Migration Museum Project April 2015 by Rival colour

How we got here: the first three years

Sponsors Alfred Caplin Charitable Settlement Artistic Endeavours Trust The Baring Foundation The Doris Pacey Charitable Foundation Kohn Foundation Nadir Dinshaw Charitable Trust The Rayne Foundation

The Schroder Foundation

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

Front cover image: The Patriot Belgrave, Leicester 2005 © Kajal Nisha Patel

SPRING 2015

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ALL OUR STORIES

Contents

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Introduction

Executive summary

Our aims

3.1

What form will the Migration Museum take?

Our rationales

4.1

Contributing to a more reasoned public debate

4.2

A gap in the market

4.3

Community engagement countrywide

4.4

Capturing the mood

Our long-term goal: a permanent home in London and a mobile component in a lorry

5.1

Who will visit?

Outputs

6.1

Exhibitions

6.2

Events

6.3

Education

6.4

Website

6.5

What do our outputs achieve?

Development strategy and sustainability

7.1

The marketplace and the market

7.2

Exploring options for a physical space and building the business model

7.3

Partnerships

Our strategic plan

Evaluation and impact

9.1

Reach

9.2

Impact

Organisation

10.1

Governance

10.2

Management

10.3

Committees and volunteers

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Appendixes

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Who we are

Distinguished friends

Funding

Five migration museums in other countries

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1 Introduction We have an exciting, big idea: to create a national Migration Museum for Britain. In the short term we 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. 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 permanent Migration Museum, incorporating 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), exhibited in a range of institutions across the country (including London’s Southbank Centre), held 16 events attended by more than 1 600 people, drew in more than 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, Schroder Foundation, Paul Hamlyn Foundation and the Doris Pacey Charitable 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. 1

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 can be hostile, and are 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

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 certainly continue to develop our ideas with funders, media, universities and communities. The migration story lends itself well to multi-media tools and subscriptionbased buy-in – from a wall of honour or similar – and we will develop these, and other, income-generating ideas along the way. Our outputs to date have been impressive. We 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 around the country, including Leicester, Manchester, Newcastle upon Tyne and Belfast. In the course of 2015 we will have a significant presence at two major London venues: at the Southbank Centre, between April and September, with two displays in an exhibition called Adopting Britain (part of the Changing Britain festival) on the subject of immigration since the Second World War; and at the National Maritime Museum, between May and November, exploring the theme of migration in their new community RE·THINK gallery. We are running a popular seminar programme called Great Minds in partnership with the Council for At-Risk Academics (CARA), about the ways in which migrants have shaped British intellectual life. Former children’s laureate Michael Rosen gave 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.

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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. Over the next two years we aim to have achieved the following: n To have grown our organisation to five members of staff (including an artistic director), operating from rented office premises, and 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, 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 34–5: 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

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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 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. Britain needs something similar to the US’s Ellis Island – 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

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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 around 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).

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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 (including an artistic director), operating from rented office premises, and 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, 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 can be hostile and are becoming more so. A recent British Social Attitudes report7 reveals that 77 per cent of the public want to see a reduction in immigration, and there is a significant increase in the number who want immigration reduced ‘a lot’, up from 51 per cent in 2011 to 56 per cent in 2013.8 The Transatlantic Trends survey (see Figure 1) shows that over 60 per cent of people in Britain believe that immigration presents more of a problem than an opportunity, and that attitudes in Britain are more hostile than in the US and other European countries. This hostility is stable and not a one-off. Figure 1: Attitudes of residents in nine countries on number of immigrants and whether immigration is a problem or an opportunity (%)

Source: Transatlantic Trends: Immigration 2013 (chart provided by www.migrationobservatory.ox.ac.uk)

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

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

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Detailed research from Ipsos Mori9 and British Social Attitudes indicates that the position is, however, more nuanced than headline figures might suggest. 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. On the positive side, research by British Future shows that, if people at both extremes of the immigration debate hold entrenched positions, roughly half the population constitutes an ‘anxious middle’ which, although harbouring some concerns about immigration, has subtle and complicated views and are up for an honest, well-informed conversation about the subject.10 Opposition to immigration tends to be rooted in worries about the economic or, more importantly, the cultural impact of new arrivals to the country. There is strong evidence, however, that there is a long-term change in attitudes, from a belief that Britishness is ancestral (rooted in whether one’s family is British)11 to an understanding that it is civic – based on citizenship, shared understanding and the rule of law.12 British Future’s research revealed that 83 per cent of respondents agreed that, to belong to our shared society, everyone must speak our language, obey our laws and pay our taxes. Furthermore, Figure 2 shows that, although 77 per cent of the population see immigration as a national problem, only 30 per cent see it as a problem in their local area.13 Evidence shows that contact between groups promotes more positive, or less negative, attitudes towards ‘others’.14 Other research suggests that the most effective teaching about migrants stresses common humanity and personal experience – as with Holocaust education, for example, in which individual stories are used to introduce this difficult subject. Museums are highly trusted as authoritative sources of information,15 and for this reason museum collections and oral histories can play a key role in helping young people explore their attitudes to migration.16 Active and participatory learning (such as

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

Katwala, S, Ballinger, S and Rhodes, M (2014) How To Talk About Immigration. British Future.

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

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.

Duffy and Frere-Smith (2014) Perceptions and Reality.

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

Britain Thinks (2013) ‘Public Perceptions of – and Attitudes to – the Purposes of Museums in Society’ – a Report for the Museums Association 2013: www.museumsassocation.org/museums2020. 16

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

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Figure 2: Extent to which people consider immigration a problem nationally and locally, November 2006 to November 2010 (%)

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

that attached to museums) and a safe space in which to discuss concerns have also been shown to lessen hostility to newcomers.17 Though it is difficult to change opinions,18 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.

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.

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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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. We believe that the British public wants to talk about migration and that we can make a real contribution to promoting a better informed and more civilised debate on the subject.

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 research19 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 around 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.20 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

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

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

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already been done, but to build on the good practice of others, unifying existing initiatives, encouraging reinterpretation and filling in the gaps.

4.3 Community engagement countrywide We want to engage communities all over Britain and to deliver a museum that is created by and for the people – our model for the Migration Museum can do this. 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 and to embed communities within our fabric. 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.21 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 21

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.

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(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.

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.22 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.23 Online genealogy is roughly twice as popular in the UK as in the US.24 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.25 This is another growth industry, and there is an increase in global research on the subject.26 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 22

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.

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in Leicester.27 The migration story lends itself well to such ideas: we can show German London or Huguenot Rochester through the camera lens28 and develop multimedia walking, cycling or driving tours. Migration is a vibrant and expanding area of academic study. There are three worldleading research centres dedicated to migration in Oxford alone29 and many more around the country. Migration studies are increasingly incorporated into the teaching of a broad range of subjects at university level.

See pages 20â&#x20AC;&#x201C;2.

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

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. 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)30 n London is much more visited by domestic overnight visitors, tourism day visitors and foreign visitors than other cities in the UK.31 Two-thirds of all foreign visitors come to London, which is far more than to the rest of the UK combined; 89 per cent of international holiday visitors to London stay only in London, and most stay for less than one week.32 London has now overtaken Paris as the most visited city in the world.33 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,34 are better represented in London than elsewhere and, where they lead, others are likely to follow. n On every measure from the last census, London is the most diverse place in England and Wales by far.35 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. 30

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/ 31

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

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

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

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

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

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For the mobile component of the Migration Museum, we have identified a specialist trailer 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 that slide and fold out would provide the gallery space of about 60m2, together with a small support area. The ease of moving would mean that the mobile component of the Museum could travel to its audiences, acting as its own advertisement, and would 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

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5.1 Who will visit? We have two broad audiences: The general public – Using the Mosaic market segmentation model,36 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 3 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. We will test this thesis as part of future feasibility work. Figure 3: 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 for the National Trust in London by Britain Thinks, 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

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the concept ‘for a limited time only’.37 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),38 which suggests that Urban arts eclectics, Traditional culture vultures, Fun fashion and friends, and Mature explorers – which together make up 34 per cent of the Key findings total – are most likely to visit a Migration Museum. The analysis identified 13 distinct arts consumer segments among English adults.

The percentages show the estimated proportion of English adults in each segment.

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

Highly engaged

Some engagement attend and may also participate

Not currently engaged

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%

participate only

Urban arts eclectic

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 in06ancestral or group history – importantly, including visitors from abroad) or Arts audiences: family insight 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: Insights. 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, and thereby to contribute to a more civilised debate about the subject of migration and to promote civic integration.

6.1 Exhibitions In the last two years, we have developed two touring exhibitions in conjunction with established institutions. In 2015 many of our 100 Images of Migration go on display at the Southbank Centre, where we are also creating a display of Keepsakes – treasured personal objects that speak of migration and which are handed down from one generation to the next. At the National Maritime Museum we will be exploring Britain’s long history of migration by sea in their dedicated community RE·THINK gallery. 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 more than 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. Muslim shaadi, 2010 © Kajal Nisha Patel

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Leeds children play – Beeston area of Leeds © Tim Smith

Raymond Scalionne and Razzi Tuffano, Hatton Garden, Clerkenwell, 1949 © Colin O’Brien

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 augmentedMigration Museum Project – the first three years, page 21

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reality 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.

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 © Charlie Phillips; treatment by Branding by Garden

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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 (images from the exhibition are shown on the next page). 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 a 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 population39 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 years’ of 2014–19 will determine whether the Germanophobia that followed the Second World War persists, or whether it has given way to a new Germanophilia. 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 is already touring around the country. By the end of 2016 it will have been shown in a dozen or so venues, in London, Manchester, Cambridge and beyond.

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

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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 Events With the Council for At-Risk Academics (CARA), we are running a successful series of seminars 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. 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. 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 School of Economics and Political Science, 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.

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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. Our Hut, an educational charity that delivers architecture workshops, led a hands-on activity, in which attendees were invited to design their own construction for the Migration Museum. The languages of migration – in November 2014 former children’s laureate Michael Rosen spoke entertainingly and provocatively to an audience of 350 at the London School of Economics and Political Science about the ways in which we speak about migration. From Berlin to Britain – at the Goethe-Institut – invited 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, talked with Susie Harries (the biographer of Pevsner) of the Berlin he left behind and the passion for music that it instilled in him, while also reflecting on 78 years in Britain and recent visits back to his birthplace. Carl Miller introduced us to the Berlin of Erich Kästner’s Emil and the Detectives, which he adapted for the National Theatre’s 2013 Christmas show, and the violinist Mandhira de Saram gave a wonderful solo performance of Bach. Migration and fashion – at Iniva – introduced milliner Awon Golding and designer Hazel Aggrey-Orleans, who, in conversation with Maggie Semple, talked about migration influences on their work. 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.

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6.3 Education Public education about Britain’s migration heritage has been at the heart of the Migration Museum Project from the outset. Communicating our messages to young people, and learning from them, is an ongoing priority. Through our expanding 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 well into the second year of our education programme, coordinated by our education officer, Emily Miller. We work with teachers and schools across the UK to increase and improve teaching on migration and related issues. The education advisory committee,40 chaired by renowned former headteacher Bushra Nasir, continues to support and guide the programme. One of the first activities of the education programme has been to produce 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 in the revised national curriculum and to identify where gaps exist that we can usefully fill. The results of this wide audit are available in the resource bank on our website. This resource bank is easy for teachers to search and select from. There is also a page of selected videos from a wide range of sources to aid teaching on these themes. We have also mapped where migration-related themes fit into subjects within the revised national curriculum, which schools are now delivering. This is available as a document on the education area of our website, and it highlights where these themes persist, and where new opportunities arise: for example, a stronger emphasis on local history within the primary history curriculum provides a chance for teachers and their pupils to explore how immigration has shaped their local area over time. As an extension of this activity, we have produced education-related resources and workshops to engage young audiences with our three exhibitions: 100 Images of Migration, Germans in Britain and Keepsakes. In terms of developing links with teachers and schools, we have established a network of teachers committed to integrating migration-related themes into their teaching. We are achieving this by offering interactive workshops introducing our project and exhibitions in schools across London and in Birmingham, Leicester, Norwich, Kent, Croydon and Essex. We have also responded to demand from student groups visiting from France, America, Germany and South Korea who are keen to learn about UK immigration. As part of these links with teachers and students, we have developed significant working relationship with two specific schools: Langley Academy in Berkshire and School21 in Stratford. Langley Academy has a vey diverse student body and is the only school in the UK with a museums learning specialism and dedicated museum40

See page 46. A profile of Emily Miller is to be found on pages 44–5.

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trained staff. In autumn 2014 the school hosted our 100 Images of Migration exhibition in its impressive atrium, and we delivered related workshops to year 8 and 10 students during their internationalism week. Students across all year groups presented objects related to their families’ migration stories, and these were curated and displayed in the atrium cases. Our collaboration with the school continues: two of these students’ objects are featuring in our Keepsakes exhibition. We have been supporting School21 with their term-long migration project with year 8. Our workshops helped to introduce the unit, and a team of Migration Museum Project volunteers is giving feedback to students about their essays – one of the results of the project. School21 is involved in the same Keepsakes collaboration with the Southbank Centre, which we look forward to working with them on too. A key priority of our second year of activity has been strategically increasing the spread and the influence of the education programme. We have done this by leveraging the influence of established networks of teachers in a position to deliver the programme in their schools. We have designed a unit on the history of migration to be delivered by history teachers and heads of humanities departments from all UK ARK academies. This unit will be delivered in the summer term of 2015. We look forward to supporting its delivery and to develop it further on the basis of feedback from these teachers and their pupils. Another strategic approach has been our commitment to support initial teacher training so that trainees have the resources to face these potential challenges from the outset of their careers. We introduce our work and model useful strategies we have developed for the classroom. We have worked with the Institute of Education, Birmingham University, London Metropolitan University, and a group of 80 trainees in the Stockton-on-Tees area. Upcoming activities n We are excited to be developing a range of education activities, workshops and research to align with our collaborations with the RE·THINK gallery at the National Maritime Museum (from May to November 2015) and the Adopting Britain exhibition at the Southbank Centre (from April to September 2015). n We are delighted to have received funding from the Doris Pacey Charitable Foundation for a project exploring migration themes through drama. This theatrein-education project will run in the 2015–16 academic year in ten schools across the UK. We are currently exploring options for a delivery partner to help us make this exciting pilot project a success for the schools and for the development of our education programme. n Planning is underway to deliver a continual professional development day in late spring for teachers. This will be co-delivered with two other heritage organisations – the London Metropolitan Archives and the National Army

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Museum – and will focus on how heritage organisations can support teachers working on potentially sensitive issues in their classrooms. If this pilot is a success, we plan to develop this collaboration as a regular offering. If you are interested in getting involved in any of these upcoming activities, or know schools that might be, please get in touch with our education officer.

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. Our website has been designed 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. 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 excellent digital material that is currently available, telling parts of Britain’s migration story, so that these are re-combined 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.

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 and supplementary displays of objects to accompany Germans in Britain in different places, so that these exhibitions have 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

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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 pages 12–13); we propose to explore these comparators, as well as other start-up and established museums in the UK 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 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 Big Society Capital. We may be able to generate subscriber income from something similar 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 achieve, 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 toured to St John’s College, Oxford, to accompany a conference about Anglo-German cultural transfer during the Hanoverian period and, early in 2015, to Queen Mary University London, home to the Centre for AngloGerman Cultural Relations, where the exhibition was launched with a fascinating talk about Nikolaus Pevsner. Together with the German department at Manchester University, the German Embassy and other partners, the exhibition was used to launch the North West German network at the Central Library in Manchester. Our third exhibition, Keepsakes will be created in partnership with a range of community groups and we plan to mount further exhibitions in partnership with other organisations. The team at Leicester University’s 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 deepened 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. We are exploring further community partnerships through our display of Keepsakes. 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 and Political Science 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 8 8Our plan Our strategic strategic plan Why we exist: To address the gap in knowledge and appreciation of Britain’s heritage as a country of migration, a gap which contributes to hostile attitudes, poor debate and a reduction in civil society. Why we exist: To address the gap in knowledge and appreciation of Britain’s heritage as a country of migration, a gap which contributes to hostile attitudes, poor debate and a reduction in civil society.

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

Outputs Rationales •

Rationales

Outputs Building organisation and support

Building organisation and • Staff recruited and support office space rented

• Improving understanding • Funds core costs • Staff recruited and raised officefor space rented of, and public opinion Improving understanding Business Funds raised• for core planning costs about, immigrants• requires of, and public opinion understanding of Britain’s • Formal consultation of cultural/heritage professionals • Business planning • Monitoring and evaluation according to plan about, immigrants requires migration history • Formal consultation of cultural/heritage professionals

• Review and development of memberships of board of trustees, committees, working group and understanding of Britain’s • A museum-based• Monitoring and evaluationfriends according to plan distinguished migration history educational programme will

• Development ofofpartnerships with museums, universities, business and media • Review and development memberships of boardcommunities, of trustees, committees, working group and

inform attitudes of 5–18

through co-production of outputs • A museum-based distinguished friends year olds and inspire a new • Print and social media targeted according to communications strategy educational programme will in public•discourse Development of partnerships with museums, communities, universities, business and media dynamic inform attitudes of 5–18 through co-production of outputs Cultural programme • A gap in the market; no year olds and inspire aexisting new Migration• Museum • 100 Images of Migration exhibitionto toured and re-curated by different hosts and in public spaces Print and social media targeted according communications strategy • Germans in Britain exhibition toured to different locations in UK dynamic in public discourse or British history museum • Keepsakes exhibition piloted at Southbank Centre as template for touring show

Cultural programme Likely popular appeal • A gap in the market; •no • One touring exhibition developed annually from 2016 • 100 Images •of Migration toured re-curated byondifferent andaninannual public spaces Between three exhibition and six Great Minds and and other events put each year,hosts including lecture existing Migration Museum • Engaging communities Websiteexhibition developed as interactive ‘Migration locations Mosaic’ • Germans in •Britain toured to different in UK countrywide or British history museum • National collections for loans for permanent museum • Keepsakes exhibition piloted atresearched Southbank Centre as template for touring show

• Options appraisal and feasibility testing completed for creative vision and interpretation within • Likely popular appeal developed annually from 2016 Assumption • One touring exhibition museum’s physical space • Between three and six Great Minds and other events put on each year, including an annual lecture • Engaging communities • There is a critical mass of Education Website developed as programme interactive ‘Migration Mosaic’ active individuals,•partner countrywide

Assumption

• Bank ofresearched website migration teaching refreshed and developed organisations, and• funders National collections for loans forresources permanent museum • Teaching resources produced as indicated by gaps in the market, and as required committed to migration • Options appraisal and feasibility testing completed for creative vision and interpretation • Established relationships with teachers, teacher trainers, museum educators and subject education through a space museum model museum’s physical associations

within

• Consultation via teacher focus groups and Community Conversations • There is a critical mass • Noof existing educational or • School exhibition visits and workshops programme cultural institutionEducation fills the active individuals, partner • Delivery of workshops to schools gap, and there is •significant Bank of website migration teaching resources refreshed and developed organisations, and funders material available•for loans, Teaching resources produced as indicated by gaps in the market, and as required committed to migration Physical space and in exhibitions, that could • Established relationships with teachers, teacher museum educators and subject education through a support a Migration • Scope venues and partners for London sitetrainers, and mobile component Museum museum model associations • Fundraising activities

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

• Consultation via teacher focus groups and Community Conversations • School exhibition visits and workshops • Delivery of workshops to schools

Physical space • Scope venues and partners for London site and mobile component • Fundraising activities External factors: Social unrest related to immigration; public spending climate and economic growth; government policy on arts/culture and migration

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

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s heritage as a country eduction in civil society.

Objectives

Short-term outcomes (1yr)

Intermediate outcomes (2–3yrs)

Long-term outcomes (3yrs plus)

• Significant capacity • Well-supported andShort-term • Increased public Building organisation and support Objectives Intermediate Long-term outcomes support for aoutcomes cultural (2–3yrs) to create funded educational outcomes and Migration • Skilled core staff operating from office (1yr) (3yrsaplus) asset telling the story of cultural charity with key Museum for Britain space supported by diverse board of • Increased public • Significant capacity • Well-supported and Building organisation and support British migration partners and engaged occupying a permanent trustees, working group, committees, support for a cultural funded educational and create a Migration • Skilled core staff operating from office communities site intoLondon, distinguished friends and volunteers asset telling the story of cultural charity with key Museum for Britain space supported by diverse board of together with aa permanent mobile • Strong track record British migration partners and engaged occupying • Effective fundraising apparatustrustees, working group, committees, component site in London, • Thriving organisationcommunities of excellent cultural distinguished friends and volunteers • Strong partnerships with a range of • Strong track record

together with a mobile

seminars and other seminars and other events

Britain’s heritage as a Britain’s heritage as a migrant nation migrant nation

outputs, including fundraising operating apparatus from shared institutions and communities •• Effective of excellent cultural component Strong partnerships with a range of run by•5Thriving organisation exhibitions, authoritative office space, • Significant increased outputs, including operating from shared • Strong media profile institutions and communities website, 15 space, runinteractive awareness of exhibitions, authoritative public by 5 • Significant increased • Sustainable business model • Strong media profile employees and up tooffice interactive website, employees and up to 15 public awareness of • Sustainable businessvolunteers model

volunteers

Cultural programme Cultural programme • Compelling case for• Compelling case for • Production of • Production of •impact Measurable • Measurable on impact on • Education • Education programme programme funding support based funding support based (a) touring exhibitions (a) touring exhibitions and children’s reaching substantial on identified London site andteachers’ teachers’ children’s reaching substantial on identified London site (b) events awareness of Britain as numbers of children plus mobile component (b) events awareness ofaBritain as numbers children plusMosaic’ mobile component (c) interactive ‘Migration migrant nation agedof 5–18 (c) interactive ‘Migration Mosaic’ website a migrant nation aged 5–18 • Rise in awareness in • Established creative vision and core • Significant funds raised website • Rise in awareness in key audiences through towards establishment Museum exposure to exhibitions • Established creative vision andnarrative core for Migrationkey • Significant funds raised audiences through of a permanent (tens of thousands of towards establishment narrative for Migration Museum Migration Museum exposure to exhibitions Education programme visitors), events/lectures • Website as a hub for (tens excellent of

events

of a permanent thousands of(3,000 total visitors),

website (50,000Migration total teaching materials visitors), events/lectures Museum Education programme visitors), mailing list • Production of education resources • Website as a hub for excellent• Network of teachers (3,000 total visitors), (2,000) and print and dedicated to website (50,000 totalsocial media (3,000 teaching materials teaching about migration • Schools engaged with cultural mailing list Twitter followers) visitors), • Production of education resources (2,000) and print and • Network of teachers dedicatedprogramme to • Strong and evolving social media (3,000 artistic direction, teaching about migration Physical space • Schools engaged with cultural• London site identifiedTwitter followers) informing cultural programme, museum • Fundraising campaign for permanent programme content and core site plus mobile component • Strong and evolving narrative

Physical space • London site identified • Fundraising campaign for permanent site plus mobile component

artistic direction, informing cultural • Established education programme engaging programme, museumcore of 15 schools, content and core 500 student exhibition visitors a year, and narrative

significant proportion of MMP website visitors to

• Established education education section programme engaging core of 15 schools, 500 student exhibition visitors a year, and significant proportion of MMP website visitors to education section

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9 Evaluation and impact 9.1 Reach We will measure our online reach by counting visitors to different parts of our website and assessing them according to captured profile data. We will measure the take-up of our online resources and the online reach of our ‘migration teacher networks’. 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. In its first outing, at Hackney Museum, 7 500 people saw 100 Images of Migration and the exhibition has had been on show at numerous venues, and in public spaces, since then. We expect our 100 Images and Keepsakes to be seen by tens of thousands of people at the Southbank Centre in 2015. We count attendances at our events – conferences, workshops, lectures, and ‘community conversations’. More than 1 600 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, and that tens of thousands of people will see our exhibitions over the same period.

9.2 Impact We 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, and community representatives. We will continue to poll visitors to our events and to assess our impact according to relevant criteria. Educational impact We plan to measure the impact of our education programme with support from an external evaluator.41 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 41

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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Here are some headline measurements of impact to date: n We have worked directly with approximately 1 400 pupils n 92 per cent of all pupils have stated that they are satisfied or fully satisfied with our workshops overall n 85 per cent of all pupils have stated that they are satisfied or fully satisfied with what they have learnt as a result of the activities based on 100 Images of Migration n 80 per cent of all pupils say they would like to visit our Migration Museum, when launched, and express a range of reasons for their choice n Qualitative anecdotal evidence from teachers and pupils strongly indicates their support and enthusiasm for the current work of the Migration Museum Project and its ultimate aims In due course, as we continue the journey towards a permanent museum, we will carry out similar evaluation work among community groups and parents, and we will monitor coverage of our activities in the media. We may make use of national survey organisations to carry out polls on our behalf, and we may use specialist researchers such as IPPR. We will use the results of data collection, impact surveys and our other observations to inform future strategy and activities.

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10 Organisation 10.1 Governance The Migration Museum Project is a charitable company with ten trustees/directors supported by a working group which comprises all trustees and other members, and which meets several times a year.42

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 previously worked as a full-time volunteer, 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 July 2013, and Andrew Steeds as the projects manager since autumn 2013. Tanisa Gunesekera joined the team in July 2014, also as a projects manager. 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, our wordsmith, wrote Bloody Foreigners: A History of Immigration to Britain, the book that has been our inspiration. 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 42

For details of who we are, see Appendix 1.

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sponsorship of our brochure and second seminar at the RSA and has hosted a dinner 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 46.

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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; she is chair of one of the largest national housing associations and a visiting university professor. Dr Jill Rutter – vice-chair Jill Rutter is Head of Policy and Research at Family and Childcare 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, Cultural Policy and Museum Studies at the University of Manchester and also teaches at Newcastle University. She has extensive experience in the capital development of history museums from her previous role as acting deputy director at the Museum of Liverpool, 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 19th 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 41

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Charles Gurassa Charles Gurassa is a former 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 – his two children 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 three novels and books about cricket and golf. He has also been a regular contributor to the Independent, the Observer and the New Statesman.

Advisers Sue McAlpine, curator Sue is currently working freelance as a museum curator, with a particular emphasis on community engagement. She worked for nine years at Hackney Museum as curator and collections manager, working on more than 60 exhibitions with the borough’s diverse communities and recording its changes. Before that, Sue worked with ethnic groups in Notting Hill as exhibition curator and oral historian, heading a team of actors and educationalists for the education service at Gunnersbury Park Museum. Earlier, Sue worked as education officer at the Museum of London from the time of its move to the City in 1976. Rahul Moodgal, curator Rahul works as an independent adviser in investor relations and business development. He has 17 years’ experience of fundraising, working with endowments and foundations all over the world, as well as with the world’s largest museum group – the Smithsonian Institution. Rahul was previously Head of Investor Relations for the Children’s Investment Fund platform and a committee member of the British Olympic Association 2012 Olympic Ball. He is currently an ambassador both to the disabled children’s charity Whizz-Kidz and to Mulberry Bush School, as well as a director of US charity Scientific Adventures for Girls. Cathy Ross, curator Dr Cathy Ross is honorary research fellow at the Museum of London, UK, where she was Director of Collections and Learning until 2013. Previous to that, she worked in museums in Tyne & Wear and South Yorkshire. Her museum career has focused on the challenges of representing the complexity of cities within a museum. She was chief curator for the Museum of London’s Galleries of Modern London, which opened in 2010 and has published widely on museums, contemporary collecting and London history. Books include Twenties London: a City in the Jazz Age (2003), The Romance of Bethnal Green (2007), London: the Illustrated History (2008) and (with Cheryl Chapman) Philanthropy: the City Story (2013). 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

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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. Kate Wilson, brand strategist Kate’s career has been spent in the creative industries, initially in advertising at J Walter Thompson and subsequently in the consultancy world, where she was a founding director of the Added Value Company. Kate has worked extensively at board level in the areas of market analysis, brand strategy, consumer insight and marketing as an advisor and mentor to a broad spectrum of brand owners in the UK and international markets. Latterly, as founder of Culture Watch, Kate has also been working on a new approach for brand owners, to encourage them to consider culturally diverse audiences in their strategic thinking and initiatives. Kate is now developing a portfolio career as a non-executive advisor.

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 and communities. 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

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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). Tanisa Gunesekera – projects manager Tanisa joined the Migration Museum Project in 2014 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 SaintÉtienne, France, for one year, where she also volunteered for a social justice association, and was an intern 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’.

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Committees Education committee Bushra Nasir CBE

Chair, former head teacher, Plashet School

Zelda Baveystock

Heritage Lottery Fund, and Migration Museum Project trustee

Sophie Henderson

Director, Migration Museum Project

Angie Kotler

A Partner in Education

Professor Ian Menter

Director of teacher education, University of Oxford

Emily Miller

Education officer, Migration Museum Project

Ryan Mundy

Council for At-Risk Academics

Dr Cathy Ross

Honorary research fellow, Museum of London

Dr Jill Rutter

Family and Childcare Trust, and Migration Museum Project vice-chair

Una Sookun

Head of history, Globe Academy, Southwark

Martin Spafford

Former head of history, George Mitchell School; fellow of SHP

Andrew Steeds

Project manager, Migration Museum Project

Rebecca Sullivan

Historical Association

Emma Winch

Hackney Museum

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

Volunteers Anya Edmond

Issy Petrie

Ingrid Goldstein

Richard Vale

Vanessza Kaloczy

Harriet Ward

Rahul Moodgal

Kate Wilson

Roberta Murroni

Sasha Zavjalova

Katie Nairne

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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 Daniel Franklin 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 Mark Lewisohn 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 Michael Rosen 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 Doris Pacey Charitable Foundation EsmĂŠe Fairbairn Foundation Kohn Foundation Migration Foundation Nadir Dinshaw Charitable Trust Paul Hamlyn Foundation 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.

Migration Museum Project – the first three years, page 50

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How we got here: the first three years

Sponsors Alfred Caplin Charitable Settlement Artistic Endeavours Trust The Baring Foundation The Doris Pacey Charitable Foundation Kohn Foundation Nadir Dinshaw Charitable Trust The Rayne Foundation

The Schroder Foundation

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

SPRING 2015

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