3 Jun 2019 | Events
[vc_row][vc_column][vc_single_image image=”107074″ img_size=”full”][vc_column_text]Exclusive track and video world premiere for ‘The Media’ by Skengdo & AM and Drillminister alongside the art installation Young Blood by Andrei Molodkin bought to you by a/political.
Skengdo & AM and Drillminister will perform live sets, before the first screening of The Media video.
There will also be some words from Jodie Ginsberg (Index On Censorship) and Medg Sullivan (Brixton Wings Charity)
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The art world and Drill scene come together for an unprecedented collaboration against artistic censorship. Russian artist Andrei Molodkin and London Drill musicians Skengdo x AM and Drillminister have united for ‘The Media’ a new track, video and limited edition vinyl release, commenting on freedom of speech and discrimination.
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All funds raised from ticket and vinyl sales will be donated to Brixton Wings, based on the Angell Town estate.
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Andrei Molodkin receives ongoing censorship in the artworld for his provocative exhibitions where he uses the political materials of blood and oil from different
conflict zones. Curators redact his texts, prohibit him from answering to the media, and on numerous occasions, museum-boards have attempted to close his exhibitions.
Skengdo x AM have made legal history after receiving a suspended nine-month sentence for performing their song Attempted 1.0 at Koko, London. Since the high
profile case, the musicians have spoken candidly about the discrimination suffered by the Metropolitan Police and how they have been used as the scapegoats
for governmental failings of lower-income areas. Drillminister, known for his track ‘Political Drillin’, is also leading the political voice of the genre,
The audience will be invited to donate their blood on site.[/vc_column_text][vc_column_text]
When: Friday 7 June 7-9pm
Where: Duke of York’s HQ King’s Road London SW3 4RY (map)
Tickets: From £10
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15 May 2019 | Artistic Freedom Case Studies
[vc_row][vc_column][vc_column_text]Name of Art Work: The Golden Dragon
Artist/s: Music Theatre Wales (MTW)
Date: September – October 2017
Brief description of the artwork/project: The Golden Dragon is a tragicomic opera, written by Peter Eötvös, set in a ‘pan-Asian restaurant.’ It tells the story of a Chinese immigrant working in the kitchen. MTW’s production directed by Michael McCarthy, Director, and includes characters listed as ‘Chinese mother’, ‘old Asian’ and ‘an Asian’.[/vc_column_text][vc_single_image image=”106710″ img_size=”full”][vc_custom_heading text=”Where it was exhibited/performed?” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes”][vc_column_text]It toured various UK venues with a final performance scheduled at the Hackney Empire in London. [/vc_column_text][vc_custom_heading text=”Why was it challenged?” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes”][vc_single_image image=”106709″ img_size=”full”][vc_column_text]Prior to their Autumn tour, although MTW’s production had received positive reviews in the press, some had expressed concerns that all five of the performers were white, despite the fact they were playing various Asian characters. Upon advertising their Autumn 2017 tour they was widely criticised on social media for ‘Yellow Face casting’.
MTW initially appeared to dismiss these criticisms on Facebook, commenting that ‘the singers play a variety of roles, genders and nationalities; two air hostesses are played by burly men; a cricket is played by a tenor, an ant by a mezzo and a small boy by a grown woman…. Quite deliberately, there is no realism.’
This brought further criticism across social media and the blogosphere, including an open letter to theatre company & theatres from Asian American actress & singer, Paulina Brahm, and an article from Next Shark The Voice of Global Asians. Many referred to the Print Room controversy earlier that year, when Howard Barker’s play ‘In the Depth of Dead Love’, set in Ancient China, also featured an entirely white cast. According to the company, in private conversation with protesters, the latter had expressed their surprise that MTW had not consulted a Chinese designer, but had instead resorted to clichés. They also highlighted the lack of visibility of Asian performers in British performing arts in general and opera in particular. [/vc_column_text][vc_custom_heading text=”What action was taken?” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes”][vc_column_text]Hackney Empire, who was to host the final performance of the tour cancelled the show. They issued a statement citing “the debate around the casting of the play “compromises the Empire’s commitment and position as a champion of diversity and accessibility” as the reason for the cancellation. This was a disingenuous claim because, as was pointed out by MTW, the Chief Exec of Hackney Empire had seen the play in rehearsal before they booked the show. The Empire statement went on to say that it was “imperative” that discussion and debate on diversity is both supported and “listened to by the theatre industry”. This move was backed by Kumiko Mendl, artistic director of Yellow Earth Theatre, who felt that the all-Caucasian casting “doesn’t make sense particularly in a play about “nationalities, ethnicities and the immigrant experience. This play would have been a fantastic opportunity …[to] find diverse opera singers, especially east Asian opera singers.”[/vc_column_text][vc_custom_heading text=”What happened next?” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes”][vc_column_text]MTW released a public statement acknowledging their mistakes. In November, a month after the cancellation by Hackney Empire, they staged debate on diversity within opera at the V&A chaired by MTW director Michael McCarthy, with Chinese activist, Daniel York, which also featured a performance of ‘The Homecoming Aria’, from the Golden Dragon. In January 2018, MTW released another statement, describing the incident as a ‘catalyst to open up discussions around the issue diversity.” The production had “sparked a vigorous debate about the representation of Asian characters and themes in opera” issues that opera, as an art form, had perhaps been “slow to address”. They stressed the importance of building on this “emerging understanding” to make changes across the organisation informed by consultation with, amongst others, the British East Asian Artists Group. With the help of an external Diversity advisor they undertook “to explore ways to integrate thinking about diversity in everything we do and across all areas of the company.”[/vc_column_text][vc_custom_heading text=”Reflections” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes”][vc_column_text]Carole Strachan and Michael McCarthy, Music Theatre Wales
Having the show cancelled or censored did reinforce the seriousness of the situation. It made us reflect on the assumptions that we didn’t realise we were making – conscious vs unconscious bias; and provoked us to try to stand in someone else shoes to get a different perspective on the work that we make. For example, the protesters were surprised that we hadn’t consulted a Chinese designer. Michael was ready to admit that though he and the designer did a lot of research they hadn’t consulted a Chinese designer.
It has been incredibly important and helpful to us in thinking about the nature of the work we make, so we now have a stronger focus on content as opposed to form. As a contemporary opera company we were very concerned about art form, about the musical and dramatic language, the technique, the structure, the process of making a piece of work function on stage. And because that becomes such an obsession in what we do, the content sometimes comes a little further down the list [of priorities]. That’s a very important lesson for us as a performing arts company. The irony being that with the Golden Dragon, we were so thrilled to be doing it because it was a piece that addressed a very powerful contemporary issue, that was about the invisible, there was huge irony involved in that.
We’re creating a new work development scheme to search for and invite artists from outside the usual circles to come and create work for us and with us. We are providing support for early stage development of proposals, before they are are put forward for consideration for commission or production. And as part of the process we have set up a panel which appropriately reflects the kinds of people we want to bring in. Currently, MTW’s creative team (artistic director and the director of our partner London Sinfonietta) are both white, middle-aged and middle class men. So we will bring in three women to the panel, one of whom is a young black theatre director. We’re looking specifically at how we make this work, how we speak to the artists we want to bring in, artists who are either intimidated or feel completely rejected by who we are at the moment.
We are deeply conscious of the fact that society is way, way, way different to the bunker in which we existed a few months back. We need to find and talk to that audience, because there’s precious little point in ignoring the fact that the audience is changing. And if our audience doesn’t change, it will just simply disappear. So that’s the impact, which is a very positive impact. There are many challenges to be able to make the change, including funding, and it’s not going to happen over night. But what we are doing is engaging across our sector in the conversation about this, in terms of schooling, training and conservatoires. We can’t make a change to that except by making a demand that there is change.
Daniel York – actor, campaigner
The campaign was successful – it made the press, it got a lot of publicity. I heard that it had a seismic impact on the opera world which had never stopped to think about the fact that there are no East Asians in opera. As an actor I was more aware of the impact surrounding the RSC performance of the Orphan of Zhao (the so-called Chinese Hamlet, written in 13th-century) which had three East Asian actors in a cast of 17. I am much more in that world and since [that protest] there absolutely has been change.
I have done a lot of activism and campaigning and I don’t go in there with end games or goals beyond raising awareness… I want people to talk about it. I’ll call out the casting and say it’s wrong, that I think it’s really poor but I won’t call for work to be cancelled. Some people might have demanded to remove [The Golden Dragon] it’s not something that I engage in. Hackney Empire took that decision. I think censorship only happens from above. We have all been accused of censorship but I don’t have the power to censor anything.
But there have been things that haven’t been cancelled, but [where protest] had a big effect. The Orphan of Zhao played its run out in Stratford. The Print Room – there was a huge protest outside the theatre in 2017 on press night Howard Baker’s play In the Depths of Dead Love in a mythical Chinese setting with an all-white cast – It played it’s run out, but the protest made its mark. With Golden Dragon, if it was put on 15 years ago, no one would have noticed that the little yellow people weren’t there, no one would have thought about, they just work in take-aways.
I saw an extract, the finale of Golden Dragon at a seminar I was invited to at the V&A [run by MTW after the cancellation]. The music was quite interesting, but the script! Souped-up version of a white middle-class male, trying to imagine himself inside the body of a person of colour, who has migrated from a land a long, long way away and works in a kitchen for terrible money. I don’t see the point. I think we have done them a massive favour – they can do it more imaginatively next time. People say that PC restricts creativity – the fact that we now have a voice to test these kind of things means you have to think more creatively and more outside the box, work harder, be more inclusive, more empathetic rather than why can’t we do it the way we have always done it? – I don’t see the problem really.
Kumiko Mendl – Artist Director – Yellow Earth Theatre
This production can be seen as a case of erasure, it negates our existence – when East Asians are not represented on stage when, in effect, it is their story that is being told. Music Theatre Wales’ (MTW) marketing clearly stated in their publicity for their production ‘Part-comedy, part-tragedy, The Golden Dragon is set in a pan-Asian restaurant and follows the story of a Chinese immigrant working illegally in the kitchen….’ and then presenting it with an all white cast. It’s interesting to view Erasure vs Censorship. Censorship is a deliberate act, but erasure is not necessarily deliberate, it can be inadvertent but the effect is the same as censorship.
I was contacted by the stage to make a statement about Golden Dragon. To find out more not having ever worked in the Opera world, I got in contact with an opera singer of East Asian descent who said that it was a situation they had been up against for a long time, that they had not been called up for audition even for this particular piece, even though they had written directly to the company and had been approached by one of the performers cast to help with the pronunciation of certain words. I wrote an email to MTW I wasn’t happy with what had happened. Michael was open but he was standing by it. In the casting a man could play a women a woman could play an ant and could be playing a different ethnicity. There was no mixed race casting let alone east Asian background, they hadn’t thought about it, which was shocking to us.
We were going to meet. I wanted to see the show in Hackney and then talk, but it was cancelled by Hackney Empire. I was amazed. But then I thought ‘good for them’, knowing what they stand for, it was the right thing for them to do. But Hackney hadn’t thought about it either – they had seen the show [before they booked it]. Just imagine if that [story] had been set in an African restaurant, if this was about ‘black face’.– we don’t seem to exist or matter. We have to make a lot of noise and we do mind. There has been a lot of racism – the Chinese in Britain were reporting the highest level of racism of anyone in the country.
I do hope that it will lead to something positive – censorship is a big, big issue and I understand that it would be shocking for [MTW] and a line was drawn. As long as that results in a positive outcome, the Opera world not just MTW, making conscious informed decisions as to what they are programming and how they cast. Making time to get to know and reach out to POC singers and artists who are out there and have long been sidelined to the Chorus roles. That’s really important and sometimes it has to take a shocking incident to make a positive change – just a flutter in the newspaper might have been passed over.
The Space, a digital development agency supporting the arts and cultural sector.
The Space runs a commissioning strand for arts organisations including online audience development. MTW applied for support around their approach to social content production and strategy, focused on marketing the then upcoming show ‘The Golden Dragon’. The Space provided associate resource to advise MTW on the development of social marketing plans then also provided advice to the organisation when asked following the online criticism of The Golden Dragon. Here are their reflections.
Online platforms can liberate productions from physical constraints and engage audiences in large numbers. But with that visibility comes much greater scrutiny and the challenge that our work is not always experienced in the context it is intended e.g. on stage. Understanding the power and importance of audiences on social platforms is key. Careful consideration needs to be given to how work is presented, with no assumptions made about people’s existing understanding of the intention or the work itself. We always advise organisations to see online content as part of the overall audience experience, and to use social media platforms to understand the concerns and sensitivities of the people and cultures touched on by a work of art.
In the case of The Golden Dragon, this was clearly a serious issue. When MTW asked The Space for advice we suggested a direct conversation with the main critics online to really understand the issues and encourage a two-way conversation. We also recommended publishing a statement which clearly recognised the issues and what the organisation intended to do as a result. MTW did eventually put out such a statement and also directly messaged those people and offered to meet them and it really helped that people felt heard. All this did happen, but it took a bit of time.
Social media storms are a strong reminder both of the reach of these platforms and how quickly issues can escalate. We are all learning how to navigate feedback and online conversations, but getting to the root of any negative feedback quickly and addressing it is really important. We need to learn from experiences and adapt, to be open to those who want to engage with our work and take the appropriate action quickly. It does take time and effort, and we don’t have to keep responding to people who clearly just want to attack without any meaningful two-way conversation. But, as MTW have shown, some honest conversations can be really useful for future work. [/vc_column_text][vc_custom_heading text=”Timeline” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes”][vc_column_text]19 July 2016
Guardian: The Golden Dragon review – taut, twisted tale of troubled lives (before controversy)
10 March 2017
Yellow face in Golden Dragon (Site down)
25 September 2017
The Stage: The Golden Dragon review at Sherman Theatre, Cardiff – ‘thought-provoking’
3 October 2017
Critical comments on tweets about show
Incuding:
Swansea academic Dr. Amanda Rogers – Lecturer in Human Geography, Swansea University. Criticized not enough Asian actors in The Orphan of Zhao 2012
MTW initial statement on criticism and consequent comments on Facebook.
4 October 2017
The Stage: Welsh opera under fire
Resonate: Theatre company ‘slammed’
Date unknown
NextShark: Theater Says ‘Yellowface’ Casting is Totally Not Racist Because It’s Not a Real Story
6 October 2017
Arts Professional: Opera company vilified over ‘yellowface’ production
8 October 2017
Guardian: The Golden Dragon; Opera: Passion, Power and Politics – review (after controversy)
12 October 2017
Open letter to theatre company and theatres from Asian American actress & singer
Guardian: Kumiko Mendl statement, Hackney Empire Cancels
12 October 2017
MTW acknowledgement of mistakes post-cancellation
13 October 2017
BBC: Play cancelled at Hackney Empire
Hackney Empire: “The debate aroused by the non-Asian casting in The Golden Dragon compromises the Empire’s commitment and position as a champion of diversity and accessibility across the theatre industry.
“It is imperative that discussion and debate on diversity in the arts is encouraged and supported by the theatre industry if it is to positively reflect the population of the UK; and it is equally imperative that the outcomes of that debate are listened to by the theatre industry.”
The Stage: The Hackney Empire cancels
Independent: London theatre pulls The Golden Dragon opera due to non-Asian singers
Evening Standard: London premiere of Chinese takeaway opera The Golden Dragon cancelled after angry backlash over all-white cast
14 October 2017
The Bangor Aye: Pontio has no plans to cancel a controversial opera
15 October 2017
The Guardian view on cancellation: Casting is not colour-blind if only white people get the parts.
13 November 2017
MTW: Used to create debate at V&A
(undated)
MTW acknowledge concerns: “We are aware of the debate regarding the Wales Theatre Awards nominations for our production of The Golden Dragon. Having discussed the situation at length, we felt that were we to have renounced the nominations, or stayed away from the ceremony, we would have been shirking our responsibility to maintain the open discussion and debate the protests initiated in October. There is no simple or immediate way to respond, other than to continue with renewed energy the work we have been doing since the Autumn. We have held extended and open discussions, in a friendly and constructive way, with our colleagues from across the theatre community, colleagues in the opera world, Equity representatives, and academics working in this area….”
22 January 2018
MTW: BBC radio airing and statement on how they are reassessing themselves
References to Print Room:
The Stage: London’s Print Room criticised for ‘racist’ casting of Chinese roles
Evening Standard: Gemma Chan joins ‘yellowface’ protest over play with white actors cast as Chinese[/vc_column_text][three_column_post title=”Case studies” full_width_heading=”true” category_id=”15471″][/vc_column][/vc_row]
15 May 2019 | Artistic Freedom Case Studies Supporting Documents
[vc_row][vc_column][vc_column_text]Talking – The curator and I had always been happy having 1-1 conversations with people about the subject, but the idea of talking more broadly was I think terrifying. I knew that we absolutely had to overcome this. I remember when I said that Maurice Davies wanted to talk to me for The Art Newspaper about self censorship. I knew him and trusted him, he wasn’t a journalist, but I think we were both nervous although I didn’t falter that we would take this opportunity to talk about the fact that soon we would be talking about doing something. He allowed us sight of whatever he wrote before he published it, and I vividly remember Donna and I pouring over the one or two lines from me. Similarly the Museum Hour twitter discussion presented itself by chance. They tweeted that they had an empty slot that week, and I saw that it was Gill’s birthday, and decided (unilaterally and without the team really knowing about it) that I would host this, from my own twitter account. And asking questions only but being publicly engaged. There have been other times when I have decided to act unilaterally without consultation. A recent article for Apollo (Gerry and our PR looked over it last minute), and the text panels (Cathie looked at them but no one else … there are mistakes as a result but it was still the right decision!).
Index – I can seem quite impulsive and risk-taking, and I think that my staff needed to know that there was someone they trusted, who was very involved in the project, and confident and experienced enough to hold me to account if needed, and to talk and share there experiences with, someone involved who wasn’t me. Donna initially suggested a psychiatrist at Portman Clinic, but we also found you and Index, the idea that a case study was being developed, that would monitor and record the process was I think a calming and controlling effect for the staff.
Twinkle (work by Cathie Pilkington)– the idea of placing Twinkle in the introduction gallery was a huge moment, for me and for the team. It was goosebumps. She is being variously described as our guardian angel, or mediator, through this exhibition, and Cathie realises too that she has almost become a new and more potent work in this context. It was almost like she gave us permission to do the exhibition. I think the feeling happened again at the workshop day, and when I spoke to Courtauld students.
Cathie & the Doll – I knew immediately that when I met Cathie that we were going to work together on this, and that she provided a perfect way of engaging with the difficulties of the Petra doll. It was also clear to the workshop day that her involvement was key. Her work is complicated enough and she is accessible enough!
Workshop day – I don’t really remember how the idea of a workshop day came about but the overriding feeling was that we needed to take the lid off the pressure cooker which was the museum, and the way the staff were feeling. (I had needed to do this earlier on other issues to break open a very isolated and cliquey atmosphere that was here when I arrived.) I felt that the wider sector would support and comfort some of the anxieties, and also throw some light and experience on the subject.
Wellcome Trust – I met a couple of staff from the Wellcome Collection Front of House team at Museums Conference and I knew that if they could spent time with my team then that would be really reassuring particularly for Rebecca. I think that the day that she and Lucy spent with the Wellcome reassured them that we had put everything in place that we needed to. I don’t think we learnt a huge amount from them but it was reassuring. I know that I have put lots of people around myself to make this possible, I have struggled for my team to do the same around themselves despite making many introductions for them. I think this is something I need to reflect on with them in 1-1 meetings.
Rachel – I had a meeting with Vicky Kington, a prospective Trustee and Head of Press & PR at National Theatre, a couple of days before the workshop day and she suggested getting a trusted journalist to follow the process from the start. She asked who I would turn to and I said Rachel Cooke who I had exchanged tweets with when she wrote something about Gill and biography a year or so previous. I messaged her that night, and invited her to the workshop the following Monday, she was free and interested and excited. She felt it was fortune! (Working in this way also took the pressure off a long lead PR campaign as no press release was issued until after Rachel’s story three weeks before the show opened).
Kim Thomas – I remember palpably the experience of listing to Kim talking about BBC Casualty doing a story line about FGM. About how important it was to do, and the process they took, but also the overwhelming feeling that if they can do this, then we must do our own difficult issues. And the phase she used, that museums are trusted places in society, and must use this position to engage with difficult issues. I think it is no coincidence that I am also adopting the position of sharing our process, and wanting to provoke the sector into being proud of this role, and active in it.
Survivors Charities – I was nervous about diping my toe into this sector so first approached someone who I knew we probably wouldn’t be working with because they were quite the right area, but they would know other people, and I had a personal link to get to them. It was good testing out the subject with someone who we wouldn’t ultimately work with, the pressure was much less, and they could introduce me to the right people (and introduction being hugely valuable to enter the conversations without either side being as guarded). I remember asking him – what might be the concerns of this sector, and what might be the reasons why they would want to engage with us. This became invaluable information.
The Family – I had a meeting with Kim Thomas midway through the planning for the exhibition and asked her if she were my trustee would she let me do the show. She asked me what I thought our weak areas were; what made me wake in the night with worry. What were the areas I was avoiding doing. I said that I hadn’t engaged enough with the survivors charities, or Gill’s descendants. She told me to go back to her in a week’s time to say that I had! The next day I had a meeting with one of Gill’s great-granddaughters. It had been in my diary but I hadn’t quite engaged with it. When she came we managed to bring up the subject and it was very emotional for her. She was relieved to hear about what we were doing. I had subsequent conversations with Gill descendants. Not all easy ones. But I had taken the opportunity to do the first one face-to-face, and that eased the other conversations.
War memorial plinth – was a test, or reaffirmed my sense that this story might be written for us if we didn’t take steps to write it ourselves.
Two Temple Place and testing the wording for the text panels was one – hearing feedback from volunteers there allowed us to be prepared for the sorts of questions we would have to answer.
Trustee meeting – this was important in me having the confidence to say that we aren’t going to do this exhibition half-heartedly.
I took (and made) every opportunity I could to talk to people about the exhibition: our Friends association, the Art in Ditchling Open Houses group, University of Sussex students, Courtauld students …
Curatorial
Text panels and interpretation material will be shared with the Curator of Sculpture at V&A, Head of Interpretation at British Museum, Director of Brighton Survivers Network and curatorial colleagues at Wellcome Collection [NH]
Press & PR
Julia Farrington, Index on Censorship, produce Case Study on the process to record the consultation process [NH]
An exhibition rationale document is produced explaining the museum’s reasons for mounting the exhibition – shared with Kim Thomas, Editorial Adviser and former Head of Arts at BBC. [GW]
Key allies are developed in the press in advance of the PR campaign [GW]
Rachel Cooke, The Observer
The Argus
Press training is given to staff, trustees, Friends association, volunteers and key stakeholders [GW]
Press strategy and LAEs developed [GW]
Vicky Kington, Head of Press at National Theatre
Emma Robertson, Brighton Festival
Kim Thomas, Editorial Adviser and former Head of Arts at BBC
Facts documented created [NH]
Stakeholders notified with press release and rationale document [GW]
Village – Parish magazine, Vicar, DHP, Parish council via Don MacBeth and Tom Jones, Visit Ditchling and DVA
Gill Family
Visitor experience
Film commissioned for the Parlour featuring Cathie Pilkington, NH and DS (and hopefully Director of Brighton Survivers Network and a member of Gill’s family) to show personal narratives about why the exhibition was important, and our own feelings about curating it, and the works shown, and not shown [LJ]
Process developed for visitors to feedback their experience of the exhibition, and their personal responses to the questions raised; important to show that we value and want to hear all of these experiences [LJ]
Writer-in-residence appointed (with ACE funding) to create a new piece of work from the visitors’ experience of the exhibition – both from talking to visitors and from their written responses. This would also establish a permanent record of the exhibition. [LJ]
Signposting is provided to organisations who support people affected by sexual abuse and sexual violence – on leaflet given to all visitors, and on back of toilet doors. [LJ]
Staff & volunteer training
Additional member of staff on duty (in the gallery) during weekends in May (initially). [RD]
Staff will conduct hourly walk-throughs of the gallery during the week to increase presence in the gallery space. [RD]
Weekly debriefs to ensure that all staff are aware of how visitors are responding to the exhibition and changes can be made if appropriate. [RD]
Ensure appropriate and adequate barriers or age limits are in place at the ticket desk to reduce risk of visitor offence – checked with Samual Jones, Chair of Due-Diligence Group at Tate and Sarah Bailey, Head of Legal at Tate [RD]
Staff and volunteers provided with 3 sentence description of the exhibition.
New exhibition signs produced for behind the desk to indicate content.
Verbal and/or visual warning installed if explicit material is included.
Scenario training provided for staff and volunteers by Wellcome staff [RD]
Staff and volunteers receive talk on Eric Gill’s biography [RD]
Staff, volunteers and trustees receive talk from NH and DS on the rationale and journey towards the exhibition, and introduction to the content [RD]
Advice for refunds drawn up for FoH and Volunteers [RD]
Things not to say – and why document [RD][/vc_column_text][three_column_post title=”Case studies” full_width_heading=”true” category_id=”15471″][/vc_column][/vc_row]
