Do Children Matter to Museums?

Veronica Puleio

‘I do not see the necessity for very

young children coming into
the Museum; they are apt to commit
little indiscretions.’
Henry Ellis Principal Librarian British
Museums, 1841.1

1. Introduction

We are appalled by today’s childcare scandals, but they bear no

comparison with the horrors of the mid-eighteenth century, when

babies were abandoned on rubbish heaps (Lane, 2008). The

situation of children and young people in society has changed

significantly, and for the better since then. But are we doing

enough to tackle vulnerability and social exclusion, and to

PARLIAMENT. HOUSE OF COMMONS, GREAT BRITAIN.

1
(1841) Select
Committee on National Monuments., London, HMSO.

1
provide opportunities for them to fully develop their individual

potential? Combating social exclusion and promoting equality is

allegedly one of the Government’s highest priorities in the UK.

Museums and galleries can play a significant role in this

endeavour. Museums and galleries are often a source of cultural

activity, and a way of connecting a community with its own

history and heritage, helping people make sense of their own

identity, and that of their community. But arguably ‘museums,

and galleries can do more than this, and act as agents of social

change in the community, improving the quality of people’s lives

through their outreach activities’ (Smith, 2000:3).

This essay examines the role of museums in contributing to the

education of children and young people in a way that fosters

social inclusion and equality, and tackles vulnerability. It does so

by examining in some detail the performance of the Foundling

Museum under the light of a particular governmental policy:

‘Every Child Matters’ (ECM). Thus, Section 2 analyzes the UK’s

approach to creating opportunities for children and young people

and explains the context in which ECM arouse, its content, and

priorities. Section 3 explains the role that museums and galleries

can have in advancing ECM, emphasizing the importance of

2
accessibility in attracting young people and children. This is

explained by reference to Gardner’s theory of multiple

intelligences. Yet, this section also acknowledges the relevance of

working with families and schools in this context. Section 4

concentrates on how the Foundling Museum performs in this

specific area. It argues that despite its appearance, the Foundling

Museum has developed a series of programmes and initiatives

that successfully tackle the issues of inclusion, accessibility, and

which are largely consistent with the key outcomes of ECM.

Moreover, the Foundling has creatively approached informal

education for children, attracting families, and providing

interpretive tools. However, this essay also suggests that it has to

some extent failed to attract young people in the context of

“informal education” and that there are serious deficits in terms

of collaborative efforts with neighbour institution Coram Parents’

Centre. In short, I argue that although the overall policy has been

largely successful, there is still much room for improving its

approach towards inequality and vulnerability through creative

initiatives and a more integrated or holistic approach.

2. The best place in the world for children

3
During recent years, the UK has claimed to be strongly

committed to improve the situation of children and their well-

being. In 2007 the Government created the Department for

Children, Schools and Families (DCSF). This is a department

focused exclusively on issues affecting children and young

people. The DCSF contributed to the creation of “The Children's

Plan”, a ten-year approach to make England ‘the best place in the

world for children and young people to grow up. Developed

through consultation with the public and experts, it places

families at the heart of everything [they] do.’ 2

Based on DCSF consultation, five principles guide the Children’s

Plan. First, government does not bring up children; parents do. So

the government needs to do more to back parents and families

up. Second, all children have the potential to succeed and should

go as far as their talents can take them. Third, children and

young people need to enjoy their childhood as well as grow up

prepared for adult life. Four, services need to be shaped by and

responsive to children, young people and families, not designed

around professional boundaries. Finally, it is always better to

2
http://www.everychildmatters.gov.uk/strategy/childrensplan/ last accessed
April 2009.

4
prevent failure than to tackle a crisis later (Secretary of State for

Children, 2007).

These aims will be pursued through a number of specific

programmes. One of them is “Every Child Matters” (ECM). ECM

constitutes a new approach to the well-being of children and

young people from birth to age 19. The need for urgent change in

the UK was made apparent in Lord Laming's report into the death

of Victoria Climbié, the young girl who was horrifically killed by

her great aunt and the man with whom she lived. The report

highlighted a need for improved integration and accountability

across children's services. Alongside its formal response to Lord

Laming's report the Government published a green paper called

Every Child Matters (ECM). The green paper created an

astonishing debate about services for children and families. There

was a wide consultation with children, young people, parents and

people working in children's services. This ECM green paper

identified five outcomes that are most important to children and

young people. They are ‘be healthy’, ‘stay safe’, ‘enjoy and

achieve’, ‘make a positive contribution’ and ‘achieve economic

well-being’.3 Following the consultation, the Government

3
http://www.everychildmatters.gov.uk/aims/outcomes/ Last accessed,
February 2009.

5
published ‘Every Child Matters: the Next Steps’4, providing the

legislative spine for developing more effective and accessible

services focused around the needs of children, young people and

families (Hodge, 2004).

To meet these challenges, children are likely to need as many of

the elements of a good educational experience as possible. ECM

‘recognizes that high educational standards and a wider concept

of well-being go hand in hand in achieving better outcomes for all

children – especially the most vulnerable’ (Ferries, 2006).

Education is therefore at the centre of ECM. However, this by no

means entails that this programme is restricted to schools.

Educating young people is not only about good teachers or up-to-

date instructional materials, but a complex group of practices,

policies, and organization working together that can make this

happen. Everyone almost certainly can think of at least one

circumstance in which they learned something despite the

learning environment being defined in the broadest possible

terms. Moreover, the programme stresses those organisations

which provide services to children have to work together in more

integrated and helpful ways. Partnerships must be developed in

4
http://www.dcsf.gov.uk/consultations/downloadableDocs/EveryChildMattersN
extSteps.pdf Last accessed, April 2009.

6
order to maximize impact and ensure that children in vulnerable

situations receive as much help as possible.

3. Museums and their contribution

‘What is the rule respecting the

admission of children when
accompanying their parents? The rule is,
that no children apparently under eight
years of age shall be admitted.’
Henry Ellis Principal Librarian British
Museums 1841

Museums in the UK have an increasingly important focus on

children and young people. The philosophy of ‘“museums for all”

… acknowledges that efforts are required to identify and remove

the many barriers (physical, intellectual, emotional, attitudinal,

financial etc.) that exist to exclude many groups from museums’

(Sandell, n.d.). Often museums and what they offer do not appear

to be relevant to young people. As a result of such assumptions,

young people’s attendance at places such as theatres, galleries

and museums declines as they progress through their teens

(Harland and Kinder, 1999). The crucial question in this context is

how museums can make themselves more accessible?

7
Accessibility, to some extent, depends on the learning process

that takes place in the museum. And yet, changes in the

approach to learning are improving access to the museums.

‘Learning is now seen as an active participation of the learner

with the environment’ (Hein, 1998:6). The focus of education has

shifted from the written word to the learners’ active participation

and his dealings with objects. This has made museums an

amazing resource for learning. They create a unique opportunity

for first-hand learning with primary sources, helping them to

access to different learning styles and discover connections

through artefacts that relate to their own experience. Pupils can

speculate from their own observations and set hypotheses that

are relevant to their own ideas (Ferries, 2006). Museums provide

‘the freedom for people to make sense of their own life

experiences through their personal responses to individual items

or whole collections’ (Moffat and Woollard, 1999:ix). Gardner’s

theory of multiple intelligences is closely connected to the child-

centred learning philosophy of John Dewey. He maintains that

every person is capable of seeing the world through the lens of

multiple intelligences.5 Currently, the challenge that museums

5
Gardner’s multiples intelligences: Logical-mathematical, Musical, Bodly
kinesthetic, Visual spatial, Intrapersonal and Naturalistic. GARDNER, HOWARD
(1983) Frames of mind : the theory of multiple intelligences, New York, Basic

8
face is to facilitate this kind of process, including not only ‘hands-

on’ activities, but also ‘multiple-intelligences-on’ activities.

Museums and galleries all around the country have responded

actively to welcoming more children. This process has taken

place in a particular context. Never before has there been such

imaginative and innovative practice in Britain’s museums and

galleries.6 Furthermore, MLA is helping museums to identify the

special contribution that each of them can make to society,

specifying what they should be aiming to achieve. Also, MLA

‘encourages museums, libraries and archives to develop a broad

range of learning experiences for school-aged children with

national programmes, advocacy and by developing strategic

partnerships to help deliver Every Child Matters.’7 Institutions that

depend principally on the state for funds are now also required to

show serious commitment to bringing in new audiences,

especially those that before felt excluded, like children and young

people.

Museums cannot alone meet this challenge. ‘Research has

demonstrated the importance of the home learning environment

Books.
6
http://www.kidsinmuseums.org.uk/ last access April 2009.
7
http://www.mla.gov.uk/what/policy_development/learning/school_age_childr
en last access April 2009

9
and the role of the parent as a child's first and most effective

teacher.’(MLA)8 Yet, ‘they can make an effective contribution and

a real difference as part of a holistic approach’ (Watson, 2006:6).

This means promoting innovative activities focused on the

interaction between parents, carers and children. As Hilary

Ferries suggests, ‘[w]e must broaden the opportunities for all

pupils to reach their individual potential. The objective is not

equality in the absolute sense of everybody achieving the same,

but the removal of what are often referred to as ‘barriers’ to

educational success’ (Ferries, 2006:8). Museums can break down

these barriers by making learning more accessible and significant

for different styles of learning.

The importance of providing children with access to museums

cannot be underestimated. ‘Some people say children and young

people matter to the arts sector because they are the audiences

and artists of the future, and because the arts stimulate creativity

that is vital to the future economy’ (Barker, 2006:2). This is true,

but not for the sake of preserving the future. Children and young

people matter because they are important today as individuals

with their own features, abilities, and talents. Robin Casson de

8
http://www.mla.gov.uk/what/policy_development/learning/family_earlyyears_
learners last accessed April 2009.

10
Director of Schools and Family Support, Northumberland County

Council has argued that ‘[c]reativity is the freest form of self

expression; [t]here is nothing more satisfying and fulfilling for

children than to be able to express themselves openly and

without judgment’ (Casson, 2006:3).

Indeed, ‘[t]he ability to be creative, to create something from

personal feelings and experiences, can reflect and nurture the

emotional health and well-being of a child’ (Casson, 2006:3).

Creativity promotes mental and emotional growth, and gives

children the possibility to try new ideas, solving new problems

and new ways of thinking. ‘Creative activities acknowledge and

celebrate children's uniqueness and diversity; and offer

significant opportunities to personalise learning’ (Casson,

2006:3). This is why museums are so important in delivering

ECM. Museums have the strength to contribute to pursuing the

five outcomes of ECM outlined in the previous section,

particularly those related to their sectoral strengths, like ‘enjoy

and achieve’ or ‘make a positive contribution’. Participation in

museums can change how children and young people explore the

world around them, shifting the way they see themselves and

their hopes for the future. Museums can contribute to the

11
learning process, both in terms of formal realization and by

developing lifelong skills that ‘help to make a rounded individual,

a communicator, a problem solver, an innovator and a team

worker’ (Watson, 2006:4). Finally, museums have the potential to

reach millions of children and young people through positive in

and out-of-school activities, supporting families and promoting

diversity.

And yet, ‘[t]here is clearly not enough money (and consequently

insufficient staff and support services) to do everything that

might be desired. So questions arise as to which activities are

most essential, or most beneficial to the museum and to society’

(Hein, 1994:305). Put differently, funding constitutes itself in a

major constraint to pursuing these objectives. This challenge is

particularly acute in private museums. Private museums are

costly, and it is not clear how many would survive without the

Government’s help. Today more than ever it is clear that it is

necessary to follow the Government’s guidelines in order to have

access to grants and funding. Sometimes the financial necessities

of the museums determine their agenda and, often, they

determine the face of the museum vis-à-vis the government and

the public. It is not always easy to know when a particular activity

12
or program is part of the museum’s genuine mission, or rather it

is part of its political agenda to secure funding. For example, if

museums do not show enough outreach and education initiatives

aimed at children, they lose funds. With this, they lose the

possibility of developing new audiences and generating more

income. As Gillian Reynolds eloquently puts it, ‘Child-friendly

galleries are a good thing - but trend-chasing for funds is not and

it create organizations that become dependent on grants and

sponsorships rather than earned income’ (Reynolds, 2009). This

is something that creates dependency and control over private

museums and something that needs to be examined carefully. I

am not suggesting that developing a bigger audience, including

children in particular is a bad idea. Yet, sometimes museums

have other priorities. ‘There are still people who go to galleries to

look at pictures in peace and to museums to study rare objects in

quiet. The thing is, in the Government's opinion, there aren't

enough of them to justify the cost’ (Reynolds, 2009).

4. Does every child matter for the Foundling

Museum?

13
The Foundling Museum is a private museum that tells the story of

the Foundling Hospital, London's first home for abandoned

children and its founder the philanthropist Thomas Coram, the

artist William Hogarth and the composer George Frideric Handel.

This museum has a collection of art, period interiors and social

history. The collection includes manuscripts, printed books and

music, ephemera, coins, medals and art works from the

eighteenth to the twentieth century. The Collection is the largest

privately held collection of Handel material. However, the

Foundling Museum not only showcases the Foundling Collection

and the Gerald Coke Handel Collection but most importantly tells

the story of the 27,000 children who passed through the Hospital

between 1739 and 1954. Perhaps the key message of the

Foundling Museum is that providing and developing services for

children is not something that simply happens. It is the

consequence of hard work by people such as Thomas Coram and

his supporters, who included Handel and Hogarth. It has to be

adapted to new needs and circumstances by innovators who take

risks in trying out new approaches (Lane, 2008).

Few museums have the capital to obey the wish of Mariella

Frostrup, patron of Kids for Museums, that they should lose their

14
‘faint residue’ of ‘dry, unwelcoming atmosphere’ (Reynolds,

2009). Despite the last renovation of the building, at first look this

museum is more like a traditional institution which motivates old

people to come. It is a bit discouraging to enter, especially for

young people. The entrance has a dull atmosphere and the

beautiful collection inside is hardly appealing if you do not

already know what it is about. It is a real challenge for the

museum to place a visitor in the ‘“right frame of mind” to engage

with [its] collection’ (Black, 2005:4), and in particular to engage

children and young people. It is, therefore, extremely important

to think creatively in order to elaborate a programme that is rich

and powerful. If that does not happen, young visitors are unlikely

to enjoy their visit, and hence they will not have the right kind of

stimulus to learn.

Further an informal conversation with Ms Annette McCartney, the

person responsible for Learning and Access programmes at the

Foundling Museum, she pointed out that learning is the reason for

the existence of the museum: ‘Why as a society [do] we need a

collection if it is not for learning? Learning is at the heart of all

museums.’9 But more importantly, the Foundling Museum seems

to have taken seriously the spirit of ECM. The admission to the

9
Interview with Ms Annette McCartney, London, April 2009.

15
Museum is free for school groups, and free workshops are

tailored to meet particular needs across the curriculum: art,

history, music, sociology, citizenship and more. It also offers a

wide range of taught sessions with different activities like object

handling (smell boxes!), interactive storytelling, dressing up, etc.

Many of its activities are consistent with furthering specific

outcomes outlined by ECM such as ‘be healthy’, ‘enjoy and

achieve’, and ‘make a positive contribution’. For instance, the

Museum carries out role-plays to experience life as, for example,

a Victorian foundling growing up in the Hospital, a parent

struggling to do the best for her child under difficult

circumstances, a Governor of the Foundling Hospital making

difficult decisions about which children they should take in, etc.

This role-playing allows children and young people to be

physically active while at the museum, improving their

movement skills, coordination, sensory awareness and

concentration. The museum also offers drawing sessions of self-

portraits full of personal symbolism, inspired by and created in

the presence of real 18th century portraits, creative writing

(stories, letters, poems) inspired by Foundling children’s lives and

artefacts on display, etc. Finally, former pupils of the Foundling

16
Hospital, which closed in the 1950s, are available to offer vivid

recollections of their experiences and tell how it predisposed

them later in life in terms of identity, self-expression, and in their

relationships with partners and children. These are difficult issues

to work with and, as Ms McCartney suggests, they constitute the

main area of learning in this museum in particular.

Ms McCartney argues that at the Foundling Museum, they ‘work

with the “Human Experience” in particular at an emotional level.’

They are interested to show what happened to the foundlings

when they grew up and had to make their own way in the world.

Children and young people gain unique access to priceless

historical artefacts and contribute to the engage in the subject.

The strength of the collection is that it makes children feel in a

safe environment where they can share difficult experiences and

fears, and through this sharing connect and explore their

emotions. There is nothing more satisfying and fulfilling to see

children to be able to express themselves openly and without

judgment.

But working with such delicate issues is not without risks. Ms

McCartney mentions that it is important for the team to be aware

before the learning session of possible conflicts that can arise

17
with a particular group. For this purpose they make a

questionnaire for teachers to fill in prior to the visit. As I

mentioned before, issues like legitimacy, abuse, lost identity,

death of parents, etc., are common subjects in the sessions and

this is a particularity of this museum. The subject-matter of the

Museum is a strong catalyst for emotions. Ms McCartney narrated

a telling story. In a creative writing session, one of the children

wrote a letter as a Foundling child to his mother about how much

he missed her and how he felt about not being with her. During

the session this child gave Ms McCartney the letter for her to

read. After this, one of his classmates approached, and

embracing the child, he told her that his mother had died

recently. The Museum encourages children and young people to

express themselves and helped them to overcome some

problems as a group that before the learning session were even

difficult to discuss. This contributes to children’s mental and

emotional health, and makes them feel that they can make a

positive contribution to their pairs.

Every adult closely involved in a child’s life can influence her

educational chances, so the Museums sees that they get involved

in the learning process. This is why families with small children

18
are offered the option of bringing a buggy bag with them around

the Museum. The Museum's youngest visitors now have more to

do after the Buggy Bag Project was introduced the previous year

with MLA funding. The buggy bags are small rucksacks, each with

a selection of toys and activities that will make the Foundling

Hospital and the Gerald Coke collections more accessible for the

children carrying them in an informal visit to the museum.

Similarly, the Museum's Family Fun drop-in activity programme

was boosted by the introduction of free entry for accompanying

adults. The programme is building a reliable audience and

receives frequent mention in various media outlets (Trustees,

2008). Also, in order to support its growth as a place for children,

the Museum offers in-house Family Friendly Training to all staff

and volunteers, conducted by the Museum's own Education

Assistant. Finally, the Museum arranged two Open Days for

families during 2007-8, the ‘Foundlings Go to the Zoo’ in May,

when 157 children and adults took part; and ‘Pippi Longstocking

Day’ in November, with 252 participants.

Nevertheless, there remains a lack of adequate interpretation in

“informal learning” activities for young people. There is no

marketing, not even a single poster encouraging the participation

19
of young people. Even if they do cross the door of the Foundling

Museum, what they see inside is really difficult to engage with,

and this is something that the learning team needs to address in

the future if they want to engage also young people through

informal learning. It is as if they needed to control the

educational environment to feel that they are teaching. But this

creates a patronising situation with regards to young people and

makes the museum less open and friendly. Clearly this is an

audience that is not included in the day-to-day life of the

museum. If they do not come with the schools, there is really

little waiting for them inside.

The Museum’s learning team consults visitors through regular

visitor surveys, through the visitor book and through informal

contact at front of house (Trustees, 2006). All feedback received

from these sources is included into the planning of public

programming, which changes and is re-developed continuously.

Ms McCartney said that for her the best evaluation is one to one

in each session when finalise the team has a meeting and

discusses any issue that might have aroused and how they could

improve the experience of those children. Nevertheless, ‘[t]hough

there is increasing consultation of audiences, (a trend

20
encouraged by the introduction of best value), few museums

share decision-making with individual or groups outside of the

organisation or genuinely empower audiences to influence their

direction’ (Sandell, n.d.). This is, in part, due to a belief in the

authorities of the museum professionals as “expert”. But this also

has the potential to undermine partnerships and collaboration

with other institutions. This is something that the Foundling

Museums needs to re-evaluate if it wants to improve their social

inclusion programme and contribute to ECM. ECM stresses that all

organisations that give services to children have to work together

in more integrated and helpful ways. ‘Many museums are

excluded from new initiatives aim at tackling exclusion as they

are rarely considered as appropriate partners by social, welfare

or health agencies’ (Sandell, n.d.).

In my conversation with Annette McCartney I asked her if they

have programmes in common with the Coram Parents’ Centre 10

thinking that they can contribute with each other with different

areas of expertise in relation with the community, specially those

people who are more at risk. She said that people in the Coram

10
The Coram Parents' Centre provides community-based training in parenting
and other skills for families in Kings Cross, many of whom are socially isolated
and unfamiliar with mainstream services. It is situated literally next door from
the Foundling Museum.

21
did not know how to work with them; that the Foundling Museum

has approached them with a lot of enthusiasm but that they have

got no concrete response so far. Also, she remarked that ‘there

are some politics going on.’ However, I asked a person who works

at Coram Parents’ Centre why there were no activities in common

with the Foundling Museum and she also said she was really

disappointed with the people from the museum. She argued that

they have told them that they only had two days available in the

whole year to do something in partnership with Coram. For any

other activity, Coram would have to rent the space as any other

institution wishing to organize an event in the Museum. Things

like that are what ECM wishes to eradicate.

This reluctance does not seem to be based on real economic

constraints. With funds raised through the National Lottery, the

Heritage Lottery Fund (HLF) sustains and helps a wide range of

heritage for present and future generations. ‘The Foundling

Museum has been given £322,000 towards a project that will

record and preserve the memories of 80 people who were pupils

at the former Foundling Hospital between 1918 and 1948’

(Heritage, 2008). From the Trustees’ report it is possible to see

that the Museum has sufficient income from admissions,

22
donations, grants and funds to cover its expenditure. The

Museum also has a trading subsidiary which runs the shop and

corporate events from which the Museum also receives an

income. The process is underway to raise funds for the purchase

of the Foundling Hospital collections. Funding is available to

support the Museum's marketing efforts targeting specific

sections of the community. Furthermore ring-fenced funding has

been obtained for work with children and young people.

Rhian Harris, the previous director of the Foundling Museum, has

led its three-year refurbishment and revitalisation, restoring the

collection and raising £11 million to open it to the public. In an

interview, she said that in the past the museum ‘was completely

run by the children’s charity Coram, and obviously wasn’t cared

for properly because it wasn’t their priority, so the collection was

deteriorating and the building was in an appalling condition.’ ‘The

trustees were keen that the collection should become

independent and self-financing and The Foundling Museum

became an independent entity and took possession of the original

imposing site overlooking the Coram’s Fields playground’ (Mullen,

2006:1). Thus, this reluctance to work together may go deeper

into the institutional history of this institution. Yet, regardless of

23
the bad communication, internal politics, and financial issues

between potential partners can have a devastating effect and

undermine their capacity to tackle exclusion and vulnerability in a

more holistic and integrated way.

Overall, the Museum has been overwhelmed by the positive

response from children and young people. ‘Their responses have

given … a new perspective on [the] collection, reminding staff

and volunteers of its continuing relevance and how it is much

more than a memorial to the past wrongs of society’ (Mayers,

2006). The learning programmes have been largely successful in

providing insights into social progress and have indicated where

improvements are still needed. It has extended a forum for

discussion that highlighted issues that today’s young visitors

might one day be able to change. Taking part in this kind of

creative opportunities can change the way children and young

people explore the world around them, shifting the way they see

themselves and what they hope to in the future.

5. Conclusion

This essay is about the way in which museums in general, and

the Foundling museum in particular cares for children. I have

24
been concerned in the ways in which museum practice has

tackled issues such as vulnerability and inequality, and how it has

thrived to promote equality and learning among children and

young people. Museums provide great opportunities for learning

in this context. They can provide a number of activities and

initiatives directed to children with different backgrounds or

needs and help the realize their individual potential. Positive

activities and experiences are a vital part of happy and enjoyable

years. Moreover, in museums pupils can control the learning

process; with guidance and support from both teachers and

museum staff, they are able to reflect on their learning at each

stage, identify their next steps and shape their own learning

outcomes.

This essay addresses ECM, an overarching general policy

promoted by the UK’s government to improve the institutional

approach towards children and young people. I have

concentrated on the way the policies and initiatives of the

Foundling Museum vis-à-vis children and young people have been

consistent with the central outcomes promoted by ECM. I have

argued that the Foundling Museum has developed a consistent

practice that largely succeeds in making its collection more

25
accessible to children and young people. Through a number of

initiatives, it has creatively approached informal education for

children, attracting families, and providing interpretive tools,

making students reflect on their own experiences and situations.

However, I have also contended that this museum needs to

improve its overall performance in two particular respects. First,

it does not seem to adequately approach young people in the

context of “informal education”; and secondly, it has not

developed an effective partnership with neighbour institution

Coram Parents’ Centre. In short, I argue that although the overall

institutional approach to addressing children and young people as

audiences has been largely successful, there is still room for

improvement.

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