A Love Letter to the Hospital Museum

 

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As our favourite commericalised-holiday-that-profits-off-the-commodification-of-our-desire-to-be-loved-in-this-lonely-lonely-world rolls around yet again, I thought I’d write another love letter to a museum. Read last year’s Love Letter To A Little Museum, here.

This year my boo is a hospital museum, St Bartholomew’s Hospital Museum and Archives to be exact. I had applied to volunteer at the museum before I had even moved to London. How did I initially apply you ask? I just slid into their DMs on Twitter asking if I could volunteer, of course 😉 How very Valentine’s. (I will point out, though, that I still had to fill out an application form and receive some NHS volunteer training before I could start!) The fact I starting volunteering at this museum as soon as I moved to London definitely contributes to my love of the place – the archivists and volunteers are some of the first friendly faces I met and the museum is probably one of the first places I felt at home in this vast city. Barts has also allowed me to continue gaining museum experience whilst I complete my MA and gain some archival experience too. Repackaging archival material has been a fantastic and interesting project – despite making my hands drier than a desiccated mummy and spurring a new hatred for staplers and pins. Who the heck pins together documents?!

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The museum’s trusty staple remover. I call it Gnasher.

As much as I personally love the museum, neither the world nor the museum’s worth revolve around me. The role Bart’s hospital museum occupies within the hospital’s campus is both an important and undercelebrated one. Naturally, a large number of people who come to the museum or use the archives are academically interested in the history of Barts and the NHS. I have chatted to PhD students researching various aspects of our society’s relationship with medicine and regularly groups of art students come with their teachers to see our famous Hogarth staircase. GCSE history students have found the museum invaluable to their course. We also get the odd Sherlock Holmes enthusiast.

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However, the museum is also a liminal space. It is both within Barts grounds and outside the wards and waiting rooms; a place to spend time, waste time or eat away some at waiting time. A place to feel like you’re not in a hospital whilst knowing medical aid is available quickly. Quite a lot of our visitors are patients, family of patients or people killing time before appointments. It’s a place to stretch your legs and stimulate your mind. It is also a place where sat at a desk as you enter is a person ready to greet you. An obvious detail, you may think, but it is not as inconsequential as you would think. Maybe I am just being romantic but it is Valentine’s Day, so I am going to unashamedly wax lyrical. As museum volunteer at Barts, I have found myself occupying a role that I haven’t in my previous museum work…That of listener. I don’t know whether it is the aforementioned spatial liminality of the museum or a freedom from the often sanitised and formal nature of medical interactions that brings people to my desk. Maybe it is the fact that I am not in a uniform and the very nature of being front of house means that talking to me about the museum (or life in general) will not distract me from any tasks or work that I have to do. Being available for a natter is my work.

People talk to me about a whole range of things and I listen and ask questions. I never advise and if the guest has a concern, I always suggest that they seek advice from their healthcare professional. I am painfully aware that I am only qualified as a listener but as of yet, that has been more than enough. Often people thank me profusely for talking with them and I always reply sincerely that it is, in fact, my pleasure. I acknowledge that this post would be so much more interesting if I went in to details of the amazing stories that I have been told, the poignant tales, the celebratory moments and the sad ones. But I won’t. It would seem uncouth and a transgression of trust. I am not just a listener but a keeper too and (providing there are no safeguarding issues) what’s said to me, stays with me. It is a moving and privileged position and one that I did not expect when I signed up as a volunteer.

Now, it wouldn’t be a BooksandGuts post if I didn’t get on my soap box and preach the importance of interdisciplinary approaches to medicine and the medical humanities, so I will continue to be #onbrand. If these experiences at Barts Hospital Museum and Archive have taught me anything, it is that there is a need for these liminal spaces within healthcare. They don’t have to be museums*, I am talking about access to green places, libraries, cinemas or film nights, theatres, and so on. I have found in my experience that children’s hospitals are already nailing this – when I look back on my time in Alder Hey Children’s Hospital, my minor op was such a small part of my stay. I painted some pottery and read for a bit, popped in the theatre for an op, recovered and went home. Just because we age and understand the nature of hospital treatment doesn’t mean that a hospital stay is any less traumatic or draining on our mental resources. Should patients identify soley as a passive ‘patient’ or as a person, with interests, preferences and needs, who just so happens to be receiving treatment? There are valid practical reasons to disregard this argument; money is the obvious one as the NHS chronically has too little as well as the fact that hospitals are full of people who are sick and have limited mobility. However, I know through my NHS training that there are volunteers on the ward who can play board games, read to and have a chat to patients. They are a great way resource to ensure patients feel like they are being engaged with on a social level without mounting further pressure onto healthcare professionals.

 

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To conclude:

KATE +BHM&A 4 LYF.

*No, I can’t believe I said that either!

Curating: Thoughts from The Learning Curve.

Recently, I had the opportunity to act in a curating role for an exhibition. The exhibit was lottery funded and commissioned by a local theatre. The exhibition, While I Breathe, I hope, focuses on the St Andrews community during the First World War.

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Due to having a very small team of two volunteers, I was able to have hands-on experience at every step of the process, from conception to the installation. At first, I was nervous about the weight of the task – to honour the sacrifice and courage of St Andreans, both on the home front and in foreign fields, is no mean feat. The experience was definitely a learning curve but I feel like I learnt so much more through this hands-on learn-on-the-job experience than I would have from a book or lecture.

Here are three lessons that I learnt along the way…

1. Don’t think you have to squeeze every single nugget of information into your exhibit.

Trust me. You’re going to find out so many amazing stories and facts relating to your topic and you will want to include every single one of them – but you can’t. If you did your exhibition would be too large and lack focus. We started with the idea to include information and stories not just from the war, but also examples of the make-do-and-mend attitude from which inspired the theatres opening in the interwar years. As well as that, we were also going to focus on showcasing the community spirit which has continued to grow around the theatre – people have met their spouses there, the theatre has always worked to include local schools and children in their productions. As you can see – this was just way too much content to produce in the few weeks we had to put the exhibition together. Once we had streamlined our brief, we were able to concentrate on a few stories that really spoke to the town’s motto “While I Breathe, I Hope.”

2. Be warned, you are going to get very attached to the people you research.

It was an absolute privilege to learn about and honour the memory of St Andreans involved in the war effort – both on the fields and the home front. There were tales of hope, love and plenty of examples of the cheeky and ballsy Scottish spirit that I have come to love over the past few years I have lived here. Jock Ripley, a veteran, pretended to be younger than he was so that he could go to the front and fight. When asked about his actions, he argued that his “pen must have slipped.” He survived being shot in the head – being awarded the VC for continuing to support his fellow soldiers despite his injury and the odds of their survival. His courage and cheek made me laugh, Ripley was a real rogue one, a man with principals who knew he could help and had no qualms about bending the rules to recruit himself back into active duty.

But there were also tales of tragedy. I remember losing my temper when transcribing a letter from the front informing of a local teen’s death. The language of the letter was beautiful – if there is any comfort at all to be had at this moment, it will come from the knowledge that your brother lies amongst some of the bravest men who have ever fought for King and country – but the soldier’s name was spelt wrong multiple times. I had read so much about this young man and his brother (one came home, one didn’t), poured over pictures of him, seen his “dead man’s penny” and the local newspapers report of his death. The carelessness of the letter felt like a gross indignity. I was raging. Then I realised how many letters like this must have been written, how much of a toll it would have taken on those who spent hours writing “I regret to inform you…” over and over again. Each letter signifying another life lost in a bitter and brutal war. By learning and relating to one man from a small coastal town – I was able to grasp (or rather realise that I could never grasp) the enormous scale of lost lives, lost hopes, lost loves. It was humbling, profound and harrowing all at the same time and I am so grateful for the experience. This is why museums are so important- they encourage powerful moments of connection between the present and past, they transcend personal experiences and tap into the shared human condition. They are a thousand times more effective than a textbook.

3. Plan all you want, the installation is going to throw a few spanners in the works.

First of all, Publisher is a cruel, cruel mistress. I am sure there are better programmes to use to produce posterboards, but it was all we had to hand. Don’t get me wrong – it worked and the posterboards look clean and neat, but my god did formatting them (and reformatting them…and reformatting them) lead to sleepless nights. Before finalising the content of the exhibition, we visited the space again and drew 2D plans on where we wanted everything. It was a logistical task and we still needed to arrange printing and transport for a glass case but we thought we’d sorted everything…
Except that we’d assumed the theatre would be coming up with means of actually hanging our posterboards but that wasn’t the case. They told us that they have a wire to hang from the ceiling and that all we needed was to attach hooks to the boards. Our boards were foam though and flat, there was no way we could drill picture hooks into them. Our curator came up with the ingenious idea of attaching velcro to the walls and the posterboards and so that hiccup was solved. However well you plan your layout, the practicalities of the installation process will cause you to tweak things like where things are placed, sometimes very last minute. This isn’t necessarily a bad thing, there is just a difference between seeing a layout in theory and seeing the reality of that space when it is occupied.

A bonus lesson…

I learned most of all that I love heritage and museums, that whatever I end up doing, I want to in some way be a preserver and communicator of history. This exhibition was one of the most rewarding experiences of my life!

A Love Letter to the Little Museum

 

 

We all know the big guns; the British Museum, the Rijksmuseum, the Louvre, the Smithsonian, the Guggenheim and so on. These bustling hubs of historical and artistic scholarship welcome millions of visitors each year and some visitors travel across literal oceans to see the artefacts that have captured their imaginations since childhood. When I travelled to London for a palaeography summer school, I was so excited that Senate House was close enough to the British Museum to allow a trip to see the Rosetta Stone. The story of the stele had enchanted me since I was in primary school – how amazing that a stone once used as building material was the key to deciphering hieroglyphs – and to see it in person was nothing short of magical. However as much as I love the British Museum, this Valentine’s Day I am giving my heart to another. This is a love letter to the small folk museums, heritage museums, maritime museums, agricultural museums and historic houses that bejewel the landscape of the UK.

These museums, which are often run mostly (if not exclusively) by volunteers, welcome guests in the thousands rather than the millions, but this by no means makes them less worthy of praise than their monolith counterparts. In fact, I would argue that they have a massive impact on their communities. Through storytelling, dress up and activity packs, children learn the stories of those who have come before them. Museums allow them to make emotional and empathetic connections to history which could never be gained from a textbook. Events and exhibitions allow families to spend time together and create memories on a budget. For those who have watched their community change over their lifetime, museums and historic buildings provide a chance to reminisce about times gone by and tell their own oral histories. Small museums by their nature are niche, containing a wealth of information on their locale which historians, genealogists, and any interested amateur can get lost in.

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On a purely selfish note, Saint Andrews Preservation Trust Museum, ‘my’ little museum, has allowed me to gain invaluable work experience, both as a tour guide and behind the scenes. I have learned how to use Adlib software and helped at Museums at Night events. But more importantly, I have been able to have a lot more access to the inner workings of the museum than I would be afforded at a larger institution. I have met trustees and board members and had unfiltered access to the curator’s extensive knowledge of the industry. I have met the people who have lovingly put exhibits together to pay homage to the town that they have loved and lived in their entire lives. Over the next two months, I will be helping create an exhibition on St Andreans during WWI. This immeasurable fulfillment has come directly from this little museum and those who pour their heart and soul in to its upkeep, and I am so thankful for it.

This Valentine’s Day, send some love to your local historic building or museum for whilst they are little, they are so, so important.