Firm Foundations part two started at the beautiful Tate St Ives. It was great to catch up with everyone again after a three-month gap. The lightning talks in the morning were quite different from the first time around with everyone speaking much more confidently about their projects.
The morning session was focussed on planning permission and building regulations, with a really useful workshop run by representatives from Cornwall Council in which we were able to ask direct questions e.g. What counts as a non-material amendment? and What requires a resubmission to planning? This was followed by a sneak preview of the Anna Boghiguian show with Sara Matson, Senior Curator at Tate St. Ives, which was a rather special added bonus!
In the afternoon the course covered procurement and value engineering and the day was topped off with a delicious evening meal in the Tate’s Clore Sky studio. We were privileged to be joined by Marketing Manager Arwen Fitch and Andy Bruton who chatted with us openly about their experience of the capital redevelopment – the highs, the lows and the lessons learned.
Andy Bruton giving a talk at Firm Foundations
Day 2 was held at Porthmeor Studios and this is where we got into the nitty-gritty of the construction process. It has to be said that by the afternoon we were all suffering a bit from information overload and it was helpful to be reminded that we don’t have to be experts in every field, the project manager you appoint is there to guide you through the process.
The final session was led by Chris Hibbert, Manager of the Borlase Smart John Wells Trust, who managed the £4 million renovation of Porthmeor Studios. He gave an inspirational talk and a tour of the studios which a great way of demonstrating how everything we’d learnt could be put into practice.
We were all a bit sad when the course came to an end but we’ve agreed to stay in touch and will be planning a reunion at Krowji towards the end of our Phase 2 redevelopment project, which is now underway!
The Citizen Curators, past and future, will improve our knowledge of new research and contribute to improved understanding of the significance of Cornish National Minority Status by:
Undertaking new research and sharing an understanding of existing collections that have been under-utilised or forgotten, particularly in relation to poorly-represented people
Identify a starting group of c.70 items from museum collections across Cornwall and by disseminating this knowledge through online platforms
Making recommendations for items which reflect Cornishness(es) that museums should collect today
Supporting dialogue with audiences about the project, so that audiences are encouraged to contribute to debate and content.
Why National Collection?
We are calling this a National Collection to directly reflect National Minority status recognised by the UK Government through the Council of Europe’s Framework Convention for the Protection of National Minorities in April 2014. The Framework Convention is also linked to the European Charter of Human Rights and therefore the recognition of those who self-identity as Cornish is a human right. This status and formal UK Government recognition will not be affected by Brexit as the Council of Europe is not part of the EU.
There are different understandings of nationality, nationhood and nation, many of them culturally informed, some of them politically-charged. We need to recognise the existence of all of these in our museums. The Cornish National Collection is intended to celebrate the national without straying into the nationalistic (wisdom spoken by Allison Fox, Curator at Manx National Heritage–the Isle of Man is a modern Celtic nation like Cornwall).
Even though Cornwall is not a nation-state, the corporate of Cornish people inside and outside Cornwall may be thought of as a nation on an equal basis as Scots, Irish, Welsh or Manx. National Minorities like the Cornish can transcend current state boundaries, e.g. the Sami of northern Scandinavia and parts of Russia. Although ethnicity is an important component of Cornish identity to some, National Minority status offers a much broader scope for self-identity that can relate to: birth, ancestry or shared cultural experience.
We are working out how best to represent this idea in Kernewek, the Cornish Language. It might be Argh Kenedhlek Kernow which means Cornwall’s National Ark.
Across the ancient, military, social, natural, industrial, artistic and scientific heritage held in our collections are the hidden (and arguably the most important stories) relating to Cornwall’s cultural heritage, identities and impact upon the world. The Cornish were recognised as a National Minority by the UK Government in 2014 and Cornwall’s museums need to take a leading role in ensuring Cornwall’s cultural heritage is understood and shared in all of its diversity, milestones and controversies.
With unprecedented access to the historical collections of seven museums, the Citizen Curators will explore which objects of local, national and international significance might create a Cornish National Collection that is distributed across the consortia of museums and the communities they serve. They will research, examine and advance ideas around Cornish identity by asking new questions, presenting previously untold or under-examined stories and sharing the collection in new ways in the museum, outside the museum, and across digital channels.
Through their learning and development Citizen Curators will develop an approach to identifying the objects of a Cornish National Collection and explore how they might be interpreted through programming, exhibitions, outreach and online. They will propose areas of need for contemporary collecting, including the collection of digital artefacts. Previous cohorts will be part of this peer-to-peer process with wider staff, volunteers and users.
Cornish identity and distinctiveness is a real and contemporary issue for communities in Cornwall today. Increasingly in Cornwall, discussions about Cornish identity are becoming politicised and extreme; outside Cornwall, Cornishness is usually dismissed as a joke or unheard of.
There is a growing need for a more nuanced, relevant and balanced exploration of multiple Cornish identities. This is a space museums in Cornwall can fill. Our museums are rooted within their communities.
Re-examining the hidden, lost and forgotten objects with new eyes will enable greater recognition of Cornwall’s cultural heritage and its multiple dimensions. The programme will challenge the cohort to use their creativity within curatorial practice to explore new ways to interpret, share and support an inclusive dialogue with audiences in Cornwall about what Cornish minority status means to them.
It’s early days, we are viewing this curating project as more of a campaign than an end product as we do not know to where this will eventually lead.
We are asking Citizen Curators and colleagues to:
Take part in the Cornish National Collection First Survey (August 2019)
Make a list of things you want to know more about in relation to Cornish identities
Identify themes and items from your projects that might be included
Think about under-represented people, ideas and stories that we will curate
Identify types of artefacts outside museums collections that could be included, e.g. intangible heritage.
This September we are excited to be offering a fantastic training opportunity for people who facilitate meetings, events, and workshops based in the South West.
The two-day ‘Facilitator’s Toolkit’ workshop, delivered by the Association of Facilitators, is a short course that will refresh the basics of facilitator style and provide you with new ways and confidence to lead groups and teams with a focus on assertiveness for facilitators. It is designed for those who want to consolidate, broaden and enliven their style of facilitation. You will be provided with facilitation models, tools and tips.
This is an introductory course in facilitation, but it is not basic. If you are looking for a core facilitation model, and are keen to develop your personal style – then this is for you.
The workshop will explore your role as a group facilitator, paying particular attention to skills practice, and awareness building in the live group setting. Participants will have the opportunity to complete the Thomas Kilmann Conflict Inventory, a short questionnaire designed to identify ones preferred approach to conflict and to broaden one’s skill base. We shall apply assertiveness to the role of facilitator and consider Dimensions of Facilitator Style, a practical toolkit designed to equip you with the confidence and skill to effectively handle group processes and group tasks.
You will learn how to direct and guide groups assertively, this includes leading in cooperative and autonomous ways. You will be encouraged to become aware of your own skills, experience, personality and preferences, and use and flex your facilitator style with self-awareness, authority and personal presence. The topic of Group Dynamics is introduced in the context of choosing an appropriate facilitation style and approach.
Practical skills will include:
Developing an assertive style
Managing passive, aggressive, or manipulative behaviours.
Contracting, setting and managing expectations
Being a catalyst for learning and development – moving things forward
Handling emotions, particularly where they hinder group effectiveness
Challenging and confronting limiting behaviours and attitudes
Working with the prevailing group dynamics to create positive outcomes
Planning and structuring a facilitated session
Who is this for?
If you are:
Working as a consultant, change agent, trainer to a client organisation
Working within an organisation as a change agent, group/team leader, manager or project manager
In chairing roles at meetings with a developmental purpose (be that business, charity or education)
Occasionally called upon to facilitate groups, meetings and teams
Embarking upon a career in facilitation.
Cost: £425 including the Thomas Kilmann Conflict Inventory