do children matter to museums in uk
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Do Children Matter to Museums?
Veronica Puleio
I do not see the necessity for very
young children coming into
the Museum; they are apt to commit
little indiscretions.
Henry Ellis Principal Librarian British
Museums, 1841.1
1. Introduction
We are appalled by todays childcare scandals, but they bear no
comparison with the horrors of the mid-eighteenth century, when
babies were abandoned on rubbish heaps (Lane, 2008). The
situation of children and young people in society has changed
significantly, and for the better since then. But are we doing
enough to tackle vulnerability and social exclusion, and to
1PARLIAMENT. HOUSE OF COMMONS, GREAT BRITAIN. (1841) SelectCommittee on National Monuments., London, HMSO.
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accessibility in attracting young people and children. This is
explained by reference to Gardners theory of multiple
intelligences. Yet, this section also acknowledges the relevance of
working with families and schools in this context. Section 4
concentrates on how the Foundling Museum performs in this
specific area. It argues that despite its appearance, the Foundling
Museum has developed a series of programmes and initiatives
that successfully tackle the issues of inclusion, accessibility, and
which are largely consistent with the key outcomes of ECM.
Moreover, the Foundling has creatively approached informal
education for children, attracting families, and providing
interpretive tools. However, this essay also suggests that it has to
some extent failed to attract young people in the context of
informal education and that there are serious deficits in terms
of collaborative efforts with neighbour institution Coram Parents
Centre. In short, I argue that although the overall policy has been
largely successful, there is still much room for improving its
approach towards inequality and vulnerability through creative
initiatives and a more integrated or holistic approach.
2. The best place in the world for children
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During recent years, the UK has claimed to be strongly
committed to improve the situation of children and their well-
being. In 2007 the Government created the Department for
Children, Schools and Families (DCSF). This is a department
focused exclusively on issues affecting children and young
people. The DCSF contributed to the creation of The Children's
Plan, a ten-year approach to make England the best place in the
world for children and young people to grow up. Developed
through consultation with the public and experts, it places
families at the heart of everything [they] do. 2
Based on DCSF consultation, five principles guide the Childrens
Plan. First, government does not bring up children; parents do. So
the government needs to do more to back parents and families
up. Second, all children have the potential to succeed and should
go as far as their talents can take them. Third, children and
young people need to enjoy their childhood as well as grow up
prepared for adult life. Four, services need to be shaped by and
responsive to children, young people and families, not designed
around professional boundaries. Finally, it is always better to
2 http://www.everychildmatters.gov.uk/strategy/childrensplan/ last accessedApril 2009.
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prevent failure than to tackle a crisis later (Secretary of State for
Children, 2007).
These aims will be pursued through a number of specific
programmes. One of them is Every Child Matters (ECM). ECM
constitutes a new approach to the well-being of children and
young people from birth to age 19. The need for urgent change in
the UK was made apparent in Lord Laming's report into the death
of Victoria Climbi, the young girl who was horrifically killed by
her great aunt and the man with whom she lived. The report
highlighted a need for improved integration and accountability
across children's services. Alongside its formal response to Lord
Laming's report the Government published a green paper called
Every Child Matters (ECM). The green paper created an
astonishing debate about services for children and families. There
was a wide consultation with children, young people, parents and
people working in children's services. This ECM green paper
identified five outcomes that are most important to children and
young people. They are be healthy, stay safe, enjoy and
achieve, make a positive contribution and achieve economic
well-being.3 Following the consultation, the Government
3 http://www.everychildmatters.gov.uk/aims/outcomes/ Last accessed,February 2009.
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published Every Child Matters: the Next Steps4, providing the
legislative spine for developing more effective and accessible
services focused around the needs of children, young people and
families (Hodge, 2004).
To meet these challenges, children are likely to need as many of
the elements of a good educational experience as possible. ECM
recognizes that high educational standards and a wider concept
of well-being go hand in hand in achieving better outcomes for all
children especially the most vulnerable (Ferries, 2006).
Education is therefore at the centre of ECM. However, this by no
means entails that this programme is restricted to schools.
Educating young people is not only about good teachers or up-to-
date instructional materials, but a complex group of practices,
policies, and organization working together that can make this
happen. Everyone almost certainly can think of at least one
circumstance in which they learned something despite the
learning environment being defined in the broadest possible
terms. Moreover, the programme stresses those organisations
which provide services to children have to work together in more
integrated and helpful ways. Partnerships must be developed in
4 http://www.dcsf.gov.uk/consultations/downloadableDocs/EveryChildMattersNextSteps.pdf Last accessed, April 2009.
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order to maximize impact and ensure that children in vulnerable
situations receive as much help as possible.
3. Museums and their contribution
What is the rule respecting the
admission of children when
accompanying their parents? The rule is,
that no children apparently under eight
years of age shall be admitted.
Henry Ellis Principal Librarian British
Museums 1841
Museums in the UK have an increasingly important focus on
children and young people. The philosophy of museums for all
acknowledges that efforts are required to identify and remove
the many barriers (physical, intellectual, emotional, attitudinal,
financial etc.) that exist to exclude many groups from museums
(Sandell, n.d.). Often museums and what they offer do not appear
to be relevant to young people. As a result of such assumptions,
young peoples attendance at places such as theatres, galleries
and museums declines as they progress through their teens
(Harland and Kinder, 1999). The crucial question in this context is
how museums can make themselves more accessible?
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Accessibility, to some extent, depends on the learning process
that takes place in the museum. And yet, changes in the
approach to learning are improving access to the museums.
Learning is now seen as an active participation of the learner
with the environment (Hein, 1998:6). The focus of education has
shifted from the written word to the learners active participation
and his dealings with objects. This has made museums an
amazing resource for learning. They create a unique opportunity
for first-hand learning with primary sources, helping them to
access to different learning styles and discover connections
through artefacts that relate to their own experience. Pupils can
speculate from their own observations and set hypotheses that
are relevant to their own ideas (Ferries, 2006). Museums provide
the freedom for people to make sense of their own life
experiences through their personal responses to individual items
or whole collections (Moffat and Woollard, 1999:ix). Gardners
theory of multiple intelligences is closely connected to the child-
centred learning philosophy of John Dewey. He maintains that
every person is capable of seeing the world through the lens of
multiple intelligences.5 Currently, the challenge that museums
5 Gardners multiples intelligences: Logical-mathematical, Musical, Bodlykinesthetic, Visual spatial, Intrapersonal and Naturalistic. GARDNER, HOWARD(1983) Frames of mind : the theory of multiple intelligences, New York, Basic
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face is to facilitate this kind of process, including not only hands-
on activities, but also multiple-intelligences-on activities.
Museums and galleries all around the country have responded
actively to welcoming more children. This process has taken
place in a particular context. Never before has there been such
imaginative and innovative practice in Britains museums and
galleries.6 Furthermore, MLA is helping museums to identify the
special contribution that each of them can make to society,
specifying what they should be aiming to achieve. Also, MLA
encourages museums, libraries and archives to develop a broad
range of learning experiences for school-aged children with
national programmes, advocacy and by developing strategic
partnerships to help deliver Every Child Matters.7 Institutions that
depend principally on the state for funds are now also required to
show serious commitment to bringing in new audiences,
especially those that before felt excluded, like children and young
people.
Museums cannot alone meet this challenge. Research has
demonstrated the importance of the home learning environment
Books.6 http://www.kidsinmuseums.org.uk/ last access April 2009.7 http://www.mla.gov.uk/what/policy_development/learning/school_age_children last access April 2009
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and the role of the parent as a child's first and most effective
teacher.(MLA)8 Yet, they can make an effective contribution and
a real difference as part of a holistic approach (Watson, 2006:6).
This means promoting innovative activities focused on the
interaction between parents, carers and children. As Hilary
Ferries suggests, [w]e must broaden the opportunities for all
pupils to reach their individual potential. The objective is not
equality in the absolute sense of everybody achieving the same,
but the removal of what are often referred to as barriers to
educational success (Ferries, 2006:8). Museums can break down
these barriers by making learning more accessible and significant
for different styles of learning.
The importance of providing children with access to museums
cannot be underestimated. Some people say children and young
people matter to the arts sector because they are the audiences
and artists of the future, and because the arts stimulate creativity
that is vital to the future economy (Barker, 2006:2). This is true,
but not for the sake of preserving the future. Children and young
people matter because they are important today as individuals
with their own features, abilities, and talents. Robin Casson de
8 http://www.mla.gov.uk/what/policy_development/learning/family_earlyyears_learners last accessed April 2009.
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Director of Schools and Family Support, Northumberland County
Council has argued that [c]reativity is the freest form of self
expression; [t]here is nothing more satisfying and fulfilling for
children than to be able to express themselves openly and
without judgment (Casson, 2006:3).
Indeed, [t]he ability to be creative, to create something from
personal feelings and experiences, can reflect and nurture the
emotional health and well-being of a child (Casson, 2006:3).
Creativity promotes mental and emotional growth, and gives
children the possibility to try new ideas, solving new problems
and new ways of thinking. Creative activities acknowledge and
celebrate children's uniqueness and diversity; and offer
significant opportunities to personalise learning (Casson,
2006:3). This is why museums are so important in delivering
ECM. Museums have the strength to contribute to pursuing the
five outcomes of ECM outlined in the previous section,
particularly those related to their sectoral strengths, like enjoy
and achieve or make a positive contribution. Participation in
museums can change how children and young people explore the
world around them, shifting the way they see themselves and
their hopes for the future. Museums can contribute to the
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learning process, both in terms of formal realization and by
developing lifelong skills that help to make a rounded individual,
a communicator, a problem solver, an innovator and a team
worker (Watson, 2006:4). Finally, museums have the potential to
reach millions of children and young people through positive in
and out-of-school activities, supporting families and promoting
diversity.
And yet, [t]here is clearly not enough money (and consequently
insufficient staff and support services) to do everything that
might be desired. So questions arise as to which activities are
most essential, or most beneficial to the museum and to society
(Hein, 1994:305). Put differently, funding constitutes itself in a
major constraint to pursuing these objectives. This challenge is
particularly acute in private museums. Private museums are
costly, and it is not clear how many would survive without the
Governments help. Today more than ever it is clear that it is
necessary to follow the Governments guidelines in order to have
access to grants and funding. Sometimes the financial necessities
of the museums determine their agenda and, often, they
determine the face of the museum vis--vis the government and
the public. It is not always easy to know when a particular activity
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or program is part of the museums genuine mission, or rather it
is part of its political agenda to secure funding. For example, if
museums do not show enough outreach and education initiatives
aimed at children, they lose funds. With this, they lose the
possibility of developing new audiences and generating more
income. As Gillian Reynolds eloquently puts it, Child-friendly
galleries are a good thing - but trend-chasing for funds is not and
it create organizations that become dependent on grants and
sponsorships rather than earned income (Reynolds, 2009). This
is something that creates dependency and control over private
museums and something that needs to be examined carefully. I
am not suggesting that developing a bigger audience, including
children in particular is a bad idea. Yet, sometimes museums
have other priorities. There are still people who go to galleries to
look at pictures in peace and to museums to study rare objects in
quiet. The thing is, in the Government's opinion, there aren't
enough of them to justify the cost (Reynolds, 2009).
4. Does every child matter for the Foundling
Museum?
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faint residue of dry, unwelcoming atmosphere (Reynolds,
2009). Despite the last renovation of the building, at first look this
museum is more like a traditional institution which motivates old
people to come. It is a bit discouraging to enter, especially for
young people. The entrance has a dull atmosphere and the
beautiful collection inside is hardly appealing if you do not
already know what it is about. It is a real challenge for the
museum to place a visitor in the right frame of mind to engage
with [its] collection (Black, 2005:4), and in particular to engage
children and young people. It is, therefore, extremely important
to think creatively in order to elaborate a programme that is rich
and powerful. If that does not happen, young visitors are unlikely
to enjoy their visit, and hence they will not have the right kind of
stimulus to learn.
Further an informal conversation with Ms Annette McCartney, the
person responsible for Learning and Access programmes at the
Foundling Museum, she pointed out that learning is the reason for
the existence of the museum: Why as a society [do] we need a
collection if it is not for learning? Learning is at the heart of all
museums.9 But more importantly, the Foundling Museum seems
to have taken seriously the spirit of ECM. The admission to the
9 Interview with Ms Annette McCartney, London, April 2009.
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Museum is free for school groups, and free workshops are
tailored to meet particular needs across the curriculum: art,
history, music, sociology, citizenship and more. It also offers a
wide range of taught sessions with different activities like object
handling (smell boxes!), interactive storytelling, dressing up, etc.
Many of its activities are consistent with furthering specific
outcomes outlined by ECM such as be healthy, enjoy and
achieve, and make a positive contribution. For instance, the
Museum carries out role-plays to experience life as, for example,
a Victorian foundling growing up in the Hospital, a parent
struggling to do the best for her child under difficult
circumstances, a Governor of the Foundling Hospital making
difficult decisions about which children they should take in, etc.
This role-playing allows children and young people to be
physically active while at the museum, improving their
movement skills, coordination, sensory awareness and
concentration. The museum also offers drawing sessions of self-
portraits full of personal symbolism, inspired by and created in
the presence of real 18th century portraits, creative writing
(stories, letters, poems) inspired by Foundling childrens lives and
artefacts on display, etc. Finally, former pupils of the Foundling
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Hospital, which closed in the 1950s, are available to offer vivid
recollections of their experiences and tell how it predisposed
them later in life in terms of identity, self-expression, and in their
relationships with partners and children. These are difficult issues
to work with and, as Ms McCartney suggests, they constitute the
main area of learning in this museum in particular.
Ms McCartney argues that at the Foundling Museum, they work
with the Human Experience in particular at an emotional level.
They are interested to show what happened to the foundlings
when they grew up and had to make their own way in the world.
Children and young people gain unique access to priceless
historical artefacts and contribute to the engage in the subject.
The strength of the collection is that it makes children feel in a
safe environment where they can share difficult experiences and
fears, and through this sharing connect and explore their
emotions. There is nothing more satisfying and fulfilling to see
children to be able to express themselves openly and without
judgment.
But working with such delicate issues is not without risks. Ms
McCartney mentions that it is important for the team to be aware
before the learning session of possible conflicts that can arise
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with a particular group. For this purpose they make a
questionnaire for teachers to fill in prior to the visit. As I
mentioned before, issues like legitimacy, abuse, lost identity,
death of parents, etc., are common subjects in the sessions and
this is a particularity of this museum. The subject-matter of the
Museum is a strong catalyst for emotions. Ms McCartney narrated
a telling story. In a creative writing session, one of the children
wrote a letter as a Foundling child to his mother about how much
he missed her and how he felt about not being with her. During
the session this child gave Ms McCartney the letter for her to
read. After this, one of his classmates approached, and
embracing the child, he told her that his mother had died
recently. The Museum encourages children and young people to
express themselves and helped them to overcome some
problems as a group that before the learning session were even
difficult to discuss. This contributes to childrens mental and
emotional health, and makes them feel that they can make a
positive contribution to their pairs.
Every adult closely involved in a childs life can influence her
educational chances, so the Museums sees that they get involved
in the learning process. This is why families with small children
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are offered the option of bringing a buggy bag with them around
the Museum. The Museum's youngest visitors now have more to
do after the Buggy Bag Project was introduced the previous year
with MLA funding. The buggy bags are small rucksacks, each with
a selection of toys and activities that will make the Foundling
Hospital and the Gerald Coke collections more accessible for the
children carrying them in an informal visit to the museum.
Similarly, the Museum's Family Fun drop-in activity programme
was boosted by the introduction of free entry for accompanying
adults. The programme is building a reliable audience and
receives frequent mention in various media outlets (Trustees,
2008). Also, in order to support its growth as a place for children,
the Museum offers in-house Family Friendly Training to all staff
and volunteers, conducted by the Museum's own Education
Assistant. Finally, the Museum arranged two Open Days for
families during 2007-8, the Foundlings Go to the Zoo in May,
when 157 children and adults took part; and Pippi Longstocking
Day in November, with 252 participants.
Nevertheless, there remains a lack of adequate interpretation in
informal learning activities for young people. There is no
marketing, not even a single poster encouraging the participation
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of young people. Even if they do cross the door of the Foundling
Museum, what they see inside is really difficult to engage with,
and this is something that the learning team needs to address in
the future if they want to engage also young people through
informal learning. It is as if they needed to control the
educational environment to feel that they are teaching. But this
creates a patronising situation with regards to young people and
makes the museum less open and friendly. Clearly this is an
audience that is not included in the day-to-day life of the
museum. If they do not come with the schools, there is really
little waiting for them inside.
The Museums learning team consults visitors through regular
visitor surveys, through the visitor book and through informal
contact at front of house (Trustees, 2006). All feedback received
from these sources is included into the planning of public
programming, which changes and is re-developed continuously.
Ms McCartney said that for her the best evaluation is one to one
in each session when finalise the team has a meeting and
discusses any issue that might have aroused and how they could
improve the experience of those children. Nevertheless, [t]hough
there is increasing consultation of audiences, (a trend
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encouraged by the introduction of best value), few museums
share decision-making with individual or groups outside of the
organisation or genuinely empower audiences to influence their
direction (Sandell, n.d.). This is, in part, due to a belief in the
authorities of the museum professionals as expert. But this also
has the potential to undermine partnerships and collaboration
with other institutions. This is something that the Foundling
Museums needs to re-evaluate if it wants to improve their social
inclusion programme and contribute to ECM. ECM stresses that all
organisations that give services to children have to work together
in more integrated and helpful ways. Many museums are
excluded from new initiatives aim at tackling exclusion as they
are rarely considered as appropriate partners by social, welfare
or health agencies (Sandell, n.d.).
In my conversation with Annette McCartney I asked her if they
have programmes in common with the Coram Parents Centre10
thinking that they can contribute with each other with different
areas of expertise in relation with the community, specially those
people who are more at risk. She said that people in the Coram
10 The Coram Parents' Centre provides community-based training in parentingand other skills for families in Kings Cross, many of whom are socially isolatedand unfamiliar with mainstream services. It is situated literally next door fromthe Foundling Museum.
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did not know how to work with them; that the Foundling Museum
has approached them with a lot of enthusiasm but that they have
got no concrete response so far. Also, she remarked that there
are some politics going on. However, I asked a person who works
at Coram Parents Centre why there were no activities in common
with the Foundling Museum and she also said she was really
disappointed with the people from the museum. She argued that
they have told them that they only had two days available in the
whole year to do something in partnership with Coram. For any
other activity, Coram would have to rent the space as any other
institution wishing to organize an event in the Museum. Things
like that are what ECM wishes to eradicate.
This reluctance does not seem to be based on real economic
constraints. With funds raised through the National Lottery, the
Heritage Lottery Fund (HLF) sustains and helps a wide range of
heritage for present and future generations. The Foundling
Museum has been given 322,000 towards a project that will
record and preserve the memories of 80 people who were pupils
at the former Foundling Hospital between 1918 and 1948
(Heritage, 2008). From the Trustees report it is possible to see
that the Museum has sufficient income from admissions,
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donations, grants and funds to cover its expenditure. The
Museum also has a trading subsidiary which runs the shop and
corporate events from which the Museum also receives an
income. The process is underway to raise funds for the purchase
of the Foundling Hospital collections. Funding is available to
support the Museum's marketing efforts targeting specific
sections of the community. Furthermore ring-fenced funding has
been obtained for work with children and young people.
Rhian Harris, the previous director of the Foundling Museum, has
led its three-year refurbishment and revitalisation, restoring the
collection and raising 11 million to open it to the public. In an
interview, she said that in the past the museum was completely
run by the childrens charity Coram, and obviously wasnt cared
for properly because it wasnt their priority, so the collection was
deteriorating and the building was in an appalling condition. The
trustees were keen that the collection should become
independent and self-financing and The Foundling Museum
became an independent entity and took possession of the original
imposing site overlooking the Corams Fields playground (Mullen,
2006:1). Thus, this reluctance to work together may go deeper
into the institutional history of this institution. Yet, regardless of
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the bad communication, internal politics, and financial issues
between potential partners can have a devastating effect and
undermine their capacity to tackle exclusion and vulnerability in a
more holistic and integrated way.
Overall, the Museum has been overwhelmed by the positive
response from children and young people. Their responses have
given a new perspective on [the] collection, reminding staff
and volunteers of its continuing relevance and how it is much
more than a memorial to the past wrongs of society (Mayers,
2006). The learning programmes have been largely successful in
providing insights into social progress and have indicated where
improvements are still needed. It has extended a forum for
discussion that highlighted issues that todays young visitors
might one day be able to change. Taking part in this kind of
creative opportunities can change the way children and young
people explore the world around them, shifting the way they see
themselves and what they hope to in the future.
5. Conclusion
This essay is about the way in which museums in general, and
the Foundling museum in particular cares for children. I have
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been concerned in the ways in which museum practice has
tackled issues such as vulnerability and inequality, and how it has
thrived to promote equality and learning among children and
young people. Museums provide great opportunities for learning
in this context. They can provide a number of activities and
initiatives directed to children with different backgrounds or
needs and help the realize their individual potential. Positive
activities and experiences are a vital part of happy and enjoyable
years. Moreover, in museums pupils can control the learning
process; with guidance and support from both teachers and
museum staff, they are able to reflect on their learning at each
stage, identify their next steps and shape their own learning
outcomes.
This essay addresses ECM, an overarching general policy
promoted by the UKs government to improve the institutional
approach towards children and young people. I have
concentrated on the way the policies and initiatives of the
Foundling Museum vis--vis children and young people have been
consistent with the central outcomes promoted by ECM. I have
argued that the Foundling Museum has developed a consistent
practice that largely succeeds in making its collection more
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accessible to children and young people. Through a number of
initiatives, it has creatively approached informal education for
children, attracting families, and providing interpretive tools,
making students reflect on their own experiences and situations.
However, I have also contended that this museum needs to
improve its overall performance in two particular respects. First,
it does not seem to adequately approach young people in the
context of informal education; and secondly, it has not
developed an effective partnership with neighbour institution
Coram Parents Centre. In short, I argue that although the overall
institutional approach to addressing children and young people as
audiences has been largely successful, there is still room for
improvement.
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