Migration Museum Project by Rival colour

How we got here: the first three years OCTOBER 2014

ALL OUR STORIES

Contents 1

Introduction

Executive summary

3 3.1

Our aims What form will the Migration Museum take?

6 7

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

9 9 12 13 14

5 5.1

Our long-term goal: a permanent home in London and a mobile component in a lorry Who will visit?

16 18

6 6.1 6.2 6.3 6.4 6.5

Outputs Exhibitions Seminars Education Website What do our outputs achieve?

20 20 24 25 27 28

7 7.1 7.2

29 29

7.3

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

Our strategic plan

9 9.1 9.2

Evaluation and impact Reach Impact

34 34 34

10 10.1 10.2 10.3

Organisation Governance Management Committees and volunteers

35 35 35 36

Appendixes 1 Who we are 2 Distinguished friends 3 Funding 4 Five migration museums in other countries

30 30

37 44 45 46

1 Introduction We have an exciting, big idea: to create a national Migration Museum for Britain. In the short term we are building the Migration Museum through a range of exhibitions and events held throughout the country, together with an education programme that will contribute to the British public debate about migration and change attitudes. Public understanding that our shared history is a history of migration will open up conversations and discussions about Britishness and belonging in a way that polarised media and political debates will never be able to do. In the longer term we aim to do something entirely new – to create a Migration Museum with a mobile component capable of taking the story of Britain’s heritage as a migrant nation to every corner of the country. Led by Barbara Roche, former Minister for Immigration, 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 three years, with a very small staff and limited resources, we made more progress than we imagined possible: we developed two touring exhibitions (100 Images of Migration and Germans in Britain), held eleven events attended by more than 1,000 people, drew in over 90 distinguished friends2 – including two former home secretaries of differing political persuasions – grew our education programme, improved our website, developed partnerships with leading cultural and community organisations, attracted national media coverage and completed feasibility testing for a physical space of our own. Our concept continues to be greeted with positive energy and warmth; we have built significant support and demonstrated our ability to create high-quality outputs with minimal resources. To the funders who have so generously enabled us to get this project off the ground we owe enormous thanks: 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, Artistic Endeavours Trust and Schroder Foundation. We now need to take this project to the next level. We are seeking support to grow our organisation, produce more excellent outputs and finally inhabit a physical space of our own.

For details of who we are, see Appendix 1.

For a list of distinguished friends, see Appendix 2.

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2 Executive summary We aim to establish a new national Migration Museum, with a strong education programme, telling the story of migration to and from the UK in a fresh, engaging and non-political way that is accessible to everyone. We want to 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 cultural landscape is changing: there is a new enthusiasm for museums, they are now centres of popular debate and they have much more relevance to real life than before.3 In our view the cultural landscape is crying out for an inspiring and moving permanent institution that puts the migration story right where it belongs, at the forefront of our national consciousness. There are four key rationales: n 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’. Museums are highly trusted as authoritative sources of information,4 and a Migration Museum is an appropriate cultural medium for examining attitudes, humanising migrants by telling all our stories and illustrating how we are all woven into one social fabric. n 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. n We can engage communities across the country in a permanent institution that is national in scope, created by and for the people. n We can capture the mood – museum visiting is at an all-time high5 and popular interest in investigating personal roots has never been greater. People will want to engage with the Migration Museum in the same way that they want to watch programmes such as 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. And that is something that unites us all.

The Economist (2013) Temples of Delight – Economist Special Report on Museums, December 2013.

Britain Thinks (2013) ‘Public Perceptions of – and Attitudes to – the Purposes of Museums in Society’ – A Report for the Museums Association 2013: www.museumsassociation.org/museums2020 5

Department for Culture Media and Sport (2013) ‘Taking Part Survey Data 2012/13 quarter 3’. London: DCMS.

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The Migration Museum is seeking a physical space in London. In recognition of the fact that the migration story is truly national in scope, however, we are committed to developing a touring component in the form of a lorry that will carry our cultural and education programme to all parts of the country, both building and delivering content as it goes. We do not aim to acquire a collection of our own but to operate a policy of curation that is integrated with our community engagement – sourcing and borrowing material from the variegated communities that constitute our country, while breathing new life into what is already available, by tapping into the 90 per cent of museums’ collections that are in storage or in countless ‘resting’ exhibitions. We are bursting with ideas and pursuing inventive partnerships: we may seek to deliver the Migration Museum together with an established museum partner, and we will continue to develop our ideas with funders, media, universities and communities. 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, incomegenerating ideas along the way. Our outputs to date have been impressive. We have developed two touring exhibitions: 100 Images of Migration, first shown at Hackney Museum, and Germans in Britain, which opened at the German Historical Institute in London. Both exhibitions are currently touring to venues round the country, including Leicester, Manchester, Newcastle upon Tyne and Belfast. We are running a popular seminar programme in partnership with the Council for At-Risk Academics (CARA) called Great Minds, about the ways in which migrants have shaped British intellectual life. Former children’s laureate Michael Rosen gives our first annual lecture in autumn 2014, and we regularly put on further events connected with our exhibitions. Education is at our heart, and we are guided by a high-powered education committee, chaired by Bushra Nasir CBE. Our dynamic education officer, Emily Miller, has been driving our education programme, forging links with schools, teachers, museum educators, teacher trainers and others, as well as making available some of the best migration-related teaching resources via our website. We aim to reach every schoolchild in the country, increasing migration content in teaching and issuing a range of educational resources of our own. Migration themes remain central to subjects in the revised national curriculum, and we intend to work with teachers as they respond to these new changes. 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, making partnerships with existing initiatives and filling in some gaps. Our website will also become a forum for migration-related heritage, a vehicle for assessing our reach and impact, and a fundraising and communications tool.

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Over the next two years we aim to have achieved the following: n To have grown our organisation to five members of staff (to include an artistic director), operating from rented office premises, and for it to have a robust structure and oversight, strong partnerships, a sustainable business model and a significant media and public profile n To have extended our cultural programme of temporary exhibitions and events in conjunction with established institutions, to have developed our website as a ‘Migration Mosaic’ interactive portal for migration heritage, and to be well on the way to establishing the creative vision and core narrative for the Migration Museum n To have a well-developed education programme (including a network of teachers dedicated to increasing migration content in schools), the best teaching resources available via our website, including six resources of our own, and to have schools actively engaged with our cultural outputs n To have identified a London site for the Migration Museum and to have attracted significant funding for both static and mobile components of the museum on the basis of robust business planning and a compelling funding case for support Our development strategy (see Chapter 7) illustrates how we plan to achieve our objectives sustainably, and our strategic plan is summarised on pages 32–3: n We will build support, broadening the expertise of our staff, trustees and wider working group, and improving our fundraising structure – we will seek funding from a range of sources n We will conduct a consultation of heritage professionals nationwide to consider what form the Migration Museum should take, and we will conduct detailed audience and collections research and test curatorial approaches and options for the museum’s content n We will continue to deliver our outputs in partnerships with museums, universities, communities, publishers, media and others in order to extend our expertise, reach and commercial possibilities n We will research the marketplace for resonant sites in Inner London for the Migration Museum’s permanent home, keeping an open mind as to co-existence with a range of partners and use of temporary spaces. We will further research relevant sites and partnerships for our mobile presence throughout the UK. We will develop the cost base and business model. Our vision is that, before the end of 2016, we will be well on the road to delivering a Migration Museum with both static and mobile components. We will have tested our skills, extended our reach through a developing cultural programme, and advanced plans for the museum’s content and audiences and a well-developed education

Migration Museum Project – the first three years, page 4

programme. We will have improved infrastructure and fundraising capability, and raised a significant proportion of the museum’s establishment cost. We will continue to be a well-supported educational and cultural charity, with a sustainable future, and one that has had a real impact on the public’s perception of Britain as a migrant nation. We will have grown our staff, to incorporate additional expertise in artistic direction, curation, interpretation and fundraising, and we will be operating from office premises of our own. We will have a significant public and media profile, and we will have reached audiences numbering in the tens of thousands via our website, exhibitions and events.

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3 Our aims We aim to create a new national Migration Museum, with a strong education programme, telling the story of migration to and from the UK in a fresh, engaging and non-political way, accessible to everyone. By this means we aim to contribute to a better informed and more civilised public conversation about migration. Britain has hundreds of museums dedicated to a variety of themes – aerospace, golf, toys, silk, wool, rowing and stained glass – but no major, dedicated Migration Museum. The US has Ellis Island, and Britain needs something similar – an authoritative, inspiring and moving institution to reflect the role that migration has played in the national story. Migration is a hot political topic with far-reaching implications for our national identity. And it is a gripping story, too, 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, the long, 20thcentury 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 represented by Mo Farah, double-gold winner at the London 2012 Olympic and the European 2014 championships? 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

Migration Museum Project – the first three years, page 6

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, 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, while the number of Britons living abroad has soared in the last decade to top 5 million for the first time.6 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 but 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 on-going 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 is to seek a permanent home in London, and to develop a mobile unit in a lorry capable of taking the migration story to audiences round the country, inviting participation and building the narrative as it goes. The travelling element could visit public spaces in city centres that may have been hubs of migration for centuries, and would also have the flexibility to go right to the gates of a school or community

The total number of British people living abroad rose 23 per cent from 4.1 million in 1990 to 5 million in 2013 (United Nations Trends in International Migrant Stock report, 2013).

Migration Museum Project – the first three years, page 7

centre. It could generate considerable excitement – like a travelling circus – and tie in with local arts programmes and history societies, as well as touring a pop-up exhibition. In the meantime we also want to grow the Migration Museum’s profile and accessibility through links with partners – such as museums – who are interested in exploring migration issues, in exhibitions and events, in schools and online. 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 partnerships and ensuring that we continue to deliver high-quality outputs and that we reach and understand our key audiences. Our four key goals are: 1

To have grown our organisation to five members of staff (to include an artistic director), operating from rented office premises, and for it to have a robust structure and oversight, strong partnerships, a sustainable business model and a significant media and public profile

To have extended our cultural programme of temporary exhibitions and events in conjunction with established institutions, to have developed our website as a ‘Migration Mosaic’ interactive portal for migration heritage, and to be well on the way to establishing the creative vision and core narrative for the Migration Museum

To have a well-developed education programme (including a network of teachers dedicated to increasing migration content in schools), the best teaching resources available via our website, including six resources of our own, and to have schools actively engaged with our cultural outputs

To have identified a London site for the Migration Museum and to have attracted significant funding for both static and mobile components of the museum on the basis of robust business planning and a compelling funding case for support

All of these are discussed in greater detail in the pages that follow.

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4 Our rationales 4.1 Contributing to a more reasoned public debate Our primary goal is to educate the public by telling the story of 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 report7 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 18) 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 here 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

7 Ford, R, Morrell, G and Heath, A (2012) ‘Immigration: “Fewer but Better”? Public Views about Immigration’ in British Social Attitudes 29. 8

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

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counterparts in other countries.9 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.10 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.11 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)12 to an understanding that it is civic – based on citizenship, shared understanding and the rule of law.13 Furthermore, at a local level, evidence from a citizenship survey14 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 theory15 that evidence shows that contact between groups promotes more positive, or less negative, attitudes towards ‘others’. More-recent and detailed research from Ipsos Mori16 and BSA17 indicates that the position is more nuanced than headline figures might suggest. Both research reports show that, although concern at the level of immigration remains a constant preoccupation, it is heavily influenced by a range of factors – with younger people seeing it as less of a problem than older people, people living in London (one of the most diverse capitals in the world) finding many more benefits in immigration than people living elsewhere, and the greater concern being expressed by those people living in areas where levels of migration are relatively low. 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

9 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 10

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. 12 Heath, A and Tilley, J (2005) ‘British National Identity and Attitudes Towards Immigration’, International Journal on Multicultural Societies 7 (2005): 119–32. 13

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. 14 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 15

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

Duffy, B and Frere-Smith, T (2014) Perceptions and Reality: Public Attitudes to Immigration. London: Ipsos Mori.

Park, A, Bryson, C and Curtice, J (eds) (2014) British Social Attitudes: the 31st Report. London: NatCen Social Research.

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their attitudes to immigration.18 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.19 Though it is difficult to change opinions,20 the above findings suggest the following: that Britain faces a real (and comparative) problem with social attitudes to migrants; that people are more tolerant towards neighbours than towards those they regard as ‘others’; that the perceived threat to British identity is largely cultural not ancestral; and that a cultural institution – like a museum – is a potentially effective vehicle for influencing cultural attitudes. 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 – and, crucially, by building it with the support of the communities it will come to represent. By this means we can make a real contribution to promoting a better informed and more civilised public debate about the subject of migration.

Lemos, G (2005) The Search for Tolerance: Challenging Racist Attitudes and Behaviour Among Young People, York: Joseph Rowntree Foundation. 19 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. 20

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.

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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 research21 to investigate the representation of migration in the museums and heritage sectors in Britain and abroad. Some key findings were: n 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. n The migration story – although 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 migrant movement or geographical area only, for example Destination Tyneside at the Discovery Museum in Newcastle. n The idea of a Migration Museum is not a new one on the international scene.22 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 are a growing number of European migration networks, notably the International Migration Museums Network 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.

21 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/ 22

For a description of some of the world’s Migration Museums, see Appendix 4.

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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. Stressing our common humanity is our core purpose, and proper community engagement – not mere consultation – is essential for the Migration Museum Project and will be part and parcel of all stages of our development. Our community engagement strategy aims to 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.23 We aim – as does the Hackney Museum, with which we are already in partnership24 – to embed communities within our fabric. We are already building community relationships with organisations such as Praxis and Eastside Community Heritage, 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 about migration heritage. The travelling component of the Migration Museum could – like the WALL in Copenhagen (pictured) – enable individuals and communities all around the country to contribute their stories, so that the migration narrative accrues layers of meaning. 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 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.

23 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. 24

The museum director is a distinguished friend of the Migration Museum Project and the Hackney Museum will show our ‘100 images of migration’ competition winners in 2013.

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4.4 Capturing the mood Our project is timely: museums are more popular than ever before, 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. Globally, the number of museums has doubled in the last two decades, and in England over half the adult population visited a museum or gallery during 2013, the highest share since the government began collecting such statistics in 2005. In 2012, American museums received more visitors than all the big-league sporting events and theme parks combined.25 All of this suggests that the market could accommodate a new Migration Museum and that the appetite for it might be high. Current popular interest in genealogy creates 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 eleventh season in Britain). The 1940 US census, published in April 2012, is likely to promote yet further curiosity in the US and further afield.26 Online genealogy is roughly twice as popular in the UK as in the US.27 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. We will investigate the possibility of creating a DNA fingerprint for those who engage with the Migration Museum, in partnership with a genetic genealogy provider.28 This is another growth industry, and there is an increase in global research on the subject.29 Static interactive museum exhibits are beginning to be a thing of the past – what people really want are smartphone apps. We have already piloted the augmentedreality technology of Blippar in connection with our 100 Stories of Migration exhibition in Leicester.30 The migration story lends itself well to such ideas: we can show German London or Huguenot Rochester through the camera lens31 and develop multimedia walking, cycling or driving tours.

The Economist (2013) Temples of Delight – Economist Special Report on Museums, December 2013.

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 page 21.

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

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Migration is a vibrant and expanding area of academic study. There are three worldleading research centres dedicated to migration in Oxford alone32 and many more around the country. Migration studies are increasingly incorporated into the teaching of a broad range of subjects at university level.

COMPAS, International Migration Institute and the Refugee Studies Centre.

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5 Our long-term goal: a permanent home in London and a mobile component in a lorry 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. As a result of an options appraisal and feasibility testing conducted on behalf of the Migration Museum Project in 2014, we consider that a museum occupying a physical space of at least 300m2 is likely to be able to cover its costs from a modest admissions income and secondary spend.33 We have decided to seek a permanent home in London for the following reasons: n Visitor numbers for paid museums, galleries, historic properties and heritage centres in all size categories are far higher in London (especially Inner London) than they are in other major centres of population in the UK (Birmingham, Leeds and Manchester)34 n London is much more visited by domestic overnight visitors, tourism day visitors and foreign visitors than other cities in the UK.35 Two-thirds of all foreign visitors come to London, which is far more than to the rest of the UK combined; 89% of international holiday visitors to London stay only in London, and most stay for less than one week.36 London has now overtaken Paris as the most visited city in the world.37 n The types of person who seem most likely to visit a new Migration Museum, according to the Arts Council England segmentation of arts audiences,38 are Urban arts eclectics, Traditional culture vultures, Fun fashion and friends, and Mature explorers (see page 19). These groups are better represented in London than elsewhere and, where they lead, others are likely to follow.

Options appraisal and feasibility study carried out by Van Heyningen and Haward architects and Costain Heritage.

Data from Visit England’s Survey of Visits to Visitor Attractions 2012 which presents data collected from 1,511 attractions (out of 5,195 invited to take part) www.visitengland.org/insight-statistics/major-tourismsurveys/attractions/Annual_Survey/ 35

www.visitengland.org/insight-statistics/major-tourismsurveys/overnightvisitors/GBTS_2012/Regional_Results_2012.aspx www.visitengland.org/insight-statistics/major-tourism-surveys/overnightvisitors/GBTS_2013/Snapshot_2013.aspx www.visitengland.org/insight-statistics/major-tourism-surveys/overnightvisitors/index.aspx www.visitengland.org/insight-statistics/major-tourism-surveys/dayvisitors/ www.visitbritain.org/insightsandstatistics/inboundvisitorstatistics/regions/index.aspx 36

www.visitbritain.org/insightsandstatistics/reports/Overview.aspx

/www.visitengland.org/insight-statistics/major-tourismsurveys/overnightvisitors/GBTS_2012/Regional_Results_2012.aspx 38

www.artscouncil.org.uk/advice-and-guidance/browse-advice-and-guidance/arts-audiences-insight-2011

Migration Museum Project – the first three years, page 16

n On every measure from the last census, London is the most diverse place in England and Wales by far.39 Only 45 per cent of Londoners reported themselves as white British; London has the largest proportion of all main minority ethnic groups; 37 per cent of Londoners were born abroad; the top ten areas for the proportion of the population born abroad are all London boroughs – the next three are Slough, Leicester and Luton; there is more religious diversity in London than anywhere else. For the mobile component of the Migration Museum, we have identified a specialist lorry which could take an exhibition or educational materials round the country. A ramp or stair plus a small platform lift would allow the space to be fully accessible, and sides which slide and fold out would provide gallery space of about 60m2 together with a small support area. The ease of moving would mean that the mobile component of the Migration Museum could travel to its audiences, acting as its own advertisement, and require little or no infrastructure from the host. Visits would potentially be fairly short, raising the possibility of attendance at festivals and events.

Images courtesy of Tout-en-Kamion

www.ons.gov.uk/ons/rel/census/2011-‐census/key-‐statistics-‐for-‐local-‐authorities-‐in-‐england-‐and-‐wales/index.html

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5.1 Who will visit? We have two broad audiences: The general public – Using the Mosaic market segmentation model,40 we expect the following Mosaic segments to be interested in the attraction. n Alpha territories n Liberal opinions n Professional rewards n Rural solitudes n Career and kids n New homemakers Figure 2 shows that these segments have greater propensity to visit galleries and exhibitions – we are particularly interested in this data because museum visiting follows a similar pattern. 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 museum, other segments would also show an increased propensity to visit the Migration Museum, and we will test this thesis as part of future 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

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 18

the concept ‘for a limited time only’.41 This also suggests that a moving or temporary exhibition model may be particularly attractive to these segments. The Mosaic data is broadly supported by Arts Council England segmentation (see below), which suggests that Urban arts eclectics, Traditional culture vultures, Fun Key findings fashion and friends, and Mature explorers – which together make up 34 per cent of the The analysis identified 13 distinct arts The percentages show the estimated consumer among English adults. proportion total – are segments most likely to visit a Migration Museum.of English adults in each segment.

Arts consumer segments among English adults (Arts Council England, 2011)42 Highly engaged

Urban arts eclectic

Traditional culture vultures

Fun, fashion and friends

Bedroom DJs

16%

Mature explorers

Mid-life hobbyists

11%

Dinner and a show

Retired arts and crafts

20%

Not currently engaged

participate only

attend and may also participate

Some engagement

Family and community focused 9% Time-poor dreamers

Older and home-bound

11%

A quiet pint with the match

Limited means, nothing fancy

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 06 Arts audiences: insight

in ancestral family or group history – importantly, including visitors from abroad) or professionally: researchers, academics or policy makers in migration studies and related fields. In summary, the Mosaic and Arts Council England segments, accounting for at least 34 per cent of the UK population, plus those with a special interest in migration and visitors from abroad, provide a very large potential market.

London Strategy Research, National Trust.

Arts Council England (2011) Arts Audiences: Insight. London: Arts Council England.

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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 Exhibitions In the last two years, we have developed two touring exhibitions in conjunction with established institutions. We will continue to test our skill in creating pilots which could potentially form part of a permanent Migration Museum. 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. The competition invited entrants to submit an image resonant of migration, with a short explanation of what the image meant to them. We attracted over 700 entries covering the long story of Britain as a migrant nation. Sue McAlpine, curator of the Hackney Museum created an exhibition focusing on 20th-century migration to and from the UK with a special emphasis on Hackney. Left 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).

Left Photo credit: Stephen Sedley (distinguished friend and former judge of the Court of Appeal), Michel, Marian and David Sedley Our grandfather’s shop, 1913. The crochet in the window was made by our grandmother.

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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.

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. Since its outing in Hackney Museum – featured in both the Guardian and The Economist – the exhibition has moved to Senate House, the offices of Freedom from Torture in London and Langley Academy in Slough, where children are creating their own interpretation of the show. The exhibition was re-curated as 100 Stories of Migration and given a digital makeover by students and staff at Leicester School of Museum Studies, where it opened in summer 2014 for a six-month stay. The team in Leicester incorporated augmentedreality technology of Blippar to provide additional information and interactivity via a smartphone app (the first use of this technology in a museum context), created a film installation presenting a fictional dialogue between Enoch Powell and immigrants from different countries, and took the exhibition beyond traditional confines by creating installations in Leicester train station and across the university campus.

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We have exciting plans for the future of 100 Images; the exhibition is travelling again in 2015, to venues in London, Manchester, Newcastle and Belfast, and we have plans to approach bus and transport companies to take selected images to cities throughout the UK, inviting interaction with the migration story (see below).

Image courtesy Charlie Phillips and Branding by Garden Germans in Britain With the support of the Goethe-Institut and private and corporate sponsors, we put on our second exhibition, ‘Germans in Britain’, at the German Historical Institute in September 2014. The exhibition, curated by Dr Cathy Ross, honorary research fellow at the Museum of London, takes the form of pop-up banners; it is accompanied by a lively video featuring reflections on being German in Britain from Lord Moser, comedian Henning Wehn and Museum of London curator Beatrice Behlen. It was launched at a special private view by Neil MacGregor, director of the British Museum, and Joanna Lumley. This exhibition tells the fascinating and much-overlooked story of the love–hate relationship between Britain and Germany. The British have close linguistic and cultural associations with the Germans 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 population43 and, at the turn of that 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; more recently, there seems to have been a further shift, which has shown a grudging affection and respect for Germany (and even their football team). The centenary year of 2014 will determine whether the Germanophobia that followed the Second World War persists, or whether it has given way to a new Germanophilia. 43

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

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‘Germans in Britain’ makes a compelling exhibition – unusual, provocative and focusing on an ‘invisible’ minority – and provides an interesting vehicle for examining questions of belonging and national identity. As with ‘100 images of migration’, the exhibition will be touring around the country to venues in London, Oxford, Manchester and beyond.

Above left A British grenadier’s cap, 1715–1750 © Museum of London Above right Struwwelhitler: A Nazi Story Book, 1940 Image: Private collection Left Internment camp souvenir, 1915 © The Schroder Collection/Graham Miller Below left Frederick Accum, lecturing at the Surrey Institution, 1809 © Museum of London

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6.2 Seminars We have held the following seminars to date, most of which in partnership with the Council for At-Risk Academics (CARA), on the ways in which migrants have shaped British intellectual life. Seminars are an effective means of raising the profile of the Migration Museum Project, reaching new partners and audiences, and testing responses. We have held the following seminars to date, most 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 Yorkshire 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 and chaired by its director, Ian Blatchford. 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. Migrants and philosophy – this took place at Lady Margaret Hall, Oxford and was chaired by Professor Christopher Shields, Tutorial Fellow in Ancient Philosophy at Lady Margaret Hall, Oxford. On the panel, the writer and broadcaster Julian Baggini discussed arguments for asylum; Dr Meena Dhanda, reader in philosophy and cultural politics, University of Wolverhampton, examined the philosophical basis of personal identity; and Professor John Worrall, professor of philosophy of science at the London

Migration Museum Project – the first three years, page 24

School of Economics, talked about the life and work of the eminent philosopher, Sir Karl Popper, who was born in Vienna and was a refugee in New Zealand and Britain. Migration and architecture – in partnership with Iniva, and based at its impressive premises in Rivington Place, this seminar, chaired by the director of the Design Museum, Deyan Sudjic, looked at how migrants have shaped Britain's built environment and the ways we think about buildings. Leading British architect Sunand Prasad discussed identity and architecture, and Susie Harries, biographer of Sir Nikolaus Pevsner, discussed how a German-born scholar came to document England’s most important buildings. One of the highlights of the seminar was a handson activity led by Our Hut, in which attendees were invited to design their own construction for the Migration Museum. The languages of migration – former children’s laureate Michael Rosen presents a keynote address at the LSE in 2014. From Berlin to Britain – in partnership with CARA and the Goethe-Institut – invites us to delve into the world of 1920s Berlin, exploring childhood experiences of the city and of migration. Lord Moser, who came to Britain in 1936, talks with Pevsner biographer Susie Harries, of the Berlin he left behind and the passion for music that it instilled in him, as well as reflections on 78 years in Britain and recent visits back to his birthplace. Carl Miller introduces us to the Berlin of Erich Kästner’s Emil and the Detectives, which he adapted for the National Theatre’s 2013 Christmas show, and music is provided by violinist Mandhira de Saram, with a solo performance of Bach, Migration and fashion – in partnership with CARA and Iniva – explores the stories that textiles tell about migrant communities, craft and the creative industries and more. We plan future Great Minds seminars on the subjects of migration and food, sport, politics, music and the City. We aim to run a series of ‘in conversation’ events about migration and leadership with a partner such as the Institute of Directors.

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 are a particular focus, a priority from the outset. Through our education programme we want young people to engage, thoughtfully and actively, with migration and related issues such as citizenship, identity and belonging. We are now in the second year of an education programme – coordinated by our education officer Emily Miller – that works with schools across the UK to increase and improve teaching on migration and related issues. The education advisory committee,44 chaired by renowned former headteacher Bushra Nasir, continues to support and guide the programme.

See page 42. A profile of Emily Miller is to be found on page 40.

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These have been the main activities of the first year of the programme: n An audit of existing migration teaching resources – in print, online and available in a range of media. This helped us to establish the educational relevance of migration and identify where gaps exist that we can usefully fill. The results of this wide audit are available in a resource bank on our updated website, which is easy for teachers to search and select from. There is also a page of selected videos to aid teaching on our themes. Ultimately we aim for our site to be a first-stop portal for high-quality migration teaching resources with educational authority and accessibility. n Work outlining where migration-related themes fit into subjects within the revised national curriculum, which schools are now delivering. This work is available as a document on the education area of our website, and it highlights where these themes persist, or have shifted, and where new opportunities arise: for example, a stronger emphasis on local history within the primary history curriculum provides teachers and pupils with the opportunity to explore how immigration has shaped their local area over time. n Education-related resources associated with our exhibitions. n We have gradually established a network of teachers committed to integrating migration-related themes into their teaching, as a result of offering workshops to schools to raise awareness about the Migration Museum Project and learn from the diverse themes introduced in the images of our ‘100 images of migration’ exhibition. Emily has delivered these workshops across London and in Birmingham, Leicester, Norwich, Kent and Croydon. There have also been sessions with groups of students visiting from France and South Korea who are keen to learn about UK immigration. n A ‘Community Conversation’ event co-hosted with GlobalNet21 in June brought together 65 people, from diverse fields, who contributed feedback about our education activities to date and their ideas for our next steps. From this several threads have developed, including an upcoming collaboration with the Institute of Education. In late July we collaborated with GlobalNet21 again to record some digital stories of migrants with diverse experiences (the importance of stories and oral histories was a key finding of the community conversation). In due course we hope to share these stories though our updated website and create a learning resource with them. As we continue into year two of the programme we will work to develop a range of resources for teachers and further develop our relationships with schools and networks of schools and those related to these by association: parents, community and migrant groups, the media, academics and policy makers. We already have good links with organisations such as the Historical Association, Facing History and Ourselves (with whom we co-hosted a workshop for teachers in

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December 2013), the Royal Geographical Society and CARA. In the first year of our programme we were involved in planning and delivering a TeamV campaign focused on perceptions of migration from March to June 2014.45 We will continue to form partnerships with other relevant organisations that will help us broaden our learning and extend our reach. One such exciting partnership is with Langley Academy in Berkshire, a school with a very diverse student body and the only school in the UK specialising in museum learning and with dedicated museum-trained staff. In the autumn term of 2014 Langley is hosting our ‘100 images’ exhibition in its impressive atrium (where they have previously held collections from the Victoria and Albert Museum) and focusing on internationalism and migration. Emily will work in depth with students from years 8 and 10. Students across all year groups are also collecting objects related to their families’ migration stories for curation and display in the atrium cases, which will help inform the Migration Museum Project’s future plans with objects-based work.

6.4 Website The Migration Museum’s website attracted 50,000 visits during its first three years, and will continue to reach audiences nationally and globally through user-centric participation and engagement. The website has recently been re-designed and expanded46 to reflect the growing range of our activities, and to embed interactivity. Our education programme takes centre stage, but other new features (such as a regular blog, which sets out to tell various strands of the migration story and to focus on people and organisations that have been our inspiration) are vehicles for communicating with our audiences. Our communications plan – with active and developing presences on Facebook, Twitter and Flickr – will allow us to build and engage our audiences and to drive traffic to the website. In partnership with We Are What We Do, creators of History Pin, we are applying for funding to the Heritage Lottery Fund to develop our website as a ‘Migration Mosaic’. We aim to draw together and breathe new life into some of the currently available excellent digital material telling parts of Britain’s migration story, so that these are recombined and contextualised as part of a larger whole. We aim to create an elegant, vibrant, visually rich repository of migration stories to which new material can be added and new groups contribute.

TeamV is a national youth leadership programme of the volunteering organisation Vinspired.

By Wordsworth & Associates, in conjunction with Garden.

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6.5 What do our outputs achieve? Our outputs are designed to create a greater public awareness of Britain’s heritage as a migrant nation. They also establish our standing in the cultural sector, hone our skills, measure our impact, research our audiences, and test ideas for inclusion in the Migration Museum. n Our exhibitions have generated real interest in our work in the world of museums from partners who desire to tell the migration story. We welcome the imaginative re-curation of 100 Images of Migration in different places, so that it has local relevance and different emphases. We have benefited immensely from the expertise of our museum partners and have grown our own skills, reached new audiences and tested innovative ideas. n Our events, in partnership with a range of institutions, have also enabled us to experiment and reach new audiences. 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. n Our education programme is beginning to take the migration story into schools, encouraging active participation and reflective learning so that preconceptions are challenged and attitudes explored

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7 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. We will concentrate on the following key areas: n The marketplace and the market n Exploring options for a physical space and building the business model n Partners

7.1 The marketplace and the market We will test our belief that the museum will have very wide appeal. We will create an audience development plan based on existing research into patterns of visitor engagement, and we will commission further research of our own. We will review museum attendance patterns and consider reach, repeat visiting and engagement through educational and online outreach. Because we envisage a mobile component for the Migration Museum, we will look at centres of population to understand what stories may play well in the different areas. We will use focus groups and other research techniques to understand how our stories can best be told. We will use the groups to understand how our interactive and online expressions may be fashioned to best effect – for example, augmented reality technology that reveals the role of migration in 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 investigate the possibility of incorporating 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 have pointed to a number of countries that have already established a migration museum (see page 12); 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.

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7.2 Exploring options for a physical space and building the business model We plan to develop a permanent presence for the Migration Museum in central London, the most visited city in the world. We will intensively research locations, including use of temporary spaces, and we will consider how the mobile element will be incorporated into the museum model – and its likely locations in city centres, outside schools and libraries, shopping centres, festivals and business parks. We will further intensively research options for the museum’s content and narrative with a partner like the Research Centre for Museums and Galleries in the University of Leicester’s School of Museum Studies. We have no intention of acquiring a collection of our own, but will review existing collections with a view to borrowing from what already exists, and we will consider new curatorial approaches and cutting-edge interpretive techniques. We will conduct in-depth consultation with museum professionals about the form that the Migration Museum should take. 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 bringing 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 or the You Belong Here wall at Destination Tyneside. We will complete both our business case and plan as a matter of priority to help shape our approach to fundraising and to partners. 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.

7.3 Partnerships We are all about partnerships and have developed all our outputs together with established institutions and experts. This provides us with credibility and support and enables us to learn new skills and to extend our reach. Our exhibitions could not have been put on without our expert collaborators: they were created by professional curators – Sue McAlpine at Hackney Museum and Dr Cathy Ross, formerly head of collections and learning at the Museum of London; Hackney

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Museum provided the infrastructure, audiences and educational outreach for 100 Images of Migration, while the German Historical Institute provided a venue, new audiences, and invaluable academic oversight for Germans in Britain. The GoetheInstitut and academics at Oxford University contributed funding and expertise for Germans in Britain, which will tour to St John’s College, Oxford, to accompany a conference about Anglo-German cultural transfer during the Hanoverian period. Queen Mary University London, home to the Centre for Anglo-German Cultural Relations as well as the Leo Baeck Institute, is a likely future host for the exhibition too. We will mount our third exhibition – on the subject of bread – in partnership with the Jewish Museum, and we look forward to exploring a range of exciting academic and other collaborations in connection with it. The team at Leicester University school of Museum Studies reinterpreted 100 Stories of Migration with inventiveness and dynamism, and we hope to work with their Research Centre for Museums and Galleries to develop our core narrative and explore interpretive techniques for the Migration Museum. In the meantime, we are deepening our relationship with Leicester University by co-hosting their Museums Alive conference in November 2014. We will seek expert opinions from museum professionals about the best way of developing the Migration Museum through a series of workshops organised in partnership with the Arts Council and academics from MeLa (European Museums in an Age of Migrations), an EC-funded project based at the University of Newcastle. Developing community partnerships is a central aim. Our education programme reaches into the heart of communities through schools, and we are particularly excited to be working with Langley Academy in Slough to present a version of 100 images of migration that has been augmented with objects, and co-curated by children. We will explore further community partnerships through organisations such as Praxis and Eastside Community Heritage. Our events, which would otherwise have stretched our resources impossibly, have been generously hosted by a range of partners (the RSA, Science Museum, Iniva and the London School of Economics among others). This has enabled us to make use of the infrastructure of established institutions so as to arrange ticketing, marketing and so on, as well as taking our brand to new audiences. We know that working in partnership is the way forward, and we will continue to grow the project through imaginative co-operation with museums, academics, businesses, publishers and the media.

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8 Our strategic plan

Migration Museum Project â&#x20AC;&#x201C; the first three years, page 32

Migration Museum Project â&#x20AC;&#x201C; the first three years, page 33

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 the take-up of our online resources and the online reach of our ‘migration teacher network’. We estimate that at least a further 50,000 visitors will access the Migration Museum Project’s site over the next two years, of whom a good proportion will engage with the education programme. We will count attendances at our events – conferences, workshops, lectures, and ‘community conversations’. More than 1,000 people have attended our own events so far, and many others have attended events in which we have participated. We would expect to reach at least 3,000 people via live public events during the next two years.

9.2 Impact We will monitor our online reach through the analytics on our updated website, and we continue to conduct qualitative assessments of the responses of key groups – for example, museum partners, teachers and their pupils 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. We plan to measure the impact of our education programme with support from an external evaluator.47 We consistently evaluate our direct work with schools through a survey that collects both quantitative and qualitative data to test: n 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 n Student impact – students’ understanding of Britain’s migrant heritage, critical thinking, tolerance, and awareness of issues such as prejudice and discrimination In due course, as we continue the journey towards a permanent museum, 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.

A national evaluation study of Facing History and Ourselves, for example, was carried out by the National Professional Development and Evaluation Project in the US and might present a useful model: http://www.facinghistory.org/sites/facinghistory.org/files/Continuing_a_Tradition_v93010_0.pdf

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10 Organisation 10.1 Governance The Migration Museum Project is a charitable company with ten trustees/directors supported by a working group which comprises all trustees and other members, and which meets approximately monthly.48

10.2 Management Barbara Roche chairs 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. Emily Miller has been working as the education officer since April 2013, and Ratan Vaswani and Andrew Steeds as the projects manager (as a job share) since 2013. Tanisa Gunesekera has been working for us since July 2014, as projects co-ordinator. We will continue to recruit volunteers, who have served us so well in the past. The working group is notably cohesive and active. Jill Rutter helped formulate our education strategy, and continues to sit on our education committee. Ian Wilson, Zelda Baveystock, John Orna-Ornstein and Silaja Birks have advised in particular on matters relating to museums, audiences and community engagement. Our treasurer, Lee Rochford, brings invaluable experience and financial expertise; and Charles Gurassa, our newest trustee, provides equally invaluable commercial and operational expertise. Our former trustee Danny Sriskandarajah devised the ‘100 images of migration’ competition and is the source of numerous valuable contacts, and Robert Winder is our wordsmith and wrote the book that we want to put in our museum. Our 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 and Joanna Lumley have become ambassadors 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 and provided an important role in the video for the Germans in Britain exhibition; Lord Bhikhu Parekh contributed to our first annual lecture; David Blunkett, Mike Phillips, David Miles, George Alagiah and Professor Dinesh Bhugra have spoken at our events; Julia Onslow-Cole has generously arranged for PwC Legal sponsorship of our brochure and second seminar at the RSA and has hosted a dinner 48

For details of who we are, see Appendix 1.

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on our behalf; Sir Keith Ajegbo, Bushra Nasir 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 and Sir Stephen Sedley have also contributed; Sir Ralph Kohn has sponsored our ‘great minds’ series of seminars with CARA and has also contributed significant sponsorship to our Germans in Britain exhibition; Professor Francesca Klug arranged for our first seminar to be held at the LSE. Finally, we would not have been able to put on the Germans in Britain exhibition without the financial support of a number of our distinguished friends: Sir Nicholas Blake, Teresa Graham, Joanna Lumley, Sandy Nairne, Sir Konrad Schiemann and Sir Stephen Sedley.

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 of current volunteers, see page 43.

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Appendix 1 Who we are Trustees Barbara Roche – chair 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, and chairs a number of organisations. Dr Jill Rutter – vice-chair Jill Rutter is Head of Research at Daycare Trust, formerly head of policy and communications at Refugee and Migrant Justice, and an Associate Fellow in Migration 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. Before 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. Lee Rochford – treasurer Following a 25-year career in the financial services industry, Lee is currently Chief Financial Officer of Virgin Money and sits on the board of Virgin Money Holdings UK. Before that, he was head of the financial institution group for Europe, the Middle East and Africa at the Royal Bank of Scotland. He has also held senior roles at BNP Paribas, Crédit Suisse and Wachovia Securities.

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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. Zelda Baveystock Zelda Baveystock is Lecturer in Arts Management 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. Silaja Birks Silaja is currently Head of Foundation Partnerships at UNICEF UK. Before this, she was Manager for International Programmes at Tate, developing Tate’s strategic partnerships and projects with international museums. Earlier, she was head of programmes in Tate’s development office, leading the team responsible for raising funds in support of learning, exhibitions and conservation programmes leading the team responsible for raising funds in support of learning, exhibitions and conservation programmes. In a voluntary capacity, Silaja is also a trustee of Book Works, and recently participated in Diaspora Dialogues, a project run by International Alert focused on the reconciliation process in post-conflict Sri Lanka. Dr Myriam Cherti Myriam is a senior researcher at the Centre on Migration, Policy and Society (COMPAS), University of Oxford, working on a project about irregular migrants and control policies in the UK. She is an associate fellow of the Institute for Public Policy Research (IPPR), where she was a senior research fellow for several years. Before 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 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. Migration Museum Project – the first three years, page 38

Charles Gurassa Charles Gurassa is deputy chairman of the National Trust, non-executive chairman of Genesis Housing Association, Net Names, and Tragus, deputy chairman at easyJet plc, and non-executive director of Merlin Entertainments. He is a former chairman of Virgin Mobile plc, LOVEFiLM, Phones4U, MACH and Alamo/National Rent a Car. His executive career included roles as chief executive of Thomson Travel Group plc, executive chairman TUI Northern Europe, director TUI AG and as director, Passenger & Cargo business at British Airways. He is a former non-executive director at Whitbread plc, trustee of the children’s charity Whizz-Kidz and a member of the development board of the University of York. John Orna-Ornstein John Orna-Ornstein is Director of Museums at Arts Council England (ACE), dividing his time between museum development and developing the arts and culture in the south west of England. Before joining ACE, he was Head of National Programmes at the British Museum (BM), working with museums and galleries in every part of the UK. His 15 years at the BM 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, and was a fellow of the Clore Cultural Leadership Programme 2012/13. Ian Wilson Ian Wilson is 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. Robert Winder Robert Winder was deputy editor of Granta and, for five years, literary editor of the Independent. 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

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written books about cricket and golf and three novels. He has also been 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, where she specialised in all areas of immigration, asylum and human rights law, appearing in a number of leading cases. She provided training for the Immigration Law Practitioners’ Association and others, and was a volunteer adviser at Praxis. In 2002, she became judge of the Asylum and Immigration Tribunal, and was also appointed to chair appeals for the Social Security and Child Support Tribunal. She is a trustee of Our Hut, a charity that delivers architecture-based workshops in schools. She has managed the Migration Museum Project full time since January 2011. Emily Miller, education officer Emily joined 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 pursued 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. Just before joining us in 2013, Emily spent eight months co-ordinating projects for an international youth network NGO in the Hague. Andrew Steeds – projects manager Andrew Steeds has a background in writing and editorial consultancy. In addition to his work for the Migration Museum Project, he 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).

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Tanisa Gunesekera Tanisa joins the Migration Museum Project following 12 months in the Community and UK Partnership teams at the British Museum, where she continues to work part-time developing museum and cross-sector partnerships across the UK. She has recently been a Young Producer with Exit Emergency Arts, bringing museum collections to the streets of London. Previously, Tanisa worked as a French teacher in Leeds through Teach First’s Leadership Development Programme, building on a range of experience with young people in Leeds and London. She taught English in Saint Etienne, France, for one year, where she also volunteered for a social justice association, and interned at a youth-led music charity in Delhi while participating in the British Council’s StudyIndia programme. Tanisa is an ambassador for Cultural Co-operation’s Strengthening Our Common Life scheme and is one of Positive Youth News Haringey’s young community role models, the ‘PYTHONS’. Ratan Vaswani – projects manager 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. As well as helping to deliver the Migration Museum Project’s cultural outputs, Ratan is currently working with Indian partners to deliver exhibitions and events in major Indian cities, exploring Indian experiences of health, medicine and well-being as part of a major programme of cultural activity funded by the Wellcome Trust. Previously, Ratan was head of events for the Wellcome Collection, and before that he worked at the Museums Association for several years – leading on professional development and ethics – and 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.

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Committees Education committee Bushra Nasir CBE

Chair, former head teacher, Plashet School

Zelda Baveystock

Migration Museum Project trustee

Steve Brace

Royal Geographical Society

Sophie Henderson

Migration Museum Project

Angie Kotler

A Partner in Education

Jess Linton

Refugee Week, Counterpoints Arts

Professor Ian Menter

University of Oxford

Emily Miller

Education officer, Migration Museum Project

Liz Moorse

Association for Citizenship Teaching

Ryan Mundy

Council for At-Risk Academics

Dr Cathy Ross

Museum of London

Dr Jill Rutter

DayCare Trust/Migration Museum Project trustee

Una Sookun

Head of History, Globe Academy, Southwark

Andrew Steeds

Project manager, Migration Museum Project

Rebecca Sullivan

Historical Association

Emma Winch

Hackney Museum and the Black Cultural Archives

Fundraising committee Michael Soole QC

Chair, chair of trustees – Oxford Literary and Debating Union Charitable Trust

George Alagiah OBE

Broadcaster and journalist

Lord Moser Barbara Roche

Chair, Migration Museum Project

Lee Rochford

Chief Financial Officer, Virgin Money

Judith Unwin

Head of UK Export Finance, BNP Paribas

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Volunteers Roberta Capozucca, MA student Tola Dabiri, formerly Carnival Arts, and MLA senior policy advisor Lola Gazounaud, MA student, Inalco, Paris Maya Makker, freelance heritage worker Aniqah Moawalla, freelance heritage worker Harriet Ward, freelance heritage worker Emma Williams, chief executive, Student Action for Refugees Chloe Wong, Foundling Museum

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Appendix 2 Distinguished friends Sir Keith Ajegbo George Alagiah OBE Professor Sir Michael Atiyah Professor Peter Atkins Julian Baggini 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 Rt Hon Lord Browne of Ladyton Rickie Burman Saimo Chahal Shami Chakrabarti Dr Jung Chang Stephen Claypole Professor Robin Cohen Professor Linda Colley CBE Professor David Crystal Prakash Daswani Lord Dholakia Ayub Khan Din Lord Alf Dubs Rt Hon Lord Dyson Graham Farmelo Baroness Flather Dr Edie Friedman Manjit S Gill QC Teresa Graham CBE Susie Harries Professor James Hathaway David Hencke Professor Sir Bob Hepple QC Afua Hirsch Rt Hon Lord Howard of Lympne CH QC Tessa Jackson OBE Dr Turi King 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 Rt Hon Baroness Morris of Yardley Lord Moser KCB CBE FBA Hugh Muir Sir Vidia Naipaul Sandy Nairne CBE FSA Bushra Nasir CBE Dr Susheila Nasta MBE FRAS John O’Farrell Julia Onslow-Cole Lord Herman Ouseley Professor Panikos Panayi Lord Bhikhu Parekh Caryl Phillips Dr Mike Phillips OBE FRSL FRSA Trevor Phillips OBE Sunand Prasad 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 Andy Thornton Patrick Vernon OBE Edmund de Waal OBE Jake Wallis Simons Sir David Warren KCMG Henning Wehn Benjamin Zephaniah

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Appendix 3 Funding The Migration Museum Project has received funding from a number of organisations over the last three years. We would like to acknowledge this generous contribution here and to express our thanks to our funders: Alfred Caplin Charity Settlement Artistic Endeavours Trust The Baring Foundation City Bridge Trust EsmĂŠe Fairbairn Foundation Kohn Foundation Migration Foundation Nadir Dinshaw Charitable Trust Rayne Foundation Rothschild Foundation The Schroder Foundation Unbound Philanthropy

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

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.

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Immigration Museum, Melbourne, Australia Located in the centre of Melbourne in the former Customs House (close to Flinders Street Station), the Immigration Museum tells the stories of the people from all over the world who have migrated to Australia and to the state of Victoria in particular. It is one of three museums operated by Museum Victoria, which is responsible for the state of Victoria’s scientific and cultural collections. 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.

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