The Shift In Museums Arts: Focusing On Community Collaborative Engagement
In the realm of museum and art gallery studies, Nuala Morse has proposed a profound shift in perspective: Are we observing a transition from the traditional question of 'what can the community do for the museum?' to a more progressive query of 'what can the museum do for the community?'
This shift in focus signifies a distinct evolution in the role of museums from passive recipients of community contributions to active agents of community development.
Collaborative Co-production In The Regional Community Arts Sector
Last week, I received the fantastic news that my collaborative community engagement legacy lives on at the Herbert Art Gallery & Museum (The Herbert). My historical projects there were featured in an article published in Midlands Art Papers (Birmingham University) Journal 7, shedding light on 'Co-production In Regional Art Galleries.' The article's authors wrote three essays that critically and reflectively examined the processes galleries are using, delving into how these processes relate to the challenges institutions seek to overcome. They also identified the hurdles and attendant solutions that emerge in the process.
I was immensely proud to learn that my work on the Turner Prize 2021 (The Turner) through the Banner Project and Divided Selves through the Flags Project were vital sources of information that helped answer the authors' question of 'What can the museum and community achieve together?' Each of these projects had a very different reach and outcome.
The first project threw the doors open to all, while the second worked to deepen the relationships that had been fostered.
Both projects aimed to appreciate recent findings in cultural neuroscience, which suggest that people adopt cultural scripts in their childhoods that persist into adulthood. I like to test negative cultural belief systems held by individuals. I strive to be a friendly guide, holding the hands of poorly served communities and welcoming them into cultural institutions and self-expression. I aim to help individuals consider, relax and enjoy cultural spaces and creative activities under their own steam without dependency on external support. But this system requires more than one positive contact.
Leave No One Behind
Coincidentally, I had just reviewed The Banner Project for addition to my website and created a web page to describe the colossal community collaborative arts undertaking this was. Through this process, I truly understood the undertaking and the profound conclusion this project had reached. The Paper was a timely and lovely ending.
Having trained as a textile artist, psychotherapist, and creative therapist, my work naturally revolves around 'person-centeredness.' My mantra of community engagement echoes the concept of the Latin phrase nemo resideo, or 'leave no one behind.' Notably, the Paper highlighted that 280 banners had formed the installation. The target had been just 50. The exact number of participants remains unknown, as banners were still being dropped off at The Herbert even after the launch (but were still included in the installation as promised) and some were made by one, a couple, several or a group of people. However, this does demonstrate a genuine commitment to practically executing my mantra.
It is impossible, considering the time, money, and resource implications, to have further meaningful cultural contact with all of these participants, but I tried to cast my net wide again and target some of the poorly served community groups that I had persuaded to put a toe into the cultural water—would they feel brave enough to paddle with two feet?
The Flags Project actually marked the third cultural intervention I had had with some individuals whom I had met through the Coventry Banner. Together, we journeyed through Daniel Lismore's exhibition 'Be Yourself; Everyone Else Is Already Taken' (creating works in his style using his methods) to the Divided Selves exhibition destination.
Can The Audience Be Further Empowered?
I am genuinely excited to see The Herbert's commitment to community engagement continue with their upcoming exhibition, 'Collecting Coventry.' This initiative, which aims to assess the representation of Coventry's people and communities in the museum's collections, is a testament to the museum's open-mindedness and dedication to inclusivity. I wholeheartedly endorse this initiative and believe it will further strengthen the bond between the museum and the community.
In conclusion, the shift towards museums focusing on what they can do for the community, rather than vice versa, is an intriguing concept. My experience with The Herbert has shown me the potential impact of community engagement and co-production in regional museums and art galleries. Through projects like the Turner Prize 2021 Banner Project and the Flags Project, I have witnessed the power of art and culture in bringing people together, breaking down barriers and assisting people in tapping into the cultural being that is the heart of all of us (even if neurodevelopment has silenced this inner voice for a while.)
The idea of leaving no one behind and creating inclusive spaces for all to enjoy is at my core, and I am proud to see institutions like The Herbert continuing this vital work with initiatives like 'Collecting Coventry.'
I look forward to seeing how, and hopefully being part of, this shift in focus will continue to shape the relationship between museums, galleries and their communities in the future.
