Category: People’s Stories

Telling Stories About Museum Objects

“Telling stories can enable us to draw links between past, present and future and bring to life the human presence behind any object”[1]

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My time at the McManus working on the ‘The People’s Story’ project has highlighted to me, how storytelling can aid interpretation. The visitor, who observes a treasured object and shares their story, allows others to interpret an artefact, by connecting personal stories to social/political histories. Objects can trigger visitor’s memories. The past can be brought to life, allowing an everyday seemingly insignificant object to be as valid as an object from a significant historical event. Stories can allow a visitor to explore their relationship to place. The visitor can gain a sense of pride in their identity by interpreting of museum objects and sharing stories about Dundee.

The stories connected to museum collections can be used to encourage younger audiences who have less life experience to help them interpret objects. People’s stories can support museum staff, to share and explore ideas as well as influence creative activities. In my observation, children often mixed factual and fictional description of things, however, they too can gain a better understanding of Dundee’s History through a good story.

[1] D, Francis S, Gayton and the British Museum. (2014). Fieldnotes Storytelling. Available: http://www.britishmuseum.org/PDF/storytelling_resource_changed_font_size.pdf. Last accessed 3rd August 2017.

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The Museum Experience

“Children were often surprised at what they saw in museums. Their experiences surpassed their expectations and often took them unawares.”[1]

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Continuing my observation of how visitors engage with the displays within the ‘Making of Modern Dundee and Dundee and the World exhibitions.’ In my last post I questioned, how different types of audiences explored the museum. Now, I would like to consider the visitor’s experience.

The adult museum visitor often experiences the exhibition by observing a curated object and reading the information provided. An atmosphere about the subject is created depending on how an object is displayed and the content of the information given. However, primary school children have to be encouraged to read the information. In my observation, children would rather listen to a story than read the facts. The spoken word becomes essential in establishing a unique learning experience for children. An oral history can add another element in creating an atmosphere, to allow a child’s feelings to connect to an artefact.

How younger audiences feel about objects, is also reflected in their previous knowledge. They benefited from researching a subject before a museum visit and used a mix of knowledge and feelings in the learning process. The ‘Creative Learning Team’ at the ‘McManus’ provides group workshops for both adults and children. These well-planned workshops usually involve a tour and a creative activity. This experience gives visitors an opportunity and time to discuss their observations, to ask questions and help visitors  to interpret the museum’s artefacts.

In my next post, I will discuss the visitor’s interpretation of museum artefacts.

 

 

[1] Hooper-Greenhill, E.. (Oct 2004). Learning from Culture: The Importance of the Museums and Galleries Education Program (Phase I) in England. Curator . 47 (4), p428-449.

Visitors Explore

“Museums enable people to explore collections for inspiration, learning and enjoyment. They are institutions that collect, safeguard and make accessible artefacts and specimens, which they hold in trust for society.”[1]

The McManus museum is more than its collection; it is a stage for a visitor’s experience. Over the past six months, I have observed different groups of visitors engaging with the displays within the Making of Modern Dundee and Dundee and the World exhibitions. Questioning, how different types of audiences engage with the museum, the gallery space and interpretation of its artefacts? In my observation, younger audiences interacted with the museum slightly differently to adults. However, the public encounter, regardless of age can be separated into three parts.

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Explore

I watched adult visitors explore the exhibitions, happy to follow a route influenced by design. They moved in a quiet and orderly fashion, yet, the more visitors in a space, the more open they were to make conversation. As they explored the collections, they could receive an impression of what an object symbolises. The artefact can reveal a relationship to people and the culture it represents.

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Children are far more curious, I watched them enjoying the freedom to explore, question and select what objects to look at. They liked to choose what order to look at things, often moving from one display to another and then back again. They viewed objects from different perspectives by looking up or crouching down for a closer look. The young visitor also enjoys interacting with the space in-between the exhibits and can be very noisy.

For my next blog post, I will discuss the visitors experience and interpretation of artefacts.

[1] Unknown Author. (1998). FAQ. Available: https://www.museumsassociation.org/about/frequently-asked-questions. Last accessed 16th July 2017.

 

Juteopolis

Juteopolis, an intervention performed at the McManus Museum and Galleries, as a part of the Festival of Museums on the 20th May 2017. The performance celebrated the launch of the new ‘Ship Models’ exhibition, presenting an impression of ‘The People’s Story’ through the collection of shipping history, found at the museum.

A story about the flow of culture connecting museum objects, to the people of Dundee.

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THRIVING DEMANDS

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CRAFTMANSHIP

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WOODEN VESSELS

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FISHING COBBLES

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MANY OUTSTANDING SHIPS

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THEY SAILED THE WORLD

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The philosopher Theodor Adorno argued that objects, once inside a museum, are removed from the flow of culture where connections can be established. In contradiction, the artists, Lise Olsen and Lada Wilson used this performance to argue against Adorno’s theory by creating a new story, engaging with the ‘Ship Models’ collection in a variety of different ways.

Photo Credit: A big thank-you to Stuart McAdam for taking such beautiful images.

 

The Ship Models are ‘Batten Down’

The ship models are ‘Batten down’.[1]

Dundee, Caledon and the Gourlay,

constructed the Tay’s floating crown.

 

The skilled and well-trained creators.

Drillers, engineers, and foundry workers,

hold memories of boilermakers.

 

The sailors in search for the whale.

Fisherman, sea captains, and the crew,

so many whalers were built to sail.

 

The Privateer[2] will prey to pursue.

Fore, Main Mizzen and the Spanker,

even a Bumboat[3] is here to view.

 

The industrial world of pride and concern.

Shipbuilders, shipmasters, and the owners,

inspecting their keels from bow to stern. [4]

 

The Beam end boats for your observation.

Skysail, Mainsail[5] and the Topgallant,

a legacy of Dundee’s shipping nation.

By Lise Olsen

 

The ship models have arrived at their final destination and can be viewed in the new permanent exhibition at the McManus Galleries.

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When I visited the exhibition, the display transported my mind to a magnificent vision of a fleet of ships, floating upon the Tay Estuary. The detail in each model shows off, the skill and craftsmanship needed to create such detailed objects. In Dundee, shipbuilding needed many Maritime related trades and different skills to build an actual ship, here is a list of just a few. [6]

Rope and Sail Makers

Carvers and Gilders

Tin Plate Workers

Wood Merchants

Iron Merchants

Ship Chandlers

Wire Workers

Electricians

Stevedores

Engineers

Tallymen

Joiners

Listen to a story about a Caledon apprentice engineer by clicking the link below.

To find out more about Dundee’s shipping history and the Ship Models exhibition, visit the McManus Galleries, early May 2017. (Free admission)

Please note: Audio file is on loan from the Cultural Services Oral History.

[1] ‘Batten down’ means make secure[1] “Archibald, M (1999). Sixpence for the Wind. Caithness: Whittles Publishing. P138-140

[2] ‘Privateer is a Private vessel licensed to attack ships of opposing nation” Archibald, M (1999). Sixpence for the Wind. Caithness: Whittles Publishing. P138-140

[3] “Bumboat carried waste from ships and brought back provisions” ibid

[4] “The Stern is the Backbone of a ship” ibid

[5] “Mainsail is the largest sail” ibid

[6] Robertson, H. (2009). DUNDEE SHIPBUILDERS. Available: http://ninetradesofdundee.co.uk/download/mariners_&_seamen/historic_extracts/2009%20Dundee%20Shipbuilders.pdf. Last accessed 6th May 2017.

The ‘Troupe’ Are Here

A group of older ladies called ‘The Troupe’, brought the gallery to life with a blether around the ‘Painted Colour Map’ of Dundee, found in ‘The Making of Modern Dundee Exhibition’ at The McManus Museum and Galleries.

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‘The Troupe’ inspected the map in great detail. The ‘You Are Here’ pointer suggested the map was used at the west Railway Station, Dundee and made sometime between 1937 and 1941. I loved listening to ladies examining and discussing their exploration of Dundee’s past, through topography.

Click link above and have a listen.

Shipbuilder’s and their Homes

With the safe arrival of the model ships, now being ‘put into’ [1] a new permanent exhibition at the McManus Galleries. I began to wonder where did the Dundee shipbuilders live? At that time, good housing was in high demand, the shipbuilding company Caledon need to build new homes for their employees. However, the shipbuilder’s built some unconventional, homes at Cragiebank with alternative building materials. Click the link below to find more…

The Caledon constructed house’s at Cragiebank in Dundee.

Cragiebank Homes
Rivets Exposed
A House That Rusts

More traditional style Caledon Housing can also be found at Abercorn Street. I decided to visit the street to see if the houses were still there. Upon arrival, I found white semi-detached cottages with neat gardens.

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Feeling curious, I knocked upon a cottage door with a delightful garden, in hope that the resident might have a little shipping knowledge. To my surprise, the man who opened the door was a retired senior technical manager at Caledon, Mr. J. Riley. He shared his story by telling me he had started his career at the Caledon yard in 1955. Now, he dedicates his time to write and document Caledon’s history in his book called ‘The Caledon Shipyard: The Foundation, The People, The Ships and its Demise.’

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Mr Riley has over 500 images of ships in his book and his final objective is to get a picture of every ship the Caledon yard ever built…

Click the link below to hear a story from Abercorn Street.

To find out more about Dundee’s shipping history and the Ship Models exhibition, visit the McManus Galleries, early May 2017. (Free admission)

Please note: Audio file is on loan from the Cultural Services Oral History.

[1] MacMillan Publishers Limited. (2009). What ships and boats do. Available: http://www.macmillandictionary.com/thesaurus-category/british/what-ships-and-boats-do. Last accessed 26th April 2017.

These Splendid Ships

These splendid ships, each with her grace, her glory,

Her memory of old song or comrade’s story,

Still in my mind the image of life’s need,

Beauty in hardest action, beauty indeed. [1]

By John Masefield

The beautiful model ships conserved and stored at the McManus Collections unit in Dundee have now embarked upon a new voyage. Destined for a new display in the Albert Hall at the McManus Galleries.

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Bishop’s Move, a removal, and international shipping service ascended upon the unit at Barrack Street, to oversee the final voyage. The models had been packed carefully into boxes while other large models were carried by hand onto a bright yellow lorry. The museum staff Becky and Carly watched apprehensively, hearts racing as the fragile glass display cases were moved from their safe spaces. Each model was destined to travel adjacent to the flow of  River Tay to Noth Sea, roughly 300 yards to the gallery, in blustery windy conditions.

The Tay Estuary has seen many great ships built and launched, from high-quality wooden vessels, sailing barques and iron steamships. All built by local shipbuilders including David Livie and Sons, Alexander Stephen and Sons, Gourley Bros and Caledon. Each ship produced from Dundee’s past carried a tale to tell and by clicking the link below you can hear a ship launch story.

The Ship Models new permanent exhibition will be ready for visitor’s inspection at the magnificent Albert Hall in the McManus Galleries, early May 2017.

 

Please note: Audio file is on loan from the Cultural Services Oral History.

[1] Monroe, H & Henderson, A. ed. (1918). The New Poetry, An Anthology. New York: The MacMillan Company. P200-202.

Shadows of Ships

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I’m looking forward to the ship models being moved to ‘The McManus’ for a new permanent exhibition, opening early May 2017 and I have been invited to document the process at the end of the month. This invitation has launched my thinking upon the place of Dundee’s shipping past. I find myself transported back to ‘Stannergate’ overlooking the Tay Estuary. The image above presents the shoreline where ‘Caledon Shipyard’ once built many ships, the ship’s names float gently upon white capped waves.

Right Or Left For Queen Victoria?

Queen Victoria and Prince Albert have had a long-standing connection to Dundee’s past. This union will once again be transported into the future by the completion, early next year of the V&A Museum of Design Dundee.

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Victoria and Albert patiently await the completion of Dundee’s V&A

The McManus: Dundee’s Art Gallery and Museum is built upon Albert Square, a place named as a monument to Albert, the Prince Consort.[1] A statue of Queen Victoria can be found on the square and the museum was once named ‘The Albert Institute’. However, its name changed to ‘The McManus Galleries’ in memory of the former Lord Provost, Maurice McManus.[2] Historically Dundee has always had its own V&A, found on the first floor of the museum in the form of ‘The Victoria Gallery’ and ‘The Albert Hall’. You can also find two busts, sculpted by John Hutchinson in 1898, of Queen Victoria and Prince Albert located near the entrance of the museum.

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Queen Victora outside the McManus Gallery

My intention when photographing the busts was to represent, ‘Victoria and Albert patiently await the completion of Dundee’s V&A’. However, when I visited the museum I noticed the Prince Consort ‘s sculpture stood to the right of the Regnant Queen. Albert and Victoria seems a little odd so I altered the image in Photoshop, placing the queen on the right with the prince on her left.

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Original Photograph

A curatorial decision was made to place the queen on the left side of her husband. Was this decision made so the Queen would be nearer the front entrance? Or, was it an old fashioned concept of a woman’s place is on the left of man? If we think of a Christian wedding where the bride always stands or sits to the left of her husband and her family also sits on the left side of the church. I began to search for some context and I found an article suggesting:

“Traditionally, when a man escorts his partner, he offers his left arm. This tradition originates from medieval times when men escorted women around town and through the fields. Should a threat arise or the woman’s honor require defending, the man’s sword hand (his right hand) would be free, giving him quick and easy access to his sword, worn on his left side.”[3]

During my research, I also found a guide to the correct royal etiquette for various modes of royal seating at court and at other times, recommending;

“The Sovereign sits to the right, with the Consort to His (or Her) left, if both are present.”[4]

When I think of any images I have seen of our current royals, we nearly always find Prince Philip sat on the Queen’s left side. Yet, regardless of the positioning of Queen Victoria or Prince Albert’s sculptures, when I consider the skill and craftsmanship of the work and the beauty of the marble. I reflect upon their royal romance, as we all wait patiently for their union to be transported into the future by the completion of Dundee’s V&A.

[1] Leisure and Culture Dundee. (Unknown Date). Streetwise: Albert Institute. Available: http://www.leisureandculturedundee.com/localhistory/streetwise/albertinstitute. Last accessed 31st March 2017.

[2] ibid

[3] Tan, N and Nicol, B. (2009). The History Behind Gentlemanly Action. Available: http://www.primermagazine.com/2011/learn/the-history-behind-gentlemanly-action. Last accessed 31st March 2017

[4] ‘William the Lucky’. (2002). SECTION VI — PROTOCOL, TITLES, AWARDS AND PRECEDENCE. Available: http://heralds.westkingdom.org/Handbook/vi_5-SeatingAtCourtAndBanquets.pdf. Last accessed 31st March 2017