLOG â&#x20AC;¢ Raise media profile (e.g. â&#x20AC;&#x2DC;100 imagesâ&#x20AC;&#x2122; competition)

specialist speakers at external events)

â&#x20AC;¢ Drive traffic to website via social media

Develop exhibitions/museum content â&#x20AC;¢ Newsletter and blog s 3HOW lRST EXHIBITION n @ IMAGES OF MIGRATION AT (ACKNEY -USEUM AND SECURE LEGACY s $EVELOP EXHIBITION IN PARTNERSHIP WITH *EWISH -USEUM Develop exhibitions/museum content s $EVELOP @'ERMANS IN "RITAIN EXHIBITION s 0LAN EXHIBITION VENUES PARTNERS AND FUNDERS â&#x20AC;¢ Show first exhibition â&#x20AC;&#x201C; â&#x20AC;&#x2DC;100 images of migrationâ&#x20AC;&#x2122; at Hackney Museum s #ONDUCT EXTENSIVE RESEARCH INTO EXISTING COLLECTIONS AND EXHIBITIONS â&#x20AC;¢ Develop exhibition in partnership with Jewish Museum s %STABLISH MUSEUM S CREATIVE VISION AND CORE NARRATIVE WITH ACADEMIC AND CURATORIAL INPUT

and secure legacy

â&#x20AC;¢ Develop â&#x20AC;&#x2DC;Germans in Britainâ&#x20AC;&#x2122; exhibition

â&#x20AC;¢ Plan exhibition venues, partners and funders Develop education programme s %DUCATION OFlCER AND COMMITTEE TO DEVELOP TEACHING MATERIALS AND ADVISE ON MIGRATION TEACHING â&#x20AC;¢ Conduct extensive research into existing collections and exhibitions s 2EVIEW MIGRATION TEACHING RESOURCES NATIONWIDE AND MAKE AVAILABLE VIA --0 WEBSITE â&#x20AC;¢ Establish museumâ&#x20AC;&#x2122;s creative vision and core narrative with academic and curatorial input s %STABLISH PARTNERSHIPS WITH ALIGNED ORGANISATIONS s 'ROW TEACHERS MIGRATION NETWORK Develop education programme s ,OBBY FOR INCLUSION OF MIGRATION IN CURRICULUM â&#x20AC;¢ Education officer and committee to develop teaching materials and advise on migration teaching s $EVELOP TEACHING RESOURCES FROM Bloody Foreigners â&#x20AC;¢ Review migration teaching resources nationwide and make available via MMP website

Develop website partnerships with aligned organisations â&#x20AC;¢ Establish s !DD EDUCATION ARTS PARTNERSHIP AND PROJECT NEWS CONTENT â&#x20AC;¢ Grow teachersâ&#x20AC;&#x2122; migration network s $EVELOP BLOG AND DISCUSSION FORUMS ENABLE CONTRIBUTIONS COLLECT DATA AND â&#x20AC;¢ Lobby for inclusion of migration in curriculum CONDUCT WEB BASED EVALUATION s 3OCIAL MEDIA FEEDS WEB OPTIMISATION PRESS AND FUNDRAISING ACTIVITY â&#x20AC;¢ Develop teaching resources from Bloody Foreigners

Develop website â&#x20AC;¢ Add education, arts, partnership and project news content â&#x20AC;¢ Develop blog and discussion forums, enable contributions, collect data and External factors: 3OCIAL UNREST RELATED TO IMMIGRATION PUBLIC SPENDING CLIMATE AND ECONOMIC conduct web-based evaluation GROWTH GOVERNMENT POLICY ON ARTS CULTURE AND MIGRATION â&#x20AC;¢ Social media feeds, web optimisation, press and fundraising activity

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

Migration Museum Project â&#x20AC;&#x201C; the first three years, page 22

GE AS A COUNTRY

Outputs

Short-term outcomes (1yr)

Intermediate outcomes (2â&#x20AC;&#x201C;3yrs)

Long-term outcomes (4â&#x20AC;&#x201C;5yrs)

Outputs Short-term Intermediate Long-term outcomes (1yr) outcomes (2â&#x20AC;&#x201C;3yrs) outcomes (4â&#x20AC;&#x201C;5yrs) â&#x20AC;¢ Established organisation with diverse â&#x20AC;¢ Well-supported and â&#x20AC;¢ Well-established â&#x20AC;¢ Significant capacity to trustees, supporting committees, staff, funded educational and fundraising apparatus develop and create a s %STABLISHED ORGANISATION WITH DIVERSE s 7ELL SUPPORTED AND s 7ELL ESTABLISHED s 3IGNIlCANT CAPACITY TO volunteers, and sustainable businessTRUSTEES SUPPORTING COMMITTEES STAFF plan cultural charity with in place and at least FUNDRAISING APPARATUS new mobile museum FUNDED EDUCATIONAL AND DEVELOP AND CREATE A VOLUNTEERS AND SUSTAINABLE BUSINESS PLAN CULTURAL CHARITY WITH NEW MOBILE MUSEUM â&#x20AC;¢ Critical mass of supporters with clear engaged communities, Â£1.5m raised (50% IN PLACE AND AT LEAST s #RITICAL MASS OF SUPPORTERS WITH CLEAR ENGAGED COMMUNITIES sense of mission increased number of establishment cost ofa M RAISED â&#x20AC;¢ Increased public SENSE OF MISSION INCREASED NUMBER OF ESTABLISHMENT COST OF s )NCREASED PUBLIC â&#x20AC;¢ Established brand supportive allies and key SUPPORTIVE ALLIES AND KEY mobile museum) s %STABLISHED BRAND MOBILE MUSEUM support, and awareness SUPPORT AND AWARENESS â&#x20AC;¢ Strong partnerships partners of Britainâ&#x20AC;&#x2122;s heritage as s 3TRONG PARTNERSHIPS PARTNERS OF "RITAIN S HERITAGE AS s %NGAGED COMMUNITIES â&#x20AC;¢ Engaged communities â&#x20AC;¢ Thriving organisation run s 4HRIVING ORGANISATION RUN s &IRST EXHIBITION ON TOUR A MIGRANT NATION â&#x20AC;¢ First exhibition on tour a migrant nation â&#x20AC;¢ Effective fundraising apparatus s %FFECTIVE FUNDRAISING APPARATUS by 3â&#x20AC;&#x201C;4 employees and BY n EMPLOYEES AND â&#x20AC;&#x2DC;100 imagesâ&#x20AC;&#x2122;, second@ IMAGES SECOND OBILE MUSEUM PLANNED AND PARTLY FUNDED UP TO VOLUNTEERS s 3IGNIlCANT CULTURAL â&#x20AC;¢ Mobile museum planned and partlys funded up to 15 volunteers and third exhibitions AND THIRD EXHIBITIONS â&#x20AC;¢ Significant cultural s 2EACH AND IMPACT DATA COLLECTED SHOWN REACHING OUTPUTS INCLUDING â&#x20AC;¢ Reach and impact data collected shown, reaching outputs, including: s 2ISE IN AWARENESS THOUSANDS OF VISITORS IN REGULAR EXHIBITIONS â&#x20AC;¢ Rise in awareness thousands of visitorsTOTAL @-IGRATION -OSAIC in s 3EMINAR LECTURE SERIES IN KEY AUDIENCES THROUGH regular exhibitions; AUTHORITATIVE LEADING s 3TRONG BRAND AWARENESS ESTABLISHED AS NATIONAL INTERACTIVE WEBSITE â&#x20AC;¢ Seminar/lecture series total, â&#x20AC;&#x2DC;Migration Mosaicâ&#x20AC;&#x2122; in key audiences through EXPOSURE TO authoritative, leading s % ARNED DONATED MEDIA HUB FOR MIGRATION @ IMAGES EXHIBITION SEMINARS AND OTHER â&#x20AC;¢ Strong brand awareness established as national exposure to interactive website; s )NCREASED WEB TRAFlC INITIATIVES NATIONWIDE VISITORS SEMINARS EVENTS â&#x20AC;¢ Earned/donated media hub for migration AND CONTINUED seminars and other â&#x20AC;&#x2DC;100 imagesâ&#x20AC;&#x2122; exhibition LECTURES EVENTS s $EBATE AND COMMUNICATION AMONG KEY â&#x20AC;¢ Increased web traffic initiatives nationwide, (8,000 visitors)seminars/ events AUDIENCES PROGRAMME OF SEMINARS REACHED WEBSITE s %DUCATION PROGRAMME AND EVENTS â&#x20AC;¢ Debate and communication among key and continued lectures/events (3,000 TOTAL VISITORS REACHING SUBSTANTIAL MAILING LIST AND s + EY CULTURAL OUTPUTS NUMBERS OF CHILDREN audiences programme of seminars reached), website â&#x20AC;¢ Education programme NATIONAL MEDIA COVERAGE s 0 UBLIC SUPPORT FOR A A PILOT EXHIBITIONS AGED n and events (100,000 total visitors), reaching substantial CULTURAL ASSET DEDICATED B INTERACTIVE @-IGRATION -OSAIC WEBSITE mailing list (2,000) and â&#x20AC;¢ Key cultural outputs: numbers of children TO TELLING THE PORTAL FOR MIGRATION INITIATIVES NATIONWIDE s @ )MAGES OF MIGRATION national media coverage EXHIBITION LEGACY PLANNED â&#x20AC;¢ Public support for a STORY OF "RITISH MIGRATION (a) pilot exhibitions C @'REAT MINDS AND @-IGRANTS AND aged 5â&#x20AC;&#x201C;18 LEADERSHIP SEMINAR SERIES AND OTHER EVENTS s 3ECOND AND THIRD cultural asset dedicated (b) interactive â&#x20AC;&#x2DC;Migration Mosaicâ&#x20AC;&#x2122; website s .ATIONAL COLLECTIONS EXHIBITIONS SURVEYED s 7ELL DEVELOPED to telling the portal for migration initiatives nationwide â&#x20AC;¢ â&#x20AC;&#x2DC;100 Images of migrationâ&#x20AC;&#x2122; EXHIBITIONS WELL FOR LOANS DEVELOPED INTERACTIVE WEBSITE (c) â&#x20AC;&#x2DC;Great mindsâ&#x20AC;&#x2122; and â&#x20AC;&#x2DC;Migrants ands -USEUM S CREATIVE VISION AND CORE exhibition legacy planneds 7ELL DEVELOPED SEMINAR story of British migration ENGAGING leadershipâ&#x20AC;&#x2122; seminar series, and otherNARRATIVE ESTABLISHED events â&#x20AC;¢ Second and third SERIES VISITORS 7ELL DEVELOPED s )NTERACTIVE @-IGRATION â&#x20AC;¢ National collections/exhibitions surveyed exhibitions well EDUCATION PROGRAMME â&#x20AC;¢ Well-developed -OSAIC WEBSITE PILOT s 7EBSITE AS HUB FOR EXCELLENT MIGRATION for loans developed interactive website REACHING SCHOOLS COMPLETE TEACHING MATERIALS INCLUDING THOSE AND WEBSITE â&#x20AC;¢ Museumâ&#x20AC;&#x2122;s creative vision and core â&#x20AC;¢ Well-developed seminar s +NOWLEDGE OF AVAILABLE engaging 150,000 VISITORS ,IVE AUDIENCES PRODUCED BY EDUCATION COMMITTEE narrative established series visitors. Well-developed LOAN MATERIAL s 4EACHERS MIGRATION NETWORK OF AT LEAST â&#x20AC;¢ Interactive â&#x20AC;&#x2DC;Migration s #ORE NARRATIVE AND education programme s 3TRONG SCHOOLS AND OTHER PARTNERSHIPS REACHED -AILING LIST OF CREATIVE VISION INFORMING s ' OVERNMENT LOBBIED TO INCREASE Mosaicâ&#x20AC;&#x2122; website pilot â&#x20AC;¢ Website as hub for excellent migration reaching 50 schools ALL CULTURAL OUTPUTS MIGRATION TEACHING complete teaching materials including those and 25,000 website s Bloody Foreigners TEACHING RESOURCES s -EASURABLE IMPACT ON â&#x20AC;¢ Knowledge of available s %DUCATION PROGRAMME produced by education committee visitors. Live audiences TEACHERS AND CHILDREN S loan material â&#x20AC;¢ Teachersâ&#x20AC;&#x2122; migration network of at least 7,000 ESTABLISHED n s 7EBSITE AS @-IGRATION -OSAIC INTERACTIVE AWARENESS OF "RITAIN AS â&#x20AC;¢ Core narrative and SCHOOLS ENGAGED â&#x20AC;¢ Strong schools and other partnerships reached. Mailing listA MIGRANT NATION of PORTAL AND HUB FOR EDUCATION AS WELL AS VISITORS TO EDUCATION WEB FOR PARTNERSHIP DISCUSSION FUNDRAISING AND creative vision informing â&#x20AC;¢ Government lobbied to increase 3,000 PAGE SURVEYING all cultural outputs migration teaching â&#x20AC;¢ Bloody Foreigners teaching resources â&#x20AC;¢ Measurable impact on â&#x20AC;¢ Education programme teachersâ&#x20AC;&#x2122; and childrenâ&#x20AC;&#x2122;s established, 10â&#x20AC;&#x201C;20 â&#x20AC;¢ Website as â&#x20AC;&#x2DC;Migration Mosaicâ&#x20AC;&#x2122; interactive awareness of Britain as schools engaged, 12,500 portal, and hub for education, as well as a migrant nation visitors to education web for partnership, discussion, fundraising and page surveying

Migration Museum Project â&#x20AC;&#x201C; the first three years, page 23

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.36 We will concentrate on the following key areas, some of which will be explored by our feasibility study:  The marketplace and the market  Exploring options for a physical space and building 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 10–11); 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 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. 36

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 three years, page 24

8.2 Exploring options for a physical space and building the business model 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. We are currently undertaking feasibility work to test options for delivering the Migration Museum in shipping containers, capable of touring the country, and to create a sustainable business 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.

Migration Museum Project – the first three years, page 25

8.3 Building support We have continued our programme of building support through events. We have developed our group of trustees, and will continue to incorporate into the mixture operational and commercial experience, looking at retail, media reach (including new media and publishing) and marketing as areas to be covered. We have constituted a fundraising committee, chaired by Michael Soole, chair of trustees of the Oxford Literary and Debating Union Charitable Trust.37 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 selfsustaining through long-term 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. We have established a staffing budget, and our appointment of a project director was an important milestone, giving the operational leadership that the funding of the project will need. We will continue to seek funding for our operation and capital costs in the years to come.

8.4 Partners We will intensively seek partnerships in the following areas:  Business partners/sponsors  Museums  Media and publishing 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.

See Appendix 1 for details of membership.

Migration Museum Project – the first three years, page 26

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 150,000 visitors will access the Migration Museum Project’s site over the next two years, of whom 25 per cent will engage with the education programme. We will count attendances at our events – conferences, workshops, lectures, and ‘community conversations’. More than 600 people have attended our own events so far, and a further 1,500 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.

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 will continue to poll visitors to our events and to 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.38 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:  Teacher impact/efficacy – teachers’ knowledge and skills in teaching Britain’s heritage as a migrant nation and related issues, measured by their ability to make the subject relevant to students with diverse personal, cultural and social identities  Student impact – students’ understanding of Britain’s migrant heritage, critical thinking, tolerance, and 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.

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

Migration Museum Project – the first three years, page 27

10 Organisation 10.1 Governance The Migration Museum Project is a charitable company, with ten 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 a working group, comprising all trustees and other members, which meets approximately monthly.39

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 September 2012, the project has been directed by Sophie Henderson, who had worked previously as a full-time volunteer on the project, having suspended her employment as an immigration lawyer to get the project off the ground. And, as previously mentioned, Emily Miller was appointed as education officer in April 2013. We will be recruiting a projects manager in the near future and will continue to recruit volunteers, who have served us so well in the past. 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, Ratan Vaswani, John OrnaOrnstein and Silaja Birks have advised in particular on matters relating to museums, audiences and community engagement. Our latest trustee and new treasurer, Lee Rochford, brings invaluable experience and financial expertise. 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 73 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, George Alagiah has become something of an ambassador for the project; Richard Beswick has donated copies of Bloody Foreigners; Ian Blatchford chaired and arranged sponsorship for our seminars at the Science Museum; Afua Hirsch and Kwame Kwei-Armah were judges on our ‘100 images of migration’ competition; Lord Moser is a close adviser; David Blunkett, Mike Phillips, David Miles, George Alagiah and Professor Dinesh Bhugra have spoken at our events; Julia 39

For details of who we are, see Appendix 1.

Migration Museum Project – the first three years, page 28

Onslow-Cole has generously arranged for PwC Legal sponsorship of our brochure and second seminar at the RSA and has hosted a dinner on our behalf; Sir Keith Ajegbo and Michael Soole QC have chaired our education and fundraising committees, respectively; Sue McAlpine has curated our ‘100 images of migration’ exhibition, to which Sir Nicholas Blake, Mihir Bose, Professor Linda Colley, Lord Alf Dubs, Sir Konrad Schiemann and Sir Stephen Sedley have also contributed; Sir Ralph Kohn has sponsored our ‘great minds’ series of seminars with CARA; Professor Francesca Klug arranged for our first seminar to be held at the LSE.

10.3 Committees and volunteers Our education and fundraising committees meet regularly. We have been assisted from time to time by a number of brilliant volunteers – for a full list, see Appendix 1.

Migration Museum Project – the first three years, page 29

Appendix 1 Who we are Trustees 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 – 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 Lecturer in Arts Management, Cultural Policy and Museum Studies at the University of Manchester. She has extensive experience in the capital development of history museums from her previous role as acting deputy director at the Museum of Liverpool, 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. Prior to joining IPPR, she was a project coordinator at the Migrant and Refugee Communities Forum, where she led a national oral history project on the Moroccan diaspora in the UK. As part of this project she curated a national and international touring exhibition on British-Moroccans and the history of migration since the nineteenth century. Myriam

Migration Museum Project – the first three years, page 30

also worked as a consultant and researcher on a number of European projects looking at the integration of ethnic minorities. She has also taught at the University of Sussex. John Orna-Ornstein John Orna-Ornstein is Head of National Programmes at the British Museum and works with museums and galleries in every part of the UK. His 15 years at the British Museum have included roles ranging from curatorial to education to management, and he has also worked in the international development industry. John is a board member of the Museums Association, International Council of Museums UK and the London Museums Group. He is a fellow of the Clore Cultural Leadership Programme 2012/13. Lee Rochford Following a 25-year career in the financial services industry, Lee is currently Head of Financial Institutions, EMEA (Europe, the Middle East and Africa) at Royal Bank of Scotland. He reports directly to the Co-CEOs of Markets and is responsible for coverage of RBS’s Financial Institution clients in EMEA across the full range of the firm’s products. Lee joined Royal Bank of Scotland in 2007 and has performed a variety of different client and product roles in that time. Previously, he ran Credit Suisse’s European Asset Finance team and had roles at Paribas and British & Commonwealth Merchant Bank. Lee served for 17 years as a Board member of Metropolitan Housing Partnership, acting as the Chair of the Finance Committee for the majority of that time. Jill Rutter Jill Rutter is research manager, Family and Childcare 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 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.

Migration Museum Project – the first three years, page 31

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 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. He is now a freelance events programmer. Ian Wilson Ian Wilson has recently been appointed Assistant Director of Operations (Dorset & Wiltshire) at the National Trust. Ian was previously Assistant Director of External Affairs, and was also responsible for the Trust’s operations and community work in London, during which time he oversaw the acquisition of the home of Kenyan born poet and artist Khadambi Asalache. He is also a former Trustee of the Heritage Alliance. Before 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.

Migration Museum Project – the first three years, page 32

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 (the second edition of which was published in 2013) 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.

Staff Sophie Henderson, project director 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. Emily Miller, education officer Emily joins the Migration Museum Project from a background in education and youth development work. Following an anthropology degree she trained as a Citizenship teacher with Teach First in Manchester and then moved on to co-ordinate an international education programme encouraging secondary school pupils into philanthropy. More recently she has been pursuing her interest in young people and conflict resolution by working at Seeds of Peace summer camps – which bring teenagers from the Middle East and South Asia together in America – and taking an MA in Conflict Resolution in the Peace Studies division at Bradford University, where her dissertation focused on young people’s attitudes to diversity in France and the UK. She joins us after eight months’ co-ordinating projects for an international youth network NGO in the Hague.

Committees Education committee Sughra Ahmed

Policy Research Centre of the Islamic Foundation

Steve Brace

Royal Geographical Society

Sophie Henderson

Migration Museum Project

Sam Hunt

Sandhurst School

Migration Museum Project – the first three years, page 33

Almir Koldzic

Refugee Council

Angie Kotler

Schools Linking Network

Emily Miller

Education officer, Migration Museum Project

Ryan Mundy

Council for Assisting Refugee Academics

Jill Rutter

DayCare Trust/Migration Museum Project

John Siblon

City and Islington Sixth Form College

Professor Geri Smyth

University of Strathclyde School of Education

Una Sookun

Woolwich Poly

Andrew Steeds

Secretary, Migration Museum Project

Rebecca Sullivan

Historical Association

Fundraising committee Michael Soole QC

Chair

George Alagiah OBE

Broadcaster and journalist

Lord Moser Barbara Roche

Migration Museum Project

Lee Rochford

Head of Financial Institutions, EMEA, RBS

Judith Unwin

Head of UK Export Finance, BNP Paribas

Volunteers Clare Askew, politics graduate Silaja Birks, head of programmes, development, Tate Modern Roberta Capozucca, MA student Tola Dabiri, formerly Carnival Arts, and MLA senior policy advisor Caroline Evans, Queen Elizabeth Prize for Engineering Lola Gazounaud, undergraduate Jackson Howarth, student John Kelly, Mira Kelly Fundraising Neil Martinson, communications adviser, formerly director COI Oana Nenciulescu, MA student international communications Anya Pearson, researcher Emma Williams, chief executive, Student Action for Refugees Chloe Wong, Foundling Museum

Migration Museum Project â&#x20AC;&#x201C; the first three years, page 34

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 Professor Dinesh Bhugra CBE Sir Geoffrey Bindman Sir Nicholas Blake Ian Blatchford Rt Hon David Blunkett Dr Alan Borg CBE FSA Mihir Bose Alain de Botton Rickie Burman Saimo Chahal Shami Chakrabarti Dr Jung Chang Stephen Claypole Professor Robin Cohen Professor Linda Colley CBE Professor David Crystal 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 Professor Francesca Klug Sir Ralph Kohn FRS Sir Hans Kornberg FRS

Professor Sir Harold Kroto Professor Tony Kushner Kwasi Kwarteng Kwame Kwei-Armah Brian Lambkin Lord Lester of Herne Hill QC Joanna Lumley OBE Michael Mansfield QC Heather Mayfield Sue McAlpine David Miles Abigail Morris Lord Moser KCB CBE FBA Hugh Muir Sandy Nairne CBE FSA Sir Vidia Naipaul John O’Farrell Julia Onslow-Cole Lord Herman Ouseley Lord Bhikhu Parekh Caryl Phillips Dr Mike Phillips OBE FRSL FRSA Trevor Phillips OBE Professor Martin Roth Sir Salman Rushdie Professor Philippe Sands QC Rt Hon Sir Konrad Schiemann Rt Hon Sir Stephen Sedley Saira Shah Jon Snow Michael Soole QC David Spence Danny Sriskandarajah Rt Hon Lord Steyn of Swaffield Lord Taverne QC Edmund de Waal Jake Wallis Simons Sir David Warren KCMG Benjamin Zephaniah

Migration Museum Project – the first three years, page 35

Appendix 3 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.

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 museum was built at a cost of €20.5 million and opened to the public in August 2005. It has had consistently around 220,000 admissions a year since opening, 90 per cent of the visitors being German, with around 33,000 school trips each year. Most international visitors are from the USA and Canada.

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

Migration Museum Project – the first three years, page 36

Victoria’s scientific and cultural collections. It opened in September 1998 and generally attracts about 120,000–135,000 visits a year.

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 per cent of visitors. Admission is free.

Canadian Museum of Immigration, 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. It has about 50,000 visits annually. 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.

Migration Museum Project – the first three years, page 37

Appendix 4 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 highdefinition 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. 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.40

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 tentlike fabric fills in the gaps between the containers and serves as the roof.41 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.

You can see a video of the WALL on YouTube and read about it in ‘Museums and the Web 2011 Taking the Museum to the Streets’: www.museumsandtheweb.com/mw2011/papers/taking_the_museum_to_the_streets

New York Magazine: Have Museum Will Travel http://nymag.com/nymetro/arts/architecture/11077/

Migration Museum Project – the first three years, page 38

Supporters Alfred Caplin Charitable Settlement Artistic Endeavours Trust The Baring Foundation Kohn Foundation Nadir Dinshaw Charitable Trust The Rayne Foundation LSE Centre for Human Rights RSA Matrix Chambers

Produced by the Migration Museum Project www.migrationmuseum.org info@migrationmuseum.org The Migration Museum Project, 15 Larkhall Rise, London SW4 6JB

Front cover image: Young West Indian immigrant, Victoria Station, 24 June 1962 ÂŠ Daily Herald Archive / National Media Museum / Science & Society Picture Library

ÂŠ Migration Museum Project 2013 The Migration Museum Project is a Registered Charity 1142352

brandingbyGarden.com