Participants from museums and heritage organisations across the UK travelled to Manchester to gain practical knowledge for better inclusion and to discuss a pressing question:

What does a trauma-informed museum look like?

The answer to this question emerged through a series of sessions facilitated by the Manchester Art Gallery team. The discussion, which centred on both the theory and practice of a trauma informed approach, demonstrated that this work is already underway in many organisations. Participants shared case studies from their museums, highlighting the benefits and challenges of addressing trauma in a museum, gallery or heritage site setting.

The process of embracing trauma in the sector has evolved alongside the broadening of the term’s definition over the last few decades. First appearing in the late 17th century, the word trauma originates from the ancient Greek word for “wound.” What were the wounds of the past? Events such as wars, military conflicts, epidemics, and terrorist attacks were traditionally classified as traumatic. However, today’s understanding of trauma encompasses a much broader spectrum of experiences, from stillbirth to climate anxiety. Museums can play a powerful role in advocating for, supporting, and empowering individuals and communities affected by this diverse range of experiences.

The gallery conducted a project supported by the Baring Foundation, working with the Greater Manchester Rape Crisis Centre (GMRC) – South Asian Women’s Group, the Back on Track charity, and a network of trauma professionals from across Greater Manchester. Together, they identified community needs and adapted the gallery’s offerings accordingly.

Louise Thompson, Manchester Art Gallery’s Health and Wellbeing Manager, outlined the key principles of a trauma-informed approach, which include:

  • Safety
  • Choice
  • Trust
  • Collaboration
  • Empowerment
  • Cultural consideration

Following these principles, the gallery developed a practical framework to help adjust and transform its work to become more trauma-informed. The team challenged themselves by asking questions such as:

  • What does the gallery do well?
  • Where can we improve?
  • In your role, which of these principles do you think you apply effectively?
  • Where might you improve?

The sharing day participants had the opportunity to see some of these improvements firsthand. For example, they explored the Room to Breathe, a space designed to help people engage with art in a more mindful way.

Dim lighting, paintings hung lower than usual, and welcoming sofas and armchairs in place of traditional benches invite visitors to slow down and experience the art in a more relaxed way, fostering a sense of freedom and enhancing the feeling of safety for everyone entering the space. One of the feedback cards in a room next door is an eloquent testimonial to this experience:

“What a brilliant idea! There is so much chaos in everyday life, especially outside these doors, and the opportunity you’ve given here is beautiful. Feeling a little bit calmer – thank you!”

The sharing day focused on the importance of working in close collaboration with partner organisations that hold relevant expertise in relation to working with vulnerable groups and embedding lived experience into planning. Participants learned about a fantastic project, Families of the World, funded by Oglesby Charitable Trust, providing a safe space for families and children seeking sanctuary. The project, led by Katy McCall, Nese Law, and Rabia Begum, adopted a collaborative approach with elements of place-based and people-centred work.

Another Manchester Art Gallery project, Art of Resilience, uses creativity to support the mental health of children. Funded by the GM Violence Reduction Unit, the programme comprises creative sessions on the gallery premises facilitated by artists and responds to the region’s need to support children with Adverse Childhood Experiences. Project lead Emma Carroll introduced the sharing day participants to one of the activities with elements of object-based learning.

One of the main ideas that interconnected the conversations, presentations and practical sessions during the day was that being trauma-informed means being more inclusive and open to all, not only to those who were exposed to traumatic experiences. And isn’t that what museum learning is all about – bringing people together, improving cohesion and erasing barriers?

The study day was attended by participants who are part of GEM’s and the Culture, Health & Wellbeing Alliance’s (CHWA) Working Together project. Working Together aims to bridge the innovative work of the creative health and heritage sectors, fostering collaboration and shared learning between these important areas.

We thank Manchester Art Gallery for hosting this session on 26 September 2024. The event was made possible thanks to the support from Arts Council England. A special thanks to Ronan Brindley, Victoria Hartley, Louise Thompson, Emma Carroll, Katy McCall, Nese Law and Rabia Begum for organising and delivering the event.

 

By Katya Provornaya