Hope Streets: moving a heritage festival online
John Williams and Lizzie Oxborrow at Renaisi, and Catherine Mitchell at The Centre for Youth Impact

What is Hope Streets?
Hope Streets is a partnership of youth and heritage sector organisations across the North West of England, connecting young people with their local history.
Their annual Festival of Hope helps young festival producers collaborate with museums on a series of events celebrating hope and heritage through art forms such as music, film, performance and visual arts.
How did they adapt to digital during the pandemic?
With the first UK lockdown in March 2020, the festival pivoted from a face-to-face festival to a ‘blended approach’: combining socially distanced activities with online events via the website, Zoom, YouTube and other digital platforms.
This was a big shift for Hope Streets. Previously, the project had avoided using digital, as their young people preferred face-to-face engagement.
“[Before the pandemic] young people weren’t picking up on online sessions… COVID changed that on its head.”
Hope Streets staff
Following lockdown, young people were at the heart of re-shaping the festival and quickly adapted to online delivery. They generally had a greater familiarity with digital than staff and so led the way in planning events, commissioning artists and producing digital content.
“Most of our other projects came to a halt, but the Hope Streets projects were really quick and flexible. We have learnt so much from the young people about how they have adapted.”
Hope Streets staff
What were some of the key challenges?
Not all young people had access to the technology needed or were as comfortable with online sessions. Where possible, the team tried to address any digital access needs, for example by including mobile data so they could attend meetings if they did not have regular WiFi.
Despite this, sometimes the young people experienced digital fatigue – as their schoolwork and socialising was all online at the time too.

Another key concern was safeguarding. Existing policies for heritage organisations generally focused on face-to-face delivery. To address this, Hope Streets commissioned external organisations (like young people’s mental health charity 42nd Street) to provide training to staff on young people’s mental health and running safe online sessions.
Working online meant it was hard to appreciate the scale of the festival and celebrating the hard work that went into it.
What were the unexpected benefits of going digital?
The festival had a much wider reach than initially expected, reaching a national audience of over 4,500 people with the online platform. Local audiences were able to see physical installations and exhibitions.
Working online created new links between young people and their local community. For example, a young person worked with Tullie House to set up a Facebook group gathering photos, film and stories about Carlisle's live music past.

In the run-up to the festival, using online platforms removed the barrier of having to travel to planning sessions. It also helped young people connect with professionals from across the country.
The young people also experimented with activities like film making, podcasting and art, perhaps more than might have been possible through an in-person festival.
What effect did the project have on the young people's wellbeing?
The project offered the young people something to get stuck into, as well as a network of like-minded peers outside school. The young people, and staff, noticed they had a greater sense of purpose and community at a time when they felt increasingly isolated and lost.
Afterwards, a few successfully applied for work placements and two secured paid roles.
For some, their experience offered a tangible impact beyond the festival. A few successfully applied for work placements and two secured paid roles.
Importantly, after the initial disappointment, embracing digital allowed young people to adapt and deliver a festival they could be proud of.
What was the legacy of going digital?
Many of the young people continued to meet online and collaborated on subsequent projects, such as an exhibition at the Grosvenor Museum in Chester.
The partner museums are continuing a blended approach between in-person and online work.
While the Festival of Hope shifted online by necessity, the skills learned continue to influence Hope Streets’ projects and will be part of its legacy.
Find out more
Youthwork Support provides practical information for online youth work. It is created in partnership by National Youth Agency, UK Youth, The Mix, Federation for Detached Youth Work and Erasmus+.
Youthlink Scotland has created a forum to share resources around online youth work.
Centre for Youth Impact (via Building Connections) published a blog on creating online safe spaces for young people. CYI has also created an archive of survey results focusing on digital delivery during the pandemic.
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Reflecting and adapting to empower young people

Renaisi and the Centre for Youth Impact
Keeping it Wild is a Kick the Dust project run by London Wildlife Trust. It aims to empower young people from under-served backgrounds to gain natural heritage skills.
The programme runs a series of traineeships in which young people can gain experience in conservation, volunteering, education, fundraising and marketing.
We did that learning early on, we made some adjustments, we had the time in the lifetime of the project to write them into our new strategic plan.
Keeping it Wild project team
Throughout the project, the Keeping it Wild team have made time for reflective practice to inform their work and get better results for the young people involved. This involves taking a step back to review what works, what doesn’t work and what could be improved. It also involves ensuring that this reflection is used to continually adapt and improve the project.
This blog explores the specific ways in which the team did this.
Learning opportunities
Keeping it Wild ran workshops and events with groups and partners to share best practice and common challenges. They also used a third-party evaluator, who helped introduce an independent perspective.

Working with other youth sector organisations allowed the project team to get a better understanding of what true youth involvement really meant and how young people can meaningfully influence decision-making. A Keeping It Wild team member said: “We have achieved all of our targets, but we also feel like it has made an impact – it has not just been ticking boxes.”
Key learnings from these learning sessions included:
- the need to join up different elements of projects to help young people engage for longer and on a deeper level
- the importance of signposting future opportunities beyond the traineeships
- involving young people directly in marketing and communication proposals for the projects
- using young people's feedback gives them a voice – and is also essential to the project's success
Senior leaders from Keeping it Wild said: “We did that learning early on, we made some adjustments, we had the time in the lifetime of the project to write [them] into our new strategic plan.”
This demonstrates the importance of embedding reflective practice right from the beginning of a project.
Engagement with young people
It was a key priority that young people remained at the heart of the project – this means engaging them with the process of ongoing reflection. The Keeping it Wild team:
- ensured feedback was welcomed throughout the traineeship and tailored activities for young people
- ran a ‘dialogue-style’ focus group
- kept a formal log of feedback from young people
As the project team pointed out: “It’s important that young people feel like their comments and feedback are actually taken on board – managing that carefully is really important."
The project leaders were committed to making changes based on the feedback they received. When trainees asked for more time with peers, to bond and compare learnings, the scheme was re-designed to include two or three days of on-site team development time.
What’s next?
The project's youth forum proposed the Wild Youth Hub – a section of London Wildlife Trust's website devoted to areas of interest to young people, including mental health and wellbeing, careers and social action.
Keeping it Wild are also adapting the model of reflective practice they’ve developed, and will continue to:
- build in opportunities across the year to monitor and improve projects
- bring together partners for collaborative reflection
- engage young people in the process of ongoing reflecting and improving
Find out more
- The Centre for Youth Impact’s Asking Good Questions framework assists with understanding the quality and impact of work with and for young people.
- Develop your practice of listening to young people with resources from The Listening Fund including a self-assessment tool and feedback survey.
- Catalyst’s Service Recipes provide practical guides to help charities learn from each other.
- The National Youth Agency Youth Work Curriculum has useful information and tools for reflective practice.
- The Inspiring Impact Covid resources page provides advice and tools to support decision making, which can support with continually adapting, and in times of crisis.
About the authors
This is one of a series of blogs about Kick the Dust, a programme of 12 large-scale projects which are making heritage relevant to the lives of young people aged 11-25.
The blog was co-written by Renaisi and The Centre for Youth Impact.
Renaisi is a social enterprise that has been helping people and places to thrive for more than 20 years. Renaisi is responsible for the Kick the Dust programme-level evaluation.
The Centre for Youth Impact brings together practitioners, funders and policy makers to improve services and support for young people across the UK. The Centre brings a youth sector perspective to the evaluation of Kick the Dust.
Keeping it Wild is a project run by London Wildlife Trust that empowers young people to get more involved in natural heritage.
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Kick the Dust Norfolk Journeys: helping young people into work

participants in Kick the Dust Norfolk Journeys, Renaisi and the Centre for Youth Impact
Page last updated: 5 July 2022
Lockdown has been tough for many young people, both socially and in terms of education and career development. The number of young people in employment remains lower than before the pandemic, despite unemployment returning to pre-pandemic levels.
Kick the Dust Norfolk Journeys is seeking to address this by helping young people to get involved in heritage-themed work experience, volunteering opportunities and creative projects.
An opportunity to build workplace skills
The Western Area Kick the Dust Work Experience programme brings 14-25 year olds together with staff at Stories of Lynn Museum in King's Lynn. Here, young people are supported to build workplace skills they would like to focus on - such as public speaking, curation, or writing for a professional audience.
The 13-week programme works closely with local schools and other partners to support those with additional health and learning needs, as well as those experiencing disruption in their lives.

Since its launch in 2020, the programme has been a hit with young people, with all cohorts being filled, and some additional sessions being offered to meet demand.
Young people interact with staff from all areas of the museum, the local council and Norfolk Museums Service. Activities are tailored to the skills that each cohort would like to develop, and the young people regularly record and reflect on their progress.
Hands-on experience
In the 'Museum in a Jar' project, young people were given the chance to plan, curate and publicise their own exhibition. They were teamed up with a professional curator and the museum’s communications department, who helped them share the exhibition on social media.
Another project, ‘Deal Justly With All’, saw young people select objects for an exhibition focused on poverty and homelessness in the local area. This group engaged the local mayor, which helped them gain skills in writing for a professional audience.
As part of the programme, young people were offered mock interviews, so they could reflect on their achievements and learn how to talk about them in a professional context.

Securing employment
Five of the participants went on to secure their first jobs after their placements, including roles in a museum, local councils and a care home. Skills developed included:
- design
- marketing
- professional writing
- object curation
- teamwork
They also gained an understanding of the heritage sector and their local area.
Boosting skills and confidence
One young participant said: “[It’s] a bit of a surreal feeling to know that I’ve helped contribute to something meaningful and important for people to think about. I had previously thought projects such as an online exhibition were out of my reach and only when I became an experienced professional would I ever be able to work and create one.’’
The biggest impact that Kick The Dust has had on me over the last few months has been my massive boost in confidence! I have taken opportunities that I would normally be too scared to even think about.
Young participant with mental health challenges
A participant with mental health challenges said: “Since joining the Kick The Dust team in December 2020, I have been offered endless opportunities and gained long lasting skills and contacts.
“The biggest impact that Kick The Dust has had on me over the last few months has been my massive boost in confidence! I have taken opportunities that I would normally be too scared to even think about.”
Another said: “Now, about five months into my journey with them, I have a Kickstart placement with the arts organisation, Collusion!
“[Kick The Dust] are my creative support group that have helped me through this difficult time and inspire me every day to keep taking as many opportunities as I can handle.”
Find out more
These resources provide further information on supporting skills development for young people:
- Page 25 of Youth Work Curriculum reflects on how youth provision can support skills development
- A Framework of Outcomes for Young People 2.0 has information on how skills development, specifically related to social and emotional learning, can support outcomes for young people
- The Listening Fund Reports for England and Scotland share learning and recommendations for designing and delivering effective listening practices
About the authors
This is one of a series of blogs about Kick the Dust, a programme of 12 large-scale projects which are making heritage relevant to the lives of young people aged 11-25.
Renaisi is a social enterprise that has been helping people and places to thrive for more than 20 years. Renaisi is responsible for the Kick the Dust programme-level evaluation.
The Centre for Youth Impact brings together practitioners, funders and policy makers to improve services and support for young people across the UK. The Centre brings a youth sector perspective to the evaluation of Kick the Dust.
Kick the Dust Norfolk Journeys is a Norfolk-based programme that empowers young people to get more involved in local heritage.
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A missing voice - the young person in the museum

Niamh Kelly, Digital Maker Club participant
I have thought a lot about where and how there can be a space for young people in museums.
As part of the Digital Maker Club, supported by The National Lottery Heritage Fund's Kick the Dust programme, a group of young people (including me) were brought into the Ulster Museum and over several weeks, we learned how to use a range of digital technologies.
Alongside this, we were encouraged to interact with museum collections and we met with curators. This meant that we were able to digitally create something in response to our own national heritage.
By the end of the project, we had enough creations to host an exhibition.
Telling a new story of The Troubles
I was inspired by one of the main exhibitions in the Ulster Museum, about The Troubles. The exhibition's curator, Karen Logan, encouraged us to explore and discuss the collection.
One of its strengths was that it was able to include multiple narratives, not only those of Unionists and Nationalists, in telling social history, like the first Pride festival in Belfast and women's writing groups. However, there did seem to be a missing voice - that of the young person.

I identified the gap of young voices and that the exhibition didn't connect the history of The Troubles to the subsequent social and political landscape of Northern Ireland today. I felt that if a tourist visited this exhibition, they would not grasp the aftermath of The Troubles and what that means for Northern Ireland at present.
The project gave me the opportunity to try and create a space for this missing voice. So I decided to exhibit a series on what the main issues were facing young people in Northern Ireland today.

Sabi, a friend I met on the project, took stunning, abstract photos from around Belfast and I interviewed young people from a range of different backgrounds. Their answers illuminated and lamented issues such as:
- mental health problems
- the oppression of LGBT+ rights and women's reproductive rights
- Brexit
- segregated schooling
- the absence of our government and how Green and Orange politics continue to hold us back
Tech can help revolutionise the museum
From my experience and observing others on the project, I think that, as well as being able to bring young people into the museum, technology provides a new way for them to think about their place in it.
Technology can offer a new paradigm.
The museum is (or should be) an inherently interactive space (with or without tech) but using interactive technology reminds us of this. Being given technological tools to create something as a response to the collections energised me to respond to it thoughtfully, creatively, critically.

I didn't necessarily need tech to make my part of the exhibition, but being part of the Digital Maker Club and having my ideas listened to, encouraged and facilitated, inspired me to do so.
It is through interaction that the visitor makes meaning from objects and collections. The museum should not merely be a system of knowledge which we can passively accept meaning from. Introducing technology can help revolutionise the way we see the museum, kicking the dust from our perceptions of an old, hierarchical system of acquiring knowledge.
I think that it is this outlook, as much as the technology itself, which has the potential to draw young people in to the museum and make it an inclusive, engaging space.
Find out more
Niamh has written a longer blog on the Reimagine Remake Replay website.
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Helping all young people get hands on with nature

London Wildlife Trust’s Keeping it Wild programme helps young people aged 11-25 gain skills for life while conserving the city's wild spaces.
Trainees undertake three-month paid internships at a London Wildlife Trust site. They have the chance to join the Youth Forum, which advises the Trust’s board on how to really embed youth engagement. It plays a vital role in planning, managing and evaluating the project so that it meets the needs of young people.

We visited Sydenham Hill Wood, south London, on a Wild Action Day. Despite heavy rain, the dedicated trainees showed their passion for conservation by sticking out the day until its waterlogged end.
Trainee Jess said she thought the programme was about: “increasing opportunities for young people who may not have had the chance to experience the natural sector. It’s not the most diverse and many people think it’s not for them.”
Using nature for wellbeing
The day was guided by The Wheel of Wellbeing. Developed by the South London and Maudsley NHS Foundation Trust, The Wheel of Wellbeing offers practical tips to improve your wellbeing by considering Body, Mind, Spirit, People, Place and Planet.
Find out more on the Wheel of Wellbeing website.
Body
"Be active... Your body is designed to move. Physical activities can positively influence the way you think, feel and function."

We met Lee as he sawed through fallen branches to be used as path edges. He told us: "I never had the breaks, I left school with few qualifications. But this has really been a great opportunity, it is great what they are doing across London.”
Mind
"Keep learning... Studies are showing that life-long learners are some of the healthiest, happiest people around."

While removing duckweed from the pond, we scooped up a discarded dragonfly nymph shell . We learned that both dragonfly nymphs and dragonflies are carnivorous - the nymph's prey-crunching jaw was the inspiration for the Alien films!
Spirit
"Give... Practicing random acts of kindness, volunteering time, or simply saying ‘thank you’ all work wonders for your wellbeing."

Here's Chantelle laying new path edges using fallen branches, fastening them with axe-whittled stakes and wire. We found out that following on from her time with Keeping it Wild, she is about to start a new job as project officer for the Great North Wood Project at London Wildlife Trust.
People
"Connect... Close relationships with friends and family can add up to seven years to our lives. So plan a get-together to connect more with the people around you."

A crackling camp fire had two benefits: cooking homemade calzone pizzas and drying everyone off! The team gathered around for a chat over a much-needed hot drink.
Planet
"Care... Keeping our planet in tip-top shape is the best recipe for world wellbeing. Small positive changes can make a big difference."

We met Calum clearing duckweed from the wood’s Dewy Pond so that oxygen can reach the life below. The release of sulphuric acid generated a questionable odour, but Calum said: “I’d rather be here in the rain with a funky smell than be on my sofa at home." The traineeship solidified his passion for nature, and he’ll soon be studying British Wildlife Conservation at Gloucester University.
Place
"Take notice... Noticing nature helps us press the pause button. It reduces the stress of our 21st-century ‘hurry-worry’ lives."

Ishmael’s interest in mindfulness lead the team to ask if he could lead an exercise to finish off the day. He told us that mindfulness can combat “unnecessary rumination and unhelpful thoughts, so you can stay more in the present. The sounds and sensations can be more nuanced in nature."
He encouraged fellow trainees to “shut your eyes, distinguish five sounds: this could be the rain coming down, the birds, the breeze occasionally rolling past."
We're feeling better already...
About the project
Keeping It Wild is part of the National Lottery-funded Kick the Dust programme, a series of 12 projects across the UK which are putting young people at the heart of heritage.
London Wildlife Trust is leading on the programme with support and expertise from:
- London Youth
- Headliners (UK)
- John Muir Trust
Funding for natural heritage and projects that involve a wider range of people are both priorities for The National Lottery Heritage Fund. Find out more about what we want your project to achieve.
Ways to meaningfully involve young people in heritage

A blog by Rosie Gibson, The National Lottery Heritage Fund Social Media Manager
Making heritage relevant to more – and more diverse – young people, is important to The National Lottery Hertiage Fund. That's why we set up Kick the Dust, a £10million pilot programme to explore new ways of working with young people.
In summer 2019, we held a workshop to gather the ideas learned so far from organisations that received funding.

Top tips on involving young people in heritage
- Organisations may find it useful to think about who makes decisions internally – and consider how young people can be involved in those decisions.
- Work out who in your organisation might be enthusiastic about your project and want to help.
- Think about how to create safe discussion spaces for young people.
- A trustee or CEO could meet and discuss ideas with the young people at their meetings, rather than the young person having to attend a trustee meeting – which could be intimidating.
- Consider having training for staff, and CEO briefings run by young people about young people.
- Young people need different routes of progression within your organisation.
- Young people can inform adults too; it’s a two-way relationship.
- Think about time commitments: young people have complex and busy lives and may not want to be involved all the time – or at all.
- Don’t impose your own agenda, stay flexible and exploratory.
- Question your assumptions and the language you use.
- Evaluate internal structures. For example, if you want to involve young people in a board meeting, holding it at 2pm might not be the best time if they have school, college or work.
- Consider leadership and life skills guidance for young people as part of the project.
Learning from case studies
Every project that attended the workshop brought along an object that represented an activity or method they have successfully used to engage young people.
Norfolk Museums Service Norfolk Journeys project: clay sculpture
They said: “We’ve been working with young people involved in the criminal justice system on a project about mark making, creating marks and thinking about the marks we leave on society.
"We have found that young people want to engage with the project, but don’t always know how.”
Don’t Settle project: image of young people on visit to Migration Museum

They said: “We are looking at neglected narratives of cultures and have been setting up a youth committee. We have been thinking about the question: ‘what do young people of colour bring to the board room?'”.
Ignite Yorkshire: logo, newly designed with young people

“Young people wrote the brief and mission statement. It’s important that co-creation is authentic and genuine.”
The Y, Leicester: paper money
“We found that some young people were interested in money, so we gave them their own budget. Young people commissioned their own project, and heritage organisations presented ideas to them 'Dragon’s Den' style.”
Find out more
You can read more about the scheme in our Kick The Dust Evaluation.
Boost for youth heritage thanks to £7million government investment

The additional funding is part of a new £7m Youth Accelerator Fund from the Department of Digital, Culture, Media & Sport.
The Youth Accelerator Fund has been set up to address urgent needs in the youth sector, and to expand existing projects at The National Lottery Heritage Fund, Sport England, Arts Council England and the British Film Institute.
"This fantastic additional investment will build on the already strong partnerships that are flourishing through our Kick The Dust programme."
Eilish McGuinness, Executive Director, Business Delivery at The National Lottery Heritage Fund
Nicky Morgan, Secretary of State for Digital, Culture, Media & Sport said: "I'm thrilled this funding will allow even more young people across the country to participate in fantastic activities, whether at their local youth centre or through sport, arts, film and heritage organisations.
"If we wish to get the best out of all the great talent in our country it is vital that we offer the next generation opportunities to build character and resilience, not just in school but outside the school day."
Eilish McGuinness, Executive Director, Business Delivery at The National Lottery Heritage Fund, said: "This fantastic additional investment will build on the already strong partnerships that are flourishing through our Kick The Dust programme. The collaboration we're seeing through the Youth Accelerator Fund shows a really joined-up approach across all the activities that, together, we know young people can benefit from."
How the funding is distributed
The funding will be distributed as follows:
- The National Lottery Heritage Fund: £1.27m to invest additional funding into Kick the Dust.
- Sport England: £1.32 million to expand grassroots programmes and offer extra-curricular sport to young people in deprived areas.
- Arts Council England: £500,000 to expand their Youth Music programme.
- British Film Institute: £155,000 to expand the weekly BFI Saturday Clubs to more areas of the country
Also:
UK Youth, the membership organisation for youth clubs in the UK, will distribute £1.15m to run a small grants programme to deliver extra sessions in youth clubs and youth groups across England.
Additionally, over £2m of the funding will go towards setting up new Local Partnerships across the country, designed to effectively coordinate and sustain local youth activities.
The Youth Investment Fund will cost £500m over five years. It consists equally of £250m capital and £250m resource spending. It is expected to attract match funding from private, local authority and civil society sources.
Kick the Dust
Kick the Dust is a £10m investment to make heritage relevant to young people aged 11-25. There are 12 large-scale projects currently running across the UK.
To mark its second year, we will be running a series of features on our learnings so far, sharing ideas on ways to involve young people in heritage.
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Breaking down barriers to nature for young Black people

Chantelle Lindsay, Great North Wood Project Officer, London Wildlife Trust
Page last updated: 13 July 2022
The environment is not exclusive, in fact its very essence is inclusive.
Not only because it is quite an unusual career choice, but because I’m a young Black woman aspiring to do what some people in both Black and non-Black communities might consider to be a “White thing” to do.
Thankfully, that hasn’t deterred me. But it could be very damaging and discouraging for other young Black people who might want to follow a similar path.
I’m 26 years old, I was born in South Yorkshire, but have lived in Greater London most of my life. My heritage is African-Caribbean. I’ve been in awe of the natural world ever since I can remember and my mum and sisters have always encouraged and supported my enthusiasm, which helped me to get where I am today – even when I felt like the oddball of the family.
My journey to the wildlife sector
There was definitely a lack of Black people in the environmental spotlight. It was only as I got older, that I realised the extent.

I aspired to work in wildlife conservation when I learned that it was a viable career by watching documentaries and doing my own research. Major inspirations were, Sir David Attenborough, Steve Backshall, Gordon Buchanan and Dr. Andrea Marshall. But there was definitely a lack of Black people in the environmental spotlight. It was only as I got older, that I realised the extent of that as a problem.
In 2016, I graduated university with a First-Class honours degree in Animal Behaviour and Wildlife Conservation. I was hoping to find a job in the environmental sector, but kept falling short of having enough experience or I wouldn’t even get a response back from graduate scheme roles.
Volunteering is always heavily pushed as one of the sure ways to get into the sector, but I often found I couldn’t afford to dedicate my time to it. There were internships and placements that I desperately wanted to apply for, but couldn’t because they were either unpaid, offered expenses that couldn’t support me, or weren’t flexible enough for me to work a paid job alongside. In an already competitive industry, I was at even more of a disadvantage than my peers.
There were times when it made me think that perhaps I didn’t belong in the world of wildlife conservation.
The Keeping it Wild project
One day I spotted the paid traineeships offered through London Wildlife Trust’s Keeping it Wild project, which launched in late 2018. The project is delivered in partnership with London Youth, Headliners UK and John Muir Trust, and is funded by The National Lottery Heritage Fund.
The traineeship seemed to be everything I needed to gain more practical conservation experience, whilst being paid (which was rare), and getting to work for London Wildlife Trust.

The emphasis on encouraging people from under-represented backgrounds (particularly young people from Black, Asian and minority ethnic backgrounds) into the sector stood out for me because I knew it was a White-dominated sector. The recognition of the disproportionate lack of Black and Asian people in the sector, and actively trying to change that, was special.
I applied for the third trainee cohort and was successful, which was beyond exciting! The three months that followed were so eye-opening and life-changing for me.
As my traineeship was coming to an end, a vacancy at London Wildlife Trust opened up. I was encouraged by colleagues within the Trust and by my family to go for it, though I was doubtful I’d have enough experience. But lo and behold, I got the position!
The recognition of the disproportionate lack of Black and Asian people in the sector, and actively trying to change that, was special.
I am now one of two Great North Wood Project Officers at the London Wildlife Trust. The project focuses on woodland restoration and community engagement in south London’s Great North Wood landscape, and it is also funded by The National Lottery Heritage Fund. It’s a beautiful mix of interacting with people and wildlife, and it’s wonderful!
For me, the beauty of the Great North Wood is its existence in an urban setting, making it possible to walk off a busy road and be suddenly surrounded by the calmness of trees and the melodies of birds – it’s magical!

Black people connecting with nature
There’s sometimes a blanket narrative that Black people aren’t interested in wildlife and conservation, which is an extremely ignorant assumption to make. Of course it might not be everyone’s cup of tea, and I don’t profess to speak for all Black people. But I can say with confidence that Black people are interested in the environment, and I am a testament to that.
"Nature is for all and we should all be free to experience it positively."

I believe that for Black people, being at one with nature is ancestral and it is a connection that is inherently within us. Being in nature helps to nurture an aspect of self-identity and belonging in the world, despite the many messages that tell us we don’t belong. Climate Change is already adversely impacting our ancestral homelands in ways that it might not immediately be affecting areas in the “western world”. As people of the African diaspora, it is important to be aware of that.
Given that Black communities are at comparatively higher risk of poor mental health, for many reasons that often come down to a succession of systematic inequality, access to nature can serve as a coping mechanism and a tool for boosting wellbeing. It’s therefore super important for that connection to nature to be encouraged from a young age.
Having worked with young Black people through my role at the Trust and beyond, I’ve witnessed instances where negative perceptions of nature turn to enthusiasm and wonder when individuals are given the opportunity to experience it.
Nature is for all and we should all be free to experience it positively.
Encouraging young Black people into green spaces
I can’t possibly speak for everyone’s experiences, but I would say, in general, Black people are not widely encouraged to connect with nature from a young age.
I spoke to someone recently who linked this back to when our relatives, like those of Windrush generation, came to the UK from the Caribbean. Many were forced to live in socioeconomically-deprived areas, “concrete jungles”, which in turn had less high-quality accessible greenspaces than more affluent areas.
Combined with the pressures and negativities that came with being introduced to a largely racist society, this eventually contributed to a severance with nature. For a lot of parents and guardians, encouraging a connection with nature became impossible, or certainly lower down on a long list of other priorities.

Speaking to my own mum, she said that when she was growing up, nature was mostly associated with the countryside, which was seen as very elitist. To an extent, this is still the case.
Engaging with nature can also be perceived as a pointless endeavour if there isn’t a way to generate income in the way that more “traditional” career choices do. For people who are at the mercy of an unbalanced society, financial security may be more of a priority than having the freedom to explore nature at leisure.
We should all respect each other’s ways of engaging with nature, and educate ourselves on why it is harder for some to engage than others.
This can be perpetuated by the education system too, which often doesn’t serve young Black people’s needs as it could, and many young people aren’t given the resources or support to be able to connect with nature.
We should all respect each other’s ways of engaging with nature, and educate ourselves on why it is harder for some to engage than others. Then go from there to find solutions to these often-societal issues.
Career barriers
It can make it hard to feel comfortable enough to be myself in a work setting – something that is exacerbated by constantly being in White-dominated spaces.
Other people’s various negative perceptions and scrutiny of a young Black girl wanting to be a wildlife conservationist didn’t throw me off course in the end, but they did chip away at my self-confidence. There were times when it made me think that perhaps it wasn’t the right direction for me and perhaps I didn’t belong in the world of wildlife conservation.
To this day, I’m still working to overcome imposter syndrome, which can be overwhelming at times. It can make it hard to feel comfortable enough to be myself in a work setting – something that is exacerbated by constantly being in White-dominated spaces.
I’m always thinking of ways that I can help to open more doors for other young Black people. It can be quite draining on top of just trying to live my life sometimes, but it has to be done. I volunteer with Action for Conservation, an organisation that is amazing at reaching young people from all backgrounds. I also love to discover Black-led environmental organisations and groups such as, Flock Together, POC in Nature, BAME Nature Group, Black Girls Hike, Land In Our Names and so many more!

Advice to the sector
The environment is not exclusive, in fact its very essence is inclusive. Young Black people have so much to give and we are well within our rights to claim spaces in this sector and make positive contributions to it. But the environmental sector needs to focus on dismantling the barriers that stop young Black people from accessing it.
It is not enough just to engage with young Black people and leave it at that. That doesn’t meet the long-term needs of those individuals, nor the sector that is crying out to be diversified for its survival.

It is not enough just to engage with young Black people and leave it at that, with boxes ticked and quotas filled. That doesn’t meet the long-term needs of those individuals, nor the sector that is crying out to be diversified for its survival. In order for people on the outside of the sector to see that a career in the environment can be for them, they need to see people who look like them.
Change is coming and there are more and more young Black people shining their light within the sector. There are so many amazingly inspirational “Black-tivists” and allies that are paving the way, and they empower me.
Advice to young Black people
As organisations do what is right, there will be more opportunities for you to make your own impact, and you certainly aren’t alone.
It’s not possible to save our natural world and exclude Black people at the same time.
We are facing a climate crisis that needs all hands on deck and that means young Black people too. It’s not possible to save our natural world and exclude Black people at the same time. So even if you are the only Black person in the room, you belong there just as much as anyone else and your voice is just as important as anyone else’s.

More from Chantelle
If you want to see more from Chantelle, you can watch some of her Wildlife Watch videos or catch her cameo appearance with Prince William in the ITV documentary, A Planet for Us All.
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Mental health and wellbeing for black workers in heritage

Page last updated: 13 July 2022
2020 has seen an increased focus and discussion on issues that particularly affect black people and communities across the UK. From the emotive and significant Black Lives Matter movement, to the disproportionately adverse effects of coronavirus (COVID-19) on those of black origin (as well as other minority ethnic groups).
As we discuss these issues and try to find solutions or seek advice, the impact on the mental health and wellbeing of our black peers and colleagues can sometimes be overlooked.
A black employee of a national museum shared their mental health and wellbeing experiences and those of their black colleagues over the last few months, as well as some advice.
A double-edged sword
“With COVID-19 and Black Lives Matter intersecting for all to see at a time when the world briefly stood still, diversity and inclusion has been given a much-needed shot in the arm. This topic which has generated an unprecedented amount of attention, has become a doubled-edged sword.
The reality is that learning about diversity and inclusion is a process which takes many forms and needs to be flexible enough to accommodate a varied cohort.
"On one side, the almost constant media attention has brought to the surface feelings that some individuals have long tried to suppress for fear of publicly working themselves into a state. On the other side, this topic has caused others to view everyone and everything as either an enabler or inhibitor of racial equality.
"The reality is that learning about diversity and inclusion is a process which takes many forms and needs to be flexible enough to accommodate a varied cohort."
Giving black workers a voice
"Given that the number of black workers within the museum sector remains low (particularly at senior levels), any attempts to create effective solutions should deliberately aim to seek out and incorporate the lived experiences of those being supported. Other approaches run the risk of marginalising minority voices even further.
Choosing whether to engage or not is a mental model that some black employees have to evaluate regularly.
"For those not fully confident in voicing their opinion, the only viable option may be to band together for legitimacy and collective security. Conversely, with such low numbers of representation within museums it can be much easier on occasions for black members to remain silent for fear of sabotaging their career.
"Choosing whether to engage or not is a mental model that some black employees have to evaluate regularly."
Work in progress
For some organisations in the sector, work is already underway to address improving and embedding diversity and inclusion within the workforce.
They continued: “It should be noted that even before the events of 2020 began to unfold, meaningful plans were well underway across the country to engage with this difficult topic.
"For example, the national museum which I’m employed by initiated a series of workshops for all its staff members covering topics such as unconscious bias and stress management.
"The museum also recognised the lack of diversity among its trustees and actively sought to address this by appointing two trustees from black, Asian, or minority ethnic groups. The museum even went a step further and reached out to its diversity working group to help source suitable applicants for the museum director role.
"The museum undoubtedly remains a great place to work, irrespective of the very few occasions where I’ve been caught between defending it to those outside of the sector, and trying to address its problematic collections.
"In many ways the museum continues to offer new discoveries. It’s a place I’ll continue to promote and learn within, whilst trying to help shape its future."
The Fund's commitment
Heritage can play an important role in improving mental health and wellbeing for people in the UK. It helps bring people together, builds connections and a sense of belonging.
Every project The National Lottery Heritage Fund supports must achieve the inclusion outcome: a wider range of people will be involved with heritage. Heritage with inclusion at its heart is incredibly powerful in bringing people together and creating a fairer society for all. Find out more.
Black and brown faces in green spaces

Dr Anjana Khatwa, earth scientist, presenter and consultant
But like most children from Black and Asian families, I was told this was not a valid choice for me as a career. What would I do with a degree in Earth Science and a passion for nature? Where would I find a job?
These are valid questions asked by many in the Black and Asian community who see a lack of representation of themselves not only in green spaces as visitors but also within Britain's natural heritage workforce.
Daring to enter white working environments

In 2017, a report by Dr Richard Norrie, a Research Fellow at think tank Policy Exchange, uncovered some thought-provoking statistics about diversity and employment in the UK.
It found that certain jobs attracted diverse workers. These occupations fell into two distinct categories. The first were low-skilled jobs such as taxi drivers and security guards. The second was highly skilled professions like medicine and law that require formal academic training.
But when you look closely at the least diverse occupations, it gets more troubling. Norrie found that the environmental sector was one of the whitest in the UK. Only 0.6% of the workforce identify as non-white and 2.5% as other white.
"For a Black or Asian person to choose work in the environmental sector takes great courage and inner strength. You knowingly put yourself in extreme cultural isolation and at risk of hostility."
This means that not only must people of colour carry the burden of working within a white-dominated sector but by the very nature of the roles on offer, they must live in rural areas which are also predominantly white. My Jurassicgirl Journeys videos help explain some of that experience.
For a Black or Asian person to choose work in the environmental sector takes great courage and inner strength. You knowingly put yourself in extreme cultural isolation and at risk of hostility, racism and discrimination. Such a barrier is something our white peers do not need to consider.
A culture of disinterest and ignorance
The DEFRA Protected Landscapes Review led by Julian Glover added more misery to this grim situation.
The team found that nationally only 0.8% BAME people were represented on the boards governing and managing National Parks and Areas of Outstanding National Beauty.
"Research exposed an underlying culture in natural heritage organisations of tokenism, disinterest and ignorance about how to address the problem."
Combined with research that showcased how Black and Asian communities were not only isolated and fearful of venturing into natural landscapes, it also exposed an underlying culture in natural heritage organisations of tokenism, disinterest and ignorance about how to address the problem.
In her book White Privilege, Professor Kalwant Bhopal writes that: “as long as white identity and white privilege are not threatened, white groups are supportive of diversity and inclusion programmes. Consequently, they can sell themselves as diverse and fair as long as their white privilege remains intact and unthreatened."
Where natural heritage organisations are almost exclusively white and unwilling to address their privilege, the disinterest and ignorance towards equality can lead to structured racism.
This can manifest itself subversively – for example by impacting grant applications and projects designed to engage Black and Minority Ethnic (BAME) communities.
Such projects then become institutionally racist. Programmes are delivered to BAME communities (rather than with) and assumptions (often guided by unwitting prejudice, ignorance and racist stereotyping) are made about what these audiences want, need and require.
So how do we begin to dismantle these structures to create a change in the mindset across our sector?
Four ways to really change the system

1. Invest in meaningful Equality, Diversity and Inclusion training
The training should ask all staff and board members to reflect on their position of privilege. They should think about what it means to be a diverse organisation and practise inclusive leadership. In the light of Black Lives Matter, the greatest action comes from the ability to listen to diverse voices who are willing to help you grow and learn as an organisation.
2. Adjust your language and terminology
"Under-represented" or "hard-to-reach" implies that Black and Asian people are at fault. Instead, using the term "underserved" implies that organisations need to do more to engage with these communities. Although BAME is commonly used, it masks a huge disparity for people of colour, particularly for Black people. Black Indigenous and People of Colour (BIPoC) is now gaining traction.
3. Embed posts within the BIPoC community
When creating community engagement posts as part of a funding bid, embed the officer within the community organisation you wish to work with. Community organisations already have a reputation of support and trust with the audiences you wish to reach. As Vice Chair of the Dorset Race Equality Council Board, I bridge the gap between natural heritage organisations and diverse communities. If you have similar organisations in your region, approach them and offer strategic support for developing joint bids that will help Black and Asian communities access nature.
4. Show public support for diversity and inclusion
When trying to attract diverse candidates, ensure there is a public commitment to diversity and inclusion. Ensure that you are accountable for your actions.
Be open to sourcing mentoring for that candidate, building support structures and creating a safe space for that person to be themselves.
Consider what skills are essential for the post since many Black and Asian people could transfer skills from other sectors.
Making change, together
Dismantling structures and ideologies to create sweeping change in our sector will not happen as quickly as toppling a statue.
But working together, as allies and critical friends, we can create a more inclusive landscape that reflects and engages all shades of our society.
About Dr Anjana Khatwa
Anjana Khatwa is an earth scientist, presenter and consultant specialising in learning and engagement, content development and embedding diversity and inclusion into business practice.
Anjana has been awarded the RGS Geographical Award, a Silver Commendation from the Geographical Association and is a Finalist in the National Diversity Awards 2020 as a Positive Role Model for Race, Faith and Religion.
She is Vice Chair of the Dorset Race Equality Council. You can follow Anjana on Twitter and Instagram as @jurassicg1rl
- Views expressed in the Future Heritage blog series are those of the authors, not necessarily of The National Lottery Heritage Fund.
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Museums should be like public squares - for everyone to enjoy

Bobby Friction, BBC Asian Network presenter and DJ
I was seven years old and on a school trip the first time I entered a museum, and it changed my life forever.
Standing and screaming in a room that actually shook to recreate the different levels of Richter scale during an earthquake was an intellectual watershed moment for me.
Up until then, my life as a British Asian kid revolved around toys, school and casual racism from classmates. The “Earthquake Room” in a museum in London changed all of that. This unique experience viscerally taught me science and learning could be fun.
Passing on a love of learning
This summer my own twins turned seven and I decided to take them on their first trip to the Science Museum.
We left after many hours of joy and it felt obvious to me that in our tech-driven, experience-centred, Instagrammable culture, institutions like the Science Museum are more alive than ever.
But that day I sent a tweet about my experience which seems to have resonated with a lot of people.
Off to the Science Museum with my twins today. All of us VERY excited.
— Bobby Friction (@bobbyfriction) July 26, 2019
My generation didn't get to do this stuff when we were young because
a) Our migrant parents didn't know what the science museum was.
b) They worked till they dropped & didn't have time.
My kids are lucky.x
Cold eyes in the museum

My mum and dad, immigrants from India, would never have taken me to a museum. It's not that they were anti-intellectual. They were actually the opposite: showering me with books and inducements to study. They had a keen interest in my educational life as a kid.
They just didn’t get what museums had to offer. Museums seemed like fussy, musty places, inextricably tied to the establishment for them I think… The kind of places where people would go silent when you walked in and looked at you with cold eyes.
Believe me; growing up in the 70s and 80s here in the UK as people of colour those cold eyes were a daily experience.
Feeling out of place
There was also the added pressure of money in an immigrant household. Whether you had money or not, in a home like I grew up in all kinds of frivolous expenditure wasn't tolerated. That's true I think across the planet within immigrant communities. Museums always seemed like upper-class spaces to us growing up, with (true or not) upper-class price tags to match. I wouldn't be surprised if that's still the case for newer migrant families.
It was going to be up to me to explore these places on my own.
In my early teens, I spent a lot of time hanging around libraries and soaking up all the information I could. As I grew older, I decided I was to become a rock'n'roll intellectual, and I threw myself into all of London's museums. I did the old establishment museums, the classic-looking ones, and the modern ones with architecture to match.
At first I pretended to enjoy the experience, but after a while I couldn’t lie to myself anymore.
I found many of them boring and most of the time I just felt out of place and uncomfortable. Imagine that: trying to learn and expand your mind, but feeling you shouldn’t be there in the first place.
Making everyone feel welcome
I understand that many of those museums are now very different places from even 20 years ago. But more change is still needed, particularly in how the staff reflect who their visitors are, and who those visitors could become.
The glorious thing about the Science Museum is that my twins were talked to by what seemed like learned teacher types with a zest for what the kids wanted. They were equally good at speaking to me about interstellar space, thus keeping all of us happy.
It really felt like an intellectual British public square that we all owned and had a right to occupy. The staff responded to us as worthy British citizens who also had an ownership of the institution.
I will leave the arguments about content and curation to people more in the know than me, but I think that that feeling of everyone being welcome in our country’s museums is vital. It should be a welcome that is full on, warm, educational, cross-generational and open to every class and colour.
The Earthquake Room opened up a lifetime of learning for me, and I want my children – all children, of all nationalities and class backgrounds – to have that kind of experience.
How we are helping to open up heritage
At The National Lottery Heritage Fund, ensuring that a wider range of people will be involved in heritage is a mandatory outcome for any project we fund.
Get inspired with some of the projects we have funded so far.
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Unmissable openings this autumn

Kresen Kernow, Cornwall, opened 7 September

From pirates to tin mining, Bronze Age trade routes to pasties, Cornwall’s distinctive history gives it a special significance for people around the world. Thanks to £11.7million of National Lottery funding, the Kresen Kernow archive centre has just opened in the former Redruth Brewery. It's a state-of-the-art new home for more than 1.5m records and artefacts, covering Cornish history from the earliest traces of human activity to today.
Find out more on the Kresen Kernow website.
Science Museum, London – Science City, opened 12 September, and Medicine: The Wellcome Galleries, opening 16 November

Nearly £10m from National Lottery players is behind a double bill of openings at The Science Museum.
Science City tells the story of how London grew into a global hub for trade, commerce and scientific enquiry between 1550 and 1800. Meanwhile Medicine: The Wellcome Galleries brings together 3,000 artefacts in an fascinating exploration of medicine and medical treatments spanning 500 years.
Explore more on the Science Museum website.
Engine Shed, Northampton, opening 14 September

At one time, steam trains on the Bedford to Northampton line pulled into The Engine Shed for a service. The 1870s building has had many further uses in its 150-year history, but it was gutted by an arson attack in 2000. After a National Lottery-funded restoration, the building now serves as the Students’ Union for University of Northampton’s Waterside Campus. Members of the public can also pull in for a drink and slice of cake.
Read more on The Engine Shed website.
Calderstones Mansion, Liverpool, opening 14 September

Liverpool's Calderstones Mansion House has been transformed into The International Centre for Shared Reading. Previously derelict, the mansion is now home to reading rooms, workshop and community spaces and a café. An outdoor Art Deco theatre has been returned to its original splendour. The Neolithic Calder Stones, dating from the time of Stonehenge, have undergone specialist conservation to set them ready for their next 5,000 years.
Read all about it on charity The Reader's website.
Pilgrims Gallery at Bassetlaw Museum, Retford, opening 19 September

2020 marks the 400th anniversary of the sailing of the Mayflower, which carried the first English Puritans from Plymouth to the New World. This innovative new gallery tells the story of Mayflower Pilgrim and Plymouth Colony elder William Brewster, born in Scrooby, Bassetlaw. Explore ideas such as religious tolerance, freedom and migration alongside less well-known stories focusing on the experiences of women, children and the Wampanoag, the Native Americans living in Massachusetts when the Mayflower landed in 1620.
Find out more on the Pilgrim Roots website.
Women’s history mosaics, Newport, unveiled 20 September

Inspirational women who played an important role in Newport’s life and success are the subjects of six new mosaics on St Pauls Walk, Newport. The mosaics have been created by Newport artist Stephanie Roberts with support from local schoolchildren and community groups. The beautiful mosaics celebrate the achievements of Chartists, Suffragists and Suffragettes, Second World War factory workers, athletes, Newport’s first female mayor, Mary Hart, and contemporary women of Newport.
Read more on Newport City Council's website.
Cambridge Museum of Technology, Cambridge, opening 5 October

Delve into an often forgotten side of Cambridge. Housed in a former sewage pumping station, Cambridge Museum of Technology’s exhibits include working engines, telephone exchanges, printing presses and many more wonderful contraptions. New displays will open on 5 October, including two engines and exhibitions showcasing brickmaking, brewing, food production and the town gas works.
Find all you need to know on the museum website.
Aldeburgh Museum, Suffolk, opening October/November

The Moot Hall was built by the Burgesses of Aldeburgh over 450 years ago as a symbol of the seaside town’s burgeoning wealth and civic pride. Over the centuries this beautiful Tudor building has housed a court, jail, the Town Council (which continues to meet there), local traders and, more recently, a museum. Thanks to The National Lottery Heritage Fund, the museum has been redeveloped to better reveal the town’s intriguing history of seafaring heroes, dramatic coastal erosion, witches, wartime action, Anglo-Saxon ship burials, fishing, trade, world-famous artists, holiday makers and much more.
The museum's website has all the latest information.
Aberdeen Art Gallery, Aberdeen, opening 2 November

Aberdeen Art Gallery has undergone a major transformation thanks to £10m from The National Lottery. Art lovers of all ages will find much more space for artworks, a new exhibition gallery and a refurbished Cowdray Hall and Remembrance Hall. Visitor access and facilities have been dramatically improved – essential as the revitalised Gallery is expected to attract over 250,000 visits annually, making it one of Scotland’s most-visited galleries.
Why working with communities can be 'transformational' for museums

The queer times school prints exhibition was held at Glasgow's Gallery of Modern Art (GoMA) from 1 December 2018 to 10 March 2019.
It was a big success, attracting more than 29,000 visitors over three months, and much of this was due to conversations held with the LGBT+ community before it even began.

Led by charity Glasgow Life for its Queer Times project, this dialogue has opened up a new way of improving representation in GoMA’s exhibitions and collection. We found out more.
After Dark and queer times school
The first part of the project took place during the After Dark and queer times school series of events, held in museums, libraries and archives across Glasgow in July and August 2018.
Speakers from a diversity of backgrounds and professions gave talks and led conversations on key LGBT+ issues in Scotland from 1967 (the year when homosexuality was partially decriminalised in England and Wales) to the present day.
These included:
- the decriminalisation of homosexuality in Scotland in 1980, 13 years after England and Wales
- opposition to Section 28 (Clause 2A in Scotland), the law which prohibited local authorities and schools from “promoting” homosexuality
- the AIDS epidemic
- the experiences of LGBT+ people in ethnic minority communities
- recent changes to the Scottish curriculum to include LGBT+ topics
Many speakers and participants had not been involved in a heritage project before and their perspectives shone new light on these histories.
queer times school prints exhibition
The outcomes of the queer times school events inspired GoMA's queer times school prints exhibition, which was commissioned by artist and queer times school participant, Jason E Bowman.
It centred on a commissioned set of prints from ten LGBT+ artists that responded to themes identified in the queer times school. These prints were later acquired by Glasgow Museums for its collection.
The exhibition also included a changing display of LGBT+ heritage items, a reading resource space, a wall painting and a programme of films – all developed by queer times school participants.
"Queer history must be documented and remembered, for it illuminates the struggles which still take place today for queers in their family, community and workplaces."
queer times school participant
It attracted 29,294 visitors, and a further 546 attended readings, tours, screenings, workshops and discussions.
Going forwards

Queer Times project manager Katie Bruce said: “It was wonderful to see how popular the exhibition was after everyone’s hard work and belief.
"The planning process has been transformational for GoMA; in how it acquires works, interprets collections and curates exhibitions.
"We’re keen to work with other communities in a similar way in future.”
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For this too is history – four ways to change

Hilary Carty, Executive Director, Clore Leadership
It is difficult to think of a month like the last. Despite our many differences, people across the world have come together, joined by shared experiences and common causes.
Whether it is the climate emergency, coronavirus (COVID-19) or the issues of racial injustice stirred by the death of George Floyd in the USA, people from Korea, Kenya and Kent have connected on concerns at once both personal and universal.
How can the heritage sector respond to this time of upheaval?
"This we are all living through is history. From the perspective of future generations, this too is heritage."
The challenge is to capture these moments of shared meaning. And then to reflect them well. For this we are all living through is history. From the perspective of future generations, this too is heritage.
But what should be collected? Whose heritage should be conserved? Who decides? And is the sector moving fast enough to capture the nuances as well as headlines of current events? Are different perspectives being given a fair representation? We are hearing loud and clear that there is little tolerance for a single lens view.
Here are some questions we could all think about:
Who is on our staff?
Are you making the most of your teams’ experiences and connections? Are their networks contributing to the mix at this critical time? Who are the well-connected individuals with the insights, understanding and community links necessary to capture the range of narratives we will wish to tell?
Many heritage organisations have long moved to reflect a broader range of perspectives and experiences. Has that gone far enough? Is it embedded practice?
Without a diverse workforce the challenge will continue to be steep.
A review of the workforce to inform team planning after the pandemic could be helpful. And how can we ensure that the line of least resistance is not the first answer?
Who are we talking to?
Paradoxically, while in lockdown, we have experienced a great opening up of institutions – illuminating access to collections, catalogues and treasures. It has been joyful to see heritage humour brought forward through Yorkshire Museum’s #CuratorBattle or the #GettyMuseumChallenge (other heritage humour examples are available!).
What these projects have in common is the way in which they invite you to engage with heritage professionals alongside heritage objects – the personalities of curators meeting the creativity of the public.
These innovations also bring significant numbers of new audiences to heritage.
Some may never have the opportunity for a site visit or membership, but might their curiosity still be encouraged, to build on this audience adventure beyond the period of lockdown?
How are we funded?
One of the most dramatic shifts of the coronavirus (COVID-19) experience has been the ways in which sector funders have responded with dynamism and speed.
Asking questions, listening, releasing new resources, flexing schedules, connecting and creating timely responses to urgent needs. And that is in addition to providing essential information and guidance, and a genuinely empathetic approach. It is, rightly, being applauded.
Might we stick with the lean and nimble processes of this dynamic response, seeing this as the new way forward rather than simply an emergency measure?
"This funding response need not fade as a one-off gesture. Rather, it could be marked as the catalyst for innovation, spurring adaptations and new ways of investing in cultural heritage."
It could be an opportunity to prioritise innovative organisations and ways of thinking, focusing on curation, capacity building and engagement – particularly with those who have found barriers in their way in the past. That truly would be "future heritage".
As a former member of The National Lottery Heritage Fund’s London committee, I do not underestimate the challenge. But I believe this funding response need not fade as a one-off gesture. Rather, it could be marked as the catalyst for innovation, spurring adaptations and new ways of investing in cultural heritage.
How do we invest in leadership?
Clore Leadership has had the pleasure of working with, supporting and nurturing many of the heritage sector’s professionals. Responding to the pandemic, we:
- shared resources for crisis management
- offered timely perspectives to deal with immediate challenges
- facilitated peer-to-peer support
- created the Clore Leadership Experience (short-form professional development opportunities for staff on furlough or freelance)
We too face the challenge of learning and adapting – of balancing our highly regarded Fellowship and Intensive Courses with the new webinars and online learning that have brought fresh successes and keen new learners to our table.
For us, as for the heritage sector, our challenge is to look sufficiently far ahead. We need to combine urgent needs with a strong foundation for the future we want to create.
By strengthening leadership right across the sector, from established to new professionals, we share the aspirational load.
Shared experiences mark this time. Let’s ensure equitable outcomes mark the future.
Carpe diem.
About Hilary Carty
Hilary Carty is the Executive Director, Clore Leadership, a role she took up after six years as a consultant, facilitator and coach specialising in leadership development, management and organisational change.
Hilary’s earlier roles include:
- Director of the Cultural Leadership Programme
- Director, London (Arts) at Arts Council England
- Director, Culture and Education at London 2012
- Director of Dance for Arts Council England
- Visiting Professor on leadership (Austria)
- The National Lottery Heritage Fund London Committee Member
In recognition of her contribution to the arts, culture and heritage, Hilary has been awarded three honorary doctorates and three fellowships from UK universities. Hilary is a governor of The Royal Ballet.
- Views expressed in the Future Heritage blog series are those of the authors, not necessarily of The National Lottery Heritage Fund.
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Returning to a changed heritage world

Ros Kerslake, CEO, The National Lottery Heritage Fund
Today is my second day back at work after abruptly having to put my life on hold in November 2019. Six months ago, out of the blue, I was diagnosed with Acute Myeloid Leukaemia.
But, if it is possible to be lucky when having cancer, I have been (so far). I had a speedy diagnosis, excellent medical care from all the NHS staff at The Royal Marsden, and successfully completed intensive treatment before the onset of the coronavirus (COVID-19). My thoughts are very much with those being diagnosed or in treatment right now.
"The world, the workplace, and the heritage sector that I am returning to, are, of course, not normal."
Thankfully, I am now cancer free and, despite having a lot less hair (which is, at least, practical during lockdown) I am more or less back to normal.
But the world, the workplace, and the heritage sector that I am returning to, are, of course, not normal.
Facing the crisis
This is the biggest crisis I have seen in my lifetime. I’m very proud of the way everyone at The Fund has mobilised to support people and organisations working in heritage across the UK.
Within days of moving all our 300 staff to home working, my team surveyed over 1,000 heritage organisations to understand the immediate impact of coronavirus (COVID-19). Using this evidence, we launched our Heritage Emergency Fund, offering emergency grants of between £3,000 and £50,000. We have already approved the first round of applications.
We increased our investment in digital skills for the sector, recognising how important digital expertise will be in a ‘social distancing’ world. And we firmly committed to supporting our existing grantees through this most difficult of times, providing them with greater flexibility on grant payments and making over £31m of grant payments in April.
Next phase of financial help
But we also recognise that some organisations, particularly independent heritage attractions that are highly dependent on visitor income, may have a higher level of financial need than our initial emergency funding can cover.
I’m pleased to announce therefore – as my first action since returning – a new strand to our Heritage Emergency Fund.
Within the current £50m Heritage Emergency Fund, we’re creating a new grant range of £50,000–£250,000. It will be open to past and current grantees.
This new strand will help us:
- respond to exceptional cases of larger-scale need
- protect heritage at severe immediate risk
- and, crucially, safeguard the heritage that can play a key role in the UK’s economic and community regeneration from the impacts of coronavirus (COVID-19)
We are developing the detail for how to apply for these new grants in the coming week. We will actively communicate this when applications are open. In the meantime you can keep up to date with the latest information by following us on social media.
The future for heritage
The Heritage Emergency Fund will enable us to help those most in need in the immediate term. Our non-financial support, such as the additional investment in digital skills, will help many more organisations adapt to new ways of working and be better equipped to survive.
This crisis, however, brings new and unique challenges.
Even heritage organisations that have built successful income streams are vulnerable. The impact of the coronavirus (COVID-19) will be uneven – the consequences for some communities, regions and types of organisations will be far more significant than for others. And I recognise that despite all our efforts at the Heritage Fund, the difficult fact is that we will not have the resources to help everyone we would like to.
Some heritage organisations are going to have to rethink their future. Given the uncertainty we face, some may have to do so despite their own Herculean efforts even if they have received support from us.
"We are living through an extraordinary time, and neither we – nor our vital, creative sector – will look quite the same again."
We are living through an extraordinary time, and neither we – nor our vital, creative sector – will look quite the same again. But the fundamental importance of heritage in people’s lives, the contribution that it makes to people’s wellbeing, sense of self and of place, the need to protect it for future generations and its value as an employer and to the economy means we must all work together to achieve the best possible outcome.
So, beyond the immediate funding support we have already launched, I see our role at The Fund as supporting the heritage sector to work through how the future will be different. This must be a joint endeavour, and we will work with the widest group of partners and draw on different and new perspectives to reimagine the heritage sector in the future.
New views
To start this conversation, this month we are launching ‘Future Heritage’, a series of opinion pieces from a range of leaders across our sector. We hope these diverse views will stimulate new thinking, ideas and debate about the future of heritage in a world after coronavirus (COVID-19).
"All of us involved in heritage know – beyond its economic contribution – how critically important it is."
All of us involved in heritage know – beyond its economic contribution – how critically important it is. The benefits it delivers will be just as important as we look to the future, if not more so, but our sector will need to innovate and embrace new ways of working to thrive.
It is an unfamiliar landscape that I find myself returning to, but I'm very pleased that I’m back and able to contribute at a time when there’s so much that needs to be done.
Cancer makes you stop and reassess your life. I’ve come out the other end of it feeling that what we as a sector do, and the work of The Fund is more important than ever. Working with our stakeholders, our Board of Trustees, committee members and my team, I look forward to tackling the challenges ahead for the heritage community.
In the meantime, stay safe and look out for each other. I know how important it is to have the support of family and friends during these extraordinary times.
Independent museums can shine a light after the darkness

Nat Edwards, Chief Executive, Thackray Museum of Medicine
When in doubt, revel in the darkness.
Each act of celebration is a spark.
Gathered together
they call back the sun.
- from Revelers, by Lynn Ungar
Disregard statistics for a moment. At a human level, these are dark days.
As in many other workplaces, in an independent museum, where you know the name not just of every colleague but also their children and pets, the individual cost of the pandemic is everywhere.
"This crisis has shown the remarkable capacity for people to adapt and bring their human instincts and resilience to the fore."
Our team has had its share of anxiety, illness and grief. The toll is only exacerbated by the fact we can’t reach out and touch those who most need it.
Yet this crisis has also shown the remarkable capacity for people to adapt and bring their human instincts and resilience to the fore.
The future museums face
Museums face an unimaginable future. Writing in mid-May, I hope the sector might reopen in time for the summer. But I don’t quite know how, nor whether people will come.
My own museum, the Thackray Museum of Medicine in Leeds, faces a double whammy as the lockdown started during a major refurbishment. Not only did we lose our trading income, but delay to the project means we have lost the opportunity of even an uncertain summer reopening. Government assistance, such as rates relief and furloughing, has helped us stay afloat, just.
Funders such as The National Lottery Heritage Fund and Arts Council England have been quick to provide emergency funding for those in the most need. But we know that it won’t be enough for everyone. Many museums will need to make difficult choices after coronavirus (COVID-19).
The value of independent museums
The irony is that independent museums will be needed more than ever post pandemic.
"Where better to make sense of what we have all been through than in a medical museum?"
People will need places in which to reconnect with relatives and friends. Families will need affordable destinations for previously cooped-up children to decompress. Where better to take your gran for her first cup of tea out? Where better to make sense of what we have all been through than in a medical museum?
The UK doesn’t have a national museum of medicine. Most of our medical museums are away from the bustle of the nationals, tucked in corners of medical associations and colleges or else independent charities like Thackray Museum. They don’t have the larger museums’ access to resources.
Yet these are the very times that people need to know that the Anaesthesia Heritage Centre, the George Marshall Medical Museum, the Florence Nightingale Museum, or the many others across the country, will continue to bear witness to this remarkable moment and to inspire the next generation of health heroes.
Galvanised by crisis
Even during the lockdown, the value of our sector has been proved.
Like many, we contributed to #MuseumFromHome. We have supported wellbeing through activities such as our Lorina Bulwer Sew-In and initiated coronavirus (COVID-19) collecting and co-curation initiatives, including a very hastily built Health Heroes microsite.

We made our car park free for NHS staff and hosted a food distribution point for frontline workers. We provided details of ventilator parts held in our collection to engineering companies to help make new ventilators. We worked round normally time-consuming and complex rules on disposal of museum objects to make useful kit available to the people who needed it.
"Those furloughed staff who could do so signed up as NHS volunteers while others found creative and daft ways to keep the team talking."
Those furloughed staff who could do so signed up as NHS volunteers while others found creative and daft ways to keep the team talking, laughing and even crying together, while apart.
Our trustees have been re-galvanised by the crisis, helping us to add coronavirus-related objects from the closing Nightingale Hospital and elsewhere to our museum collection, bringing both time and an enormous range of expertise to our cause. We have been in touch with other teams across the region to plan collecting strategies and digital engagement and sometimes, as in the case of Yorkshire Museum’s Curator Battles, just to be very silly indeed.

Preparing for a different future
Expectations have been (carefully) thrown out the window. And I've found that when freed from constraints of process, people’s deeper instincts and values have kicked in. That's why I’m optimistic about our capacity to meet the future. We don’t yet know quite what to expect, but we can have a good guess.
With fewer resources and audiences under pressure, our production costs will need to come down. More than ever, we will need to find ways to make every penny count, adding value and finding extra uses for everything we produce, from exhibitions to events.
"Museums that fail to reflect our collective recent experience on a human scale will seem aloof."
That will mean including more digital content in our projects and tailoring that content to a far greater range of communities’ needs, from training resources and apprenticeships, to advocacy tools, social prescribing opportunities and a whole host of other applications and re-uses that genuine collaboration will define.
Big, expensive, blockbuster projects are, I think, going to feel unworldly after the crisis. Museums that fail to reflect our collective recent experience on a human scale will seem aloof.
Sharing for the common good
I believe that, with museums struggling to survive, remaining resources need to be shared for common good. This is not simply for the museums themselves, but for public benefit too.
This presents a fantastic opportunity for independent museums.
We are more agile, less process-driven and less beholden to patronage than many larger museums. We can get ahead of the curve.
I see this happening in a number of ways:
- It could mean finding ways to share investment in projects across multiple organisations and sites, both physical and digital.
- Contracts could follow models like Integrated Project Insurance to share risk.
- We need to share operations too. Administration and HR could be more efficiently delivered through collaboration.
- We need to find better ways of pooling our trustees’ time and expertise – why not have shared boards overseeing multiple independent museums? Put aside technical preconceptions (and a few egos) and it makes sense.
For the past bunkered weeks, we’ve all been reduced to identical digital boxes on the screen. A virtual existence that encourages democracy.
Let’s not forget how easy it is to connect and work together when the sun comes out again.
About Nat Edwards
Nat Edwards is Chief Executive of the Thackray Museum of Medicine in Leeds, one of the UK’s largest independent medical museums.
Currently he is based in his daughter’s bedroom, both overseeing a £4million refurbishment of the museum and trying to get the virtual backgrounds on Zoom to work.
- Views expressed in the Future Heritage blog series are those of the authors, not necessarily of The National Lottery Heritage Fund.
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Returning to a changed heritage world

Ros Kerslake, CEO, The National Lottery Heritage Fund
Today is my second day back at work after abruptly having to put my life on hold in November 2019. Six months ago, out of the blue, I was diagnosed with Acute Myeloid Leukaemia.
But, if it is possible to be lucky when having cancer, I have been (so far). I had a speedy diagnosis, excellent medical care from all the NHS staff at The Royal Marsden, and successfully completed intensive treatment before the onset of the coronavirus (COVID-19). My thoughts are very much with those being diagnosed or in treatment right now.
"The world, the workplace, and the heritage sector that I am returning to, are, of course, not normal."
Thankfully, I am now cancer free and, despite having a lot less hair (which is, at least, practical during lockdown) I am more or less back to normal.
But the world, the workplace, and the heritage sector that I am returning to, are, of course, not normal.
Facing the crisis
This is the biggest crisis I have seen in my lifetime. I’m very proud of the way everyone at The Fund has mobilised to support people and organisations working in heritage across the UK.
Within days of moving all our 300 staff to home working, my team surveyed over 1,000 heritage organisations to understand the immediate impact of coronavirus (COVID-19). Using this evidence, we launched our Heritage Emergency Fund, offering emergency grants of between £3,000 and £50,000. We have already approved the first round of applications.
We increased our investment in digital skills for the sector, recognising how important digital expertise will be in a ‘social distancing’ world. And we firmly committed to supporting our existing grantees through this most difficult of times, providing them with greater flexibility on grant payments and making over £31m of grant payments in April.
Next phase of financial help
But we also recognise that some organisations, particularly independent heritage attractions that are highly dependent on visitor income, may have a higher level of financial need than our initial emergency funding can cover.
I’m pleased to announce therefore – as my first action since returning – a new strand to our Heritage Emergency Fund.
Within the current £50m Heritage Emergency Fund, we’re creating a new grant range of £50,000–£250,000. It will be open to past and current grantees.
This new strand will help us:
- respond to exceptional cases of larger-scale need
- protect heritage at severe immediate risk
- and, crucially, safeguard the heritage that can play a key role in the UK’s economic and community regeneration from the impacts of coronavirus (COVID-19)
We are developing the detail for how to apply for these new grants in the coming week. We will actively communicate this when applications are open. In the meantime you can keep up to date with the latest information by following us on social media.
The future for heritage
The Heritage Emergency Fund will enable us to help those most in need in the immediate term. Our non-financial support, such as the additional investment in digital skills, will help many more organisations adapt to new ways of working and be better equipped to survive.
This crisis, however, brings new and unique challenges.
Even heritage organisations that have built successful income streams are vulnerable. The impact of the coronavirus (COVID-19) will be uneven – the consequences for some communities, regions and types of organisations will be far more significant than for others. And I recognise that despite all our efforts at the Heritage Fund, the difficult fact is that we will not have the resources to help everyone we would like to.
Some heritage organisations are going to have to rethink their future. Given the uncertainty we face, some may have to do so despite their own Herculean efforts even if they have received support from us.
"We are living through an extraordinary time, and neither we – nor our vital, creative sector – will look quite the same again."
We are living through an extraordinary time, and neither we – nor our vital, creative sector – will look quite the same again. But the fundamental importance of heritage in people’s lives, the contribution that it makes to people’s wellbeing, sense of self and of place, the need to protect it for future generations and its value as an employer and to the economy means we must all work together to achieve the best possible outcome.
So, beyond the immediate funding support we have already launched, I see our role at The Fund as supporting the heritage sector to work through how the future will be different. This must be a joint endeavour, and we will work with the widest group of partners and draw on different and new perspectives to reimagine the heritage sector in the future.
New views
To start this conversation, this month we are launching ‘Future Heritage’, a series of opinion pieces from a range of leaders across our sector. We hope these diverse views will stimulate new thinking, ideas and debate about the future of heritage in a world after coronavirus (COVID-19).
"All of us involved in heritage know – beyond its economic contribution – how critically important it is."
All of us involved in heritage know – beyond its economic contribution – how critically important it is. The benefits it delivers will be just as important as we look to the future, if not more so, but our sector will need to innovate and embrace new ways of working to thrive.
It is an unfamiliar landscape that I find myself returning to, but I'm very pleased that I’m back and able to contribute at a time when there’s so much that needs to be done.
Cancer makes you stop and reassess your life. I’ve come out the other end of it feeling that what we as a sector do, and the work of The Fund is more important than ever. Working with our stakeholders, our Board of Trustees, committee members and my team, I look forward to tackling the challenges ahead for the heritage community.
In the meantime, stay safe and look out for each other. I know how important it is to have the support of family and friends during these extraordinary times.
Rejecting nostalgia for positive change

Bernard Donoghue, Director, Association of Leading Visitor Attractions (ALVA)
The show, which now regularly attracts 6million viewers, is set in the bucolic surroundings of the Weald & Downland Living Museum, West Sussex. It features skilled craftspeople repairing the shabby but much-loved personal items of members of the public.
The items tell touching stories of lost family members and distant childhoods. Binoculars and glassware, chipped cups and grimy oil paintings are all treated with the same reverence that you’d see on Antiques Roadshow, except here the value is not financial, it’s emotional. In our Amazon Prime era of immediate gratification, it is a rare showcase for the luxury of taking time and care.
Facing up to false histories
I think it tells us something else too. At the moment, the future feels daunting and uncertain. The past, in contrast, is reassuringly definite.
We may not know where we are going but we can take comfort in knowing where we came from.
Just as visits to historic houses surge at times of recession and austerity – and, in particular, an increased interest in visiting the ‘downstairs’ parts of these great houses – other consumer behaviours change too. During the last economic recession, between 2008 and 2013, TV programmes like Downton Abbey and Upstairs Downstairs were commissioned, so too were The Great British Bake Off and The Great British Sewing Bee.
Nostalgia for a past that may never have happened, and a delight in ‘make do and mend’ pervaded.
And during lockdown, it still does. Many of us have appreciated home comforts and crafts; visitor attractions have seen recipes and gardening tips downloaded by hundreds of thousands of people. Home baking has exploded, occasionally literally.
"The confluence of lockdown and #BlackLivesMatter has been an astonishing moment."
But nostalgia can also be toxic. The false histories and fabricated truths. The whitewashing of uncomfortable legacies. Our cities and historical prosperity, the UK’s global power and influence, may have been created and carried on the shoulders of giants but also on the backs of slaves and slavery.
The confluence of lockdown and #BlackLivesMatter has been an astonishing moment.
As a white, middle-aged male, the last couple of weeks have been, for me, an utterly extraordinary educational period. Many of us have learned more about the scale, horrors and the local legacies of slavery than we ever did in school. We are being forced to confront unpalatable truths and question accepted wisdom and history. Lockdown has made many of us yearn for a nostalgic, simpler past (one – it must be acknowledged – that benefited white people more) and when it is shown to us in its unvarnished horror, people like me are realising that we don’t like it after all.
Discussing unsafe issues
If we ever needed a mandate from the public for us to tell full, unadulterated stories of people, places and collections, this is it. When public trust in politicians has reached the lowest level in my lifetime, people are looking to museums and galleries, historic houses and heritage sites, the repositories of national DNA and memory, to get it right. To be safe places in which to honestly discuss unsafe issues.
There are so many fantastic examples of this already:
- the Troubles and Beyond gallery at the Ulster Museum, a brilliant example of navigating contested history
- the Prejudice and Pride initiative of the National Trust and its partners, telling the hidden stories of LGBT+ people, places and collections
- the work of MuseumDetox in challenging systems of inequality
- the Slavery Museum in Liverpool's work to increase the understanding of enslavement as well as actively engaging with contemporary human rights issues
Funders, like The National Heritage Lottery Fund, can use their power to encourage debate, to highlight best practice and to support bold, creative storytelling.
Beyond museums

The confidence to tell unpalatable truths cannot be simply be a matter for museums. It should be heritage and cultural economy-wide.
Our landscapes and countryside are every bit the physical manifestations of choices and power. The further away you travel from cities and towns in England, the less likely you are to see someone who is Black, Asian or another minority ethnic community as Jesse Bernard wrote in The Guardian in 2017. It is one of the reasons that Black and minority ethnic communities disproportionately don’t access the countryside, our landscapes and our rural economies, and, therefore often don't feel part of the stories of those places. The onus is on those with the power to do so to make the welcome more explicit and authentic.
We must not sacrifice inclusion
Lockdown has, for me, prompted a further question.
"Has lockdown just been a pause before normal service resumes? Or can we do better?"
Before we rush headlong to open our attractions, are we content that we just unlock and welcome back the people we said goodbye to in early March?
Has lockdown just been a pause before normal service resumes? Or can we do better?
Work differently, more creatively. Ensure that not only are diversity and inclusion budgets and programmes not sacrificed in the inevitable cost-cutting, but that we work to ensure that our audiences, visitors, staff, governance structures and partnerships, are reflective of the communities that we serve.
Being bold about our value

Tourism is the UK’s fifth biggest industry and third-largest employer. In a normal year it is worth £157bn to the economy. It is one of the largest employers in every part of the nation.
We know that our heritage and our culture are the principal reasons that overseas visitors cite for visiting the UK, regardless of their age, gender or nationality. We know that our fellow citizens say that our heritage and culture, and their access to and enjoyment of these, are vital to their happiness and wellbeing.
Much of the visitor economy will take the longest to recover from coronavirus (COVID-19). There will be redundancies, hard decisions to make and certain losses. There will, inevitably, be economic calculations which will dominate conversations about value.
"We, in the heritage sector, cannot let GDP be the only benchmark of success."
But we, in this sector, cannot let GDP be the only benchmark of success. Heritage and tourism is where you grow people, communities and shared principles and values. It is also the backdrop for people’s happiest memories, of respite, learning, mental and physical exercise, illuminating our future through understanding and explaining our past. That’s of great value.
Now, as never before, we have an opportunity to be bolder and more authentic in our storytelling, to be more creative in our partnerships, to be better neighbours. To mend and to celebrate what really matters.
About Bernard Donoghue
Bernard Donoghue has been the Director of ALVA since September 2011 following a career in advocacy, communications and lobbying, latterly at a senior level in the tourism and heritage sector.
In May 2017 the Mayor of London, Sadiq Khan, appointed Bernard to be the Mayor's Ambassador for Cultural Tourism and a member of the Mayor's Cultural Leadership Board.
He has been a member of of the UK Government's Tourism Industry Council since 2016.
- Views expressed in the Future Heritage blog series are those of the authors, not necessarily of The National Lottery Heritage Fund.
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For this too is history – four ways to change

Hilary Carty, Executive Director, Clore Leadership
It is difficult to think of a month like the last. Despite our many differences, people across the world have come together, joined by shared experiences and common causes.
Whether it is the climate emergency, coronavirus (COVID-19) or the issues of racial injustice stirred by the death of George Floyd in the USA, people from Korea, Kenya and Kent have connected on concerns at once both personal and universal.
How can the heritage sector respond to this time of upheaval?
"This we are all living through is history. From the perspective of future generations, this too is heritage."
The challenge is to capture these moments of shared meaning. And then to reflect them well. For this we are all living through is history. From the perspective of future generations, this too is heritage.
But what should be collected? Whose heritage should be conserved? Who decides? And is the sector moving fast enough to capture the nuances as well as headlines of current events? Are different perspectives being given a fair representation? We are hearing loud and clear that there is little tolerance for a single lens view.
Here are some questions we could all think about:
Who is on our staff?
Are you making the most of your teams’ experiences and connections? Are their networks contributing to the mix at this critical time? Who are the well-connected individuals with the insights, understanding and community links necessary to capture the range of narratives we will wish to tell?
Many heritage organisations have long moved to reflect a broader range of perspectives and experiences. Has that gone far enough? Is it embedded practice?
Without a diverse workforce the challenge will continue to be steep.
A review of the workforce to inform team planning after the pandemic could be helpful. And how can we ensure that the line of least resistance is not the first answer?
Who are we talking to?
Paradoxically, while in lockdown, we have experienced a great opening up of institutions – illuminating access to collections, catalogues and treasures. It has been joyful to see heritage humour brought forward through Yorkshire Museum’s #CuratorBattle or the #GettyMuseumChallenge (other heritage humour examples are available!).
What these projects have in common is the way in which they invite you to engage with heritage professionals alongside heritage objects – the personalities of curators meeting the creativity of the public.
These innovations also bring significant numbers of new audiences to heritage.
Some may never have the opportunity for a site visit or membership, but might their curiosity still be encouraged, to build on this audience adventure beyond the period of lockdown?
How are we funded?
One of the most dramatic shifts of the coronavirus (COVID-19) experience has been the ways in which sector funders have responded with dynamism and speed.
Asking questions, listening, releasing new resources, flexing schedules, connecting and creating timely responses to urgent needs. And that is in addition to providing essential information and guidance, and a genuinely empathetic approach. It is, rightly, being applauded.
Might we stick with the lean and nimble processes of this dynamic response, seeing this as the new way forward rather than simply an emergency measure?
"This funding response need not fade as a one-off gesture. Rather, it could be marked as the catalyst for innovation, spurring adaptations and new ways of investing in cultural heritage."
It could be an opportunity to prioritise innovative organisations and ways of thinking, focusing on curation, capacity building and engagement – particularly with those who have found barriers in their way in the past. That truly would be "future heritage".
As a former member of The National Lottery Heritage Fund’s London committee, I do not underestimate the challenge. But I believe this funding response need not fade as a one-off gesture. Rather, it could be marked as the catalyst for innovation, spurring adaptations and new ways of investing in cultural heritage.
How do we invest in leadership?
Clore Leadership has had the pleasure of working with, supporting and nurturing many of the heritage sector’s professionals. Responding to the pandemic, we:
- shared resources for crisis management
- offered timely perspectives to deal with immediate challenges
- facilitated peer-to-peer support
- created the Clore Leadership Experience (short-form professional development opportunities for staff on furlough or freelance)
We too face the challenge of learning and adapting – of balancing our highly regarded Fellowship and Intensive Courses with the new webinars and online learning that have brought fresh successes and keen new learners to our table.
For us, as for the heritage sector, our challenge is to look sufficiently far ahead. We need to combine urgent needs with a strong foundation for the future we want to create.
By strengthening leadership right across the sector, from established to new professionals, we share the aspirational load.
Shared experiences mark this time. Let’s ensure equitable outcomes mark the future.
Carpe diem.
About Hilary Carty
Hilary Carty is the Executive Director, Clore Leadership, a role she took up after six years as a consultant, facilitator and coach specialising in leadership development, management and organisational change.
Hilary’s earlier roles include:
- Director of the Cultural Leadership Programme
- Director, London (Arts) at Arts Council England
- Director, Culture and Education at London 2012
- Director of Dance for Arts Council England
- Visiting Professor on leadership (Austria)
- The National Lottery Heritage Fund London Committee Member
In recognition of her contribution to the arts, culture and heritage, Hilary has been awarded three honorary doctorates and three fellowships from UK universities. Hilary is a governor of The Royal Ballet.
- Views expressed in the Future Heritage blog series are those of the authors, not necessarily of The National Lottery Heritage Fund.
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Returning to a changed heritage world

Ros Kerslake, CEO, The National Lottery Heritage Fund
Today is my second day back at work after abruptly having to put my life on hold in November 2019. Six months ago, out of the blue, I was diagnosed with Acute Myeloid Leukaemia.
But, if it is possible to be lucky when having cancer, I have been (so far). I had a speedy diagnosis, excellent medical care from all the NHS staff at The Royal Marsden, and successfully completed intensive treatment before the onset of the coronavirus (COVID-19). My thoughts are very much with those being diagnosed or in treatment right now.
"The world, the workplace, and the heritage sector that I am returning to, are, of course, not normal."
Thankfully, I am now cancer free and, despite having a lot less hair (which is, at least, practical during lockdown) I am more or less back to normal.
But the world, the workplace, and the heritage sector that I am returning to, are, of course, not normal.
Facing the crisis
This is the biggest crisis I have seen in my lifetime. I’m very proud of the way everyone at The Fund has mobilised to support people and organisations working in heritage across the UK.
Within days of moving all our 300 staff to home working, my team surveyed over 1,000 heritage organisations to understand the immediate impact of coronavirus (COVID-19). Using this evidence, we launched our Heritage Emergency Fund, offering emergency grants of between £3,000 and £50,000. We have already approved the first round of applications.
We increased our investment in digital skills for the sector, recognising how important digital expertise will be in a ‘social distancing’ world. And we firmly committed to supporting our existing grantees through this most difficult of times, providing them with greater flexibility on grant payments and making over £31m of grant payments in April.
Next phase of financial help
But we also recognise that some organisations, particularly independent heritage attractions that are highly dependent on visitor income, may have a higher level of financial need than our initial emergency funding can cover.
I’m pleased to announce therefore – as my first action since returning – a new strand to our Heritage Emergency Fund.
Within the current £50m Heritage Emergency Fund, we’re creating a new grant range of £50,000–£250,000. It will be open to past and current grantees.
This new strand will help us:
- respond to exceptional cases of larger-scale need
- protect heritage at severe immediate risk
- and, crucially, safeguard the heritage that can play a key role in the UK’s economic and community regeneration from the impacts of coronavirus (COVID-19)
We are developing the detail for how to apply for these new grants in the coming week. We will actively communicate this when applications are open. In the meantime you can keep up to date with the latest information by following us on social media.
The future for heritage
The Heritage Emergency Fund will enable us to help those most in need in the immediate term. Our non-financial support, such as the additional investment in digital skills, will help many more organisations adapt to new ways of working and be better equipped to survive.
This crisis, however, brings new and unique challenges.
Even heritage organisations that have built successful income streams are vulnerable. The impact of the coronavirus (COVID-19) will be uneven – the consequences for some communities, regions and types of organisations will be far more significant than for others. And I recognise that despite all our efforts at the Heritage Fund, the difficult fact is that we will not have the resources to help everyone we would like to.
Some heritage organisations are going to have to rethink their future. Given the uncertainty we face, some may have to do so despite their own Herculean efforts even if they have received support from us.
"We are living through an extraordinary time, and neither we – nor our vital, creative sector – will look quite the same again."
We are living through an extraordinary time, and neither we – nor our vital, creative sector – will look quite the same again. But the fundamental importance of heritage in people’s lives, the contribution that it makes to people’s wellbeing, sense of self and of place, the need to protect it for future generations and its value as an employer and to the economy means we must all work together to achieve the best possible outcome.
So, beyond the immediate funding support we have already launched, I see our role at The Fund as supporting the heritage sector to work through how the future will be different. This must be a joint endeavour, and we will work with the widest group of partners and draw on different and new perspectives to reimagine the heritage sector in the future.
New views
To start this conversation, this month we are launching ‘Future Heritage’, a series of opinion pieces from a range of leaders across our sector. We hope these diverse views will stimulate new thinking, ideas and debate about the future of heritage in a world after coronavirus (COVID-19).
"All of us involved in heritage know – beyond its economic contribution – how critically important it is."
All of us involved in heritage know – beyond its economic contribution – how critically important it is. The benefits it delivers will be just as important as we look to the future, if not more so, but our sector will need to innovate and embrace new ways of working to thrive.
It is an unfamiliar landscape that I find myself returning to, but I'm very pleased that I’m back and able to contribute at a time when there’s so much that needs to be done.
Cancer makes you stop and reassess your life. I’ve come out the other end of it feeling that what we as a sector do, and the work of The Fund is more important than ever. Working with our stakeholders, our Board of Trustees, committee members and my team, I look forward to tackling the challenges ahead for the heritage community.
In the meantime, stay safe and look out for each other. I know how important it is to have the support of family and friends during these extraordinary times.
Independent museums can shine a light after the darkness

Nat Edwards, Chief Executive, Thackray Museum of Medicine
When in doubt, revel in the darkness.
Each act of celebration is a spark.
Gathered together
they call back the sun.
- from Revelers, by Lynn Ungar
Disregard statistics for a moment. At a human level, these are dark days.
As in many other workplaces, in an independent museum, where you know the name not just of every colleague but also their children and pets, the individual cost of the pandemic is everywhere.
"This crisis has shown the remarkable capacity for people to adapt and bring their human instincts and resilience to the fore."
Our team has had its share of anxiety, illness and grief. The toll is only exacerbated by the fact we can’t reach out and touch those who most need it.
Yet this crisis has also shown the remarkable capacity for people to adapt and bring their human instincts and resilience to the fore.
The future museums face
Museums face an unimaginable future. Writing in mid-May, I hope the sector might reopen in time for the summer. But I don’t quite know how, nor whether people will come.
My own museum, the Thackray Museum of Medicine in Leeds, faces a double whammy as the lockdown started during a major refurbishment. Not only did we lose our trading income, but delay to the project means we have lost the opportunity of even an uncertain summer reopening. Government assistance, such as rates relief and furloughing, has helped us stay afloat, just.
Funders such as The National Lottery Heritage Fund and Arts Council England have been quick to provide emergency funding for those in the most need. But we know that it won’t be enough for everyone. Many museums will need to make difficult choices after coronavirus (COVID-19).
The value of independent museums
The irony is that independent museums will be needed more than ever post pandemic.
"Where better to make sense of what we have all been through than in a medical museum?"
People will need places in which to reconnect with relatives and friends. Families will need affordable destinations for previously cooped-up children to decompress. Where better to take your gran for her first cup of tea out? Where better to make sense of what we have all been through than in a medical museum?
The UK doesn’t have a national museum of medicine. Most of our medical museums are away from the bustle of the nationals, tucked in corners of medical associations and colleges or else independent charities like Thackray Museum. They don’t have the larger museums’ access to resources.
Yet these are the very times that people need to know that the Anaesthesia Heritage Centre, the George Marshall Medical Museum, the Florence Nightingale Museum, or the many others across the country, will continue to bear witness to this remarkable moment and to inspire the next generation of health heroes.
Galvanised by crisis
Even during the lockdown, the value of our sector has been proved.
Like many, we contributed to #MuseumFromHome. We have supported wellbeing through activities such as our Lorina Bulwer Sew-In and initiated coronavirus (COVID-19) collecting and co-curation initiatives, including a very hastily built Health Heroes microsite.

We made our car park free for NHS staff and hosted a food distribution point for frontline workers. We provided details of ventilator parts held in our collection to engineering companies to help make new ventilators. We worked round normally time-consuming and complex rules on disposal of museum objects to make useful kit available to the people who needed it.
"Those furloughed staff who could do so signed up as NHS volunteers while others found creative and daft ways to keep the team talking."
Those furloughed staff who could do so signed up as NHS volunteers while others found creative and daft ways to keep the team talking, laughing and even crying together, while apart.
Our trustees have been re-galvanised by the crisis, helping us to add coronavirus-related objects from the closing Nightingale Hospital and elsewhere to our museum collection, bringing both time and an enormous range of expertise to our cause. We have been in touch with other teams across the region to plan collecting strategies and digital engagement and sometimes, as in the case of Yorkshire Museum’s Curator Battles, just to be very silly indeed.

Preparing for a different future
Expectations have been (carefully) thrown out the window. And I've found that when freed from constraints of process, people’s deeper instincts and values have kicked in. That's why I’m optimistic about our capacity to meet the future. We don’t yet know quite what to expect, but we can have a good guess.
With fewer resources and audiences under pressure, our production costs will need to come down. More than ever, we will need to find ways to make every penny count, adding value and finding extra uses for everything we produce, from exhibitions to events.
"Museums that fail to reflect our collective recent experience on a human scale will seem aloof."
That will mean including more digital content in our projects and tailoring that content to a far greater range of communities’ needs, from training resources and apprenticeships, to advocacy tools, social prescribing opportunities and a whole host of other applications and re-uses that genuine collaboration will define.
Big, expensive, blockbuster projects are, I think, going to feel unworldly after the crisis. Museums that fail to reflect our collective recent experience on a human scale will seem aloof.
Sharing for the common good
I believe that, with museums struggling to survive, remaining resources need to be shared for common good. This is not simply for the museums themselves, but for public benefit too.
This presents a fantastic opportunity for independent museums.
We are more agile, less process-driven and less beholden to patronage than many larger museums. We can get ahead of the curve.
I see this happening in a number of ways:
- It could mean finding ways to share investment in projects across multiple organisations and sites, both physical and digital.
- Contracts could follow models like Integrated Project Insurance to share risk.
- We need to share operations too. Administration and HR could be more efficiently delivered through collaboration.
- We need to find better ways of pooling our trustees’ time and expertise – why not have shared boards overseeing multiple independent museums? Put aside technical preconceptions (and a few egos) and it makes sense.
For the past bunkered weeks, we’ve all been reduced to identical digital boxes on the screen. A virtual existence that encourages democracy.
Let’s not forget how easy it is to connect and work together when the sun comes out again.
About Nat Edwards
Nat Edwards is Chief Executive of the Thackray Museum of Medicine in Leeds, one of the UK’s largest independent medical museums.
Currently he is based in his daughter’s bedroom, both overseeing a £4million refurbishment of the museum and trying to get the virtual backgrounds on Zoom to work.
- Views expressed in the Future Heritage blog series are those of the authors, not necessarily of The National Lottery Heritage Fund.
You might also be interested in...
Returning to a changed heritage world

Ros Kerslake, CEO, The National Lottery Heritage Fund
Today is my second day back at work after abruptly having to put my life on hold in November 2019. Six months ago, out of the blue, I was diagnosed with Acute Myeloid Leukaemia.
But, if it is possible to be lucky when having cancer, I have been (so far). I had a speedy diagnosis, excellent medical care from all the NHS staff at The Royal Marsden, and successfully completed intensive treatment before the onset of the coronavirus (COVID-19). My thoughts are very much with those being diagnosed or in treatment right now.
"The world, the workplace, and the heritage sector that I am returning to, are, of course, not normal."
Thankfully, I am now cancer free and, despite having a lot less hair (which is, at least, practical during lockdown) I am more or less back to normal.
But the world, the workplace, and the heritage sector that I am returning to, are, of course, not normal.
Facing the crisis
This is the biggest crisis I have seen in my lifetime. I’m very proud of the way everyone at The Fund has mobilised to support people and organisations working in heritage across the UK.
Within days of moving all our 300 staff to home working, my team surveyed over 1,000 heritage organisations to understand the immediate impact of coronavirus (COVID-19). Using this evidence, we launched our Heritage Emergency Fund, offering emergency grants of between £3,000 and £50,000. We have already approved the first round of applications.
We increased our investment in digital skills for the sector, recognising how important digital expertise will be in a ‘social distancing’ world. And we firmly committed to supporting our existing grantees through this most difficult of times, providing them with greater flexibility on grant payments and making over £31m of grant payments in April.
Next phase of financial help
But we also recognise that some organisations, particularly independent heritage attractions that are highly dependent on visitor income, may have a higher level of financial need than our initial emergency funding can cover.
I’m pleased to announce therefore – as my first action since returning – a new strand to our Heritage Emergency Fund.
Within the current £50m Heritage Emergency Fund, we’re creating a new grant range of £50,000–£250,000. It will be open to past and current grantees.
This new strand will help us:
- respond to exceptional cases of larger-scale need
- protect heritage at severe immediate risk
- and, crucially, safeguard the heritage that can play a key role in the UK’s economic and community regeneration from the impacts of coronavirus (COVID-19)
We are developing the detail for how to apply for these new grants in the coming week. We will actively communicate this when applications are open. In the meantime you can keep up to date with the latest information by following us on social media.
The future for heritage
The Heritage Emergency Fund will enable us to help those most in need in the immediate term. Our non-financial support, such as the additional investment in digital skills, will help many more organisations adapt to new ways of working and be better equipped to survive.
This crisis, however, brings new and unique challenges.
Even heritage organisations that have built successful income streams are vulnerable. The impact of the coronavirus (COVID-19) will be uneven – the consequences for some communities, regions and types of organisations will be far more significant than for others. And I recognise that despite all our efforts at the Heritage Fund, the difficult fact is that we will not have the resources to help everyone we would like to.
Some heritage organisations are going to have to rethink their future. Given the uncertainty we face, some may have to do so despite their own Herculean efforts even if they have received support from us.
"We are living through an extraordinary time, and neither we – nor our vital, creative sector – will look quite the same again."
We are living through an extraordinary time, and neither we – nor our vital, creative sector – will look quite the same again. But the fundamental importance of heritage in people’s lives, the contribution that it makes to people’s wellbeing, sense of self and of place, the need to protect it for future generations and its value as an employer and to the economy means we must all work together to achieve the best possible outcome.
So, beyond the immediate funding support we have already launched, I see our role at The Fund as supporting the heritage sector to work through how the future will be different. This must be a joint endeavour, and we will work with the widest group of partners and draw on different and new perspectives to reimagine the heritage sector in the future.
New views
To start this conversation, this month we are launching ‘Future Heritage’, a series of opinion pieces from a range of leaders across our sector. We hope these diverse views will stimulate new thinking, ideas and debate about the future of heritage in a world after coronavirus (COVID-19).
"All of us involved in heritage know – beyond its economic contribution – how critically important it is."
All of us involved in heritage know – beyond its economic contribution – how critically important it is. The benefits it delivers will be just as important as we look to the future, if not more so, but our sector will need to innovate and embrace new ways of working to thrive.
It is an unfamiliar landscape that I find myself returning to, but I'm very pleased that I’m back and able to contribute at a time when there’s so much that needs to be done.
Cancer makes you stop and reassess your life. I’ve come out the other end of it feeling that what we as a sector do, and the work of The Fund is more important than ever. Working with our stakeholders, our Board of Trustees, committee members and my team, I look forward to tackling the challenges ahead for the heritage community.
In the meantime, stay safe and look out for each other. I know how important it is to have the support of family and friends during these extraordinary times.
Independent museums can shine a light after the darkness

Nat Edwards, Chief Executive, Thackray Museum of Medicine
When in doubt, revel in the darkness.
Each act of celebration is a spark.
Gathered together
they call back the sun.
- from Revelers, by Lynn Ungar
Disregard statistics for a moment. At a human level, these are dark days.
As in many other workplaces, in an independent museum, where you know the name not just of every colleague but also their children and pets, the individual cost of the pandemic is everywhere.
"This crisis has shown the remarkable capacity for people to adapt and bring their human instincts and resilience to the fore."
Our team has had its share of anxiety, illness and grief. The toll is only exacerbated by the fact we can’t reach out and touch those who most need it.
Yet this crisis has also shown the remarkable capacity for people to adapt and bring their human instincts and resilience to the fore.
The future museums face
Museums face an unimaginable future. Writing in mid-May, I hope the sector might reopen in time for the summer. But I don’t quite know how, nor whether people will come.
My own museum, the Thackray Museum of Medicine in Leeds, faces a double whammy as the lockdown started during a major refurbishment. Not only did we lose our trading income, but delay to the project means we have lost the opportunity of even an uncertain summer reopening. Government assistance, such as rates relief and furloughing, has helped us stay afloat, just.
Funders such as The National Lottery Heritage Fund and Arts Council England have been quick to provide emergency funding for those in the most need. But we know that it won’t be enough for everyone. Many museums will need to make difficult choices after coronavirus (COVID-19).
The value of independent museums
The irony is that independent museums will be needed more than ever post pandemic.
"Where better to make sense of what we have all been through than in a medical museum?"
People will need places in which to reconnect with relatives and friends. Families will need affordable destinations for previously cooped-up children to decompress. Where better to take your gran for her first cup of tea out? Where better to make sense of what we have all been through than in a medical museum?
The UK doesn’t have a national museum of medicine. Most of our medical museums are away from the bustle of the nationals, tucked in corners of medical associations and colleges or else independent charities like Thackray Museum. They don’t have the larger museums’ access to resources.
Yet these are the very times that people need to know that the Anaesthesia Heritage Centre, the George Marshall Medical Museum, the Florence Nightingale Museum, or the many others across the country, will continue to bear witness to this remarkable moment and to inspire the next generation of health heroes.
Galvanised by crisis
Even during the lockdown, the value of our sector has been proved.
Like many, we contributed to #MuseumFromHome. We have supported wellbeing through activities such as our Lorina Bulwer Sew-In and initiated coronavirus (COVID-19) collecting and co-curation initiatives, including a very hastily built Health Heroes microsite.

We made our car park free for NHS staff and hosted a food distribution point for frontline workers. We provided details of ventilator parts held in our collection to engineering companies to help make new ventilators. We worked round normally time-consuming and complex rules on disposal of museum objects to make useful kit available to the people who needed it.
"Those furloughed staff who could do so signed up as NHS volunteers while others found creative and daft ways to keep the team talking."
Those furloughed staff who could do so signed up as NHS volunteers while others found creative and daft ways to keep the team talking, laughing and even crying together, while apart.
Our trustees have been re-galvanised by the crisis, helping us to add coronavirus-related objects from the closing Nightingale Hospital and elsewhere to our museum collection, bringing both time and an enormous range of expertise to our cause. We have been in touch with other teams across the region to plan collecting strategies and digital engagement and sometimes, as in the case of Yorkshire Museum’s Curator Battles, just to be very silly indeed.

Preparing for a different future
Expectations have been (carefully) thrown out the window. And I've found that when freed from constraints of process, people’s deeper instincts and values have kicked in. That's why I’m optimistic about our capacity to meet the future. We don’t yet know quite what to expect, but we can have a good guess.
With fewer resources and audiences under pressure, our production costs will need to come down. More than ever, we will need to find ways to make every penny count, adding value and finding extra uses for everything we produce, from exhibitions to events.
"Museums that fail to reflect our collective recent experience on a human scale will seem aloof."
That will mean including more digital content in our projects and tailoring that content to a far greater range of communities’ needs, from training resources and apprenticeships, to advocacy tools, social prescribing opportunities and a whole host of other applications and re-uses that genuine collaboration will define.
Big, expensive, blockbuster projects are, I think, going to feel unworldly after the crisis. Museums that fail to reflect our collective recent experience on a human scale will seem aloof.
Sharing for the common good
I believe that, with museums struggling to survive, remaining resources need to be shared for common good. This is not simply for the museums themselves, but for public benefit too.
This presents a fantastic opportunity for independent museums.
We are more agile, less process-driven and less beholden to patronage than many larger museums. We can get ahead of the curve.
I see this happening in a number of ways:
- It could mean finding ways to share investment in projects across multiple organisations and sites, both physical and digital.
- Contracts could follow models like Integrated Project Insurance to share risk.
- We need to share operations too. Administration and HR could be more efficiently delivered through collaboration.
- We need to find better ways of pooling our trustees’ time and expertise – why not have shared boards overseeing multiple independent museums? Put aside technical preconceptions (and a few egos) and it makes sense.
For the past bunkered weeks, we’ve all been reduced to identical digital boxes on the screen. A virtual existence that encourages democracy.
Let’s not forget how easy it is to connect and work together when the sun comes out again.
About Nat Edwards
Nat Edwards is Chief Executive of the Thackray Museum of Medicine in Leeds, one of the UK’s largest independent medical museums.
Currently he is based in his daughter’s bedroom, both overseeing a £4million refurbishment of the museum and trying to get the virtual backgrounds on Zoom to work.
- Views expressed in the Future Heritage blog series are those of the authors, not necessarily of The National Lottery Heritage Fund.
You might also be interested in...
Returning to a changed heritage world

Ros Kerslake, CEO, The National Lottery Heritage Fund
Today is my second day back at work after abruptly having to put my life on hold in November 2019. Six months ago, out of the blue, I was diagnosed with Acute Myeloid Leukaemia.
But, if it is possible to be lucky when having cancer, I have been (so far). I had a speedy diagnosis, excellent medical care from all the NHS staff at The Royal Marsden, and successfully completed intensive treatment before the onset of the coronavirus (COVID-19). My thoughts are very much with those being diagnosed or in treatment right now.
"The world, the workplace, and the heritage sector that I am returning to, are, of course, not normal."
Thankfully, I am now cancer free and, despite having a lot less hair (which is, at least, practical during lockdown) I am more or less back to normal.
But the world, the workplace, and the heritage sector that I am returning to, are, of course, not normal.
Facing the crisis
This is the biggest crisis I have seen in my lifetime. I’m very proud of the way everyone at The Fund has mobilised to support people and organisations working in heritage across the UK.
Within days of moving all our 300 staff to home working, my team surveyed over 1,000 heritage organisations to understand the immediate impact of coronavirus (COVID-19). Using this evidence, we launched our Heritage Emergency Fund, offering emergency grants of between £3,000 and £50,000. We have already approved the first round of applications.
We increased our investment in digital skills for the sector, recognising how important digital expertise will be in a ‘social distancing’ world. And we firmly committed to supporting our existing grantees through this most difficult of times, providing them with greater flexibility on grant payments and making over £31m of grant payments in April.
Next phase of financial help
But we also recognise that some organisations, particularly independent heritage attractions that are highly dependent on visitor income, may have a higher level of financial need than our initial emergency funding can cover.
I’m pleased to announce therefore – as my first action since returning – a new strand to our Heritage Emergency Fund.
Within the current £50m Heritage Emergency Fund, we’re creating a new grant range of £50,000–£250,000. It will be open to past and current grantees.
This new strand will help us:
- respond to exceptional cases of larger-scale need
- protect heritage at severe immediate risk
- and, crucially, safeguard the heritage that can play a key role in the UK’s economic and community regeneration from the impacts of coronavirus (COVID-19)
We are developing the detail for how to apply for these new grants in the coming week. We will actively communicate this when applications are open. In the meantime you can keep up to date with the latest information by following us on social media.
The future for heritage
The Heritage Emergency Fund will enable us to help those most in need in the immediate term. Our non-financial support, such as the additional investment in digital skills, will help many more organisations adapt to new ways of working and be better equipped to survive.
This crisis, however, brings new and unique challenges.
Even heritage organisations that have built successful income streams are vulnerable. The impact of the coronavirus (COVID-19) will be uneven – the consequences for some communities, regions and types of organisations will be far more significant than for others. And I recognise that despite all our efforts at the Heritage Fund, the difficult fact is that we will not have the resources to help everyone we would like to.
Some heritage organisations are going to have to rethink their future. Given the uncertainty we face, some may have to do so despite their own Herculean efforts even if they have received support from us.
"We are living through an extraordinary time, and neither we – nor our vital, creative sector – will look quite the same again."
We are living through an extraordinary time, and neither we – nor our vital, creative sector – will look quite the same again. But the fundamental importance of heritage in people’s lives, the contribution that it makes to people’s wellbeing, sense of self and of place, the need to protect it for future generations and its value as an employer and to the economy means we must all work together to achieve the best possible outcome.
So, beyond the immediate funding support we have already launched, I see our role at The Fund as supporting the heritage sector to work through how the future will be different. This must be a joint endeavour, and we will work with the widest group of partners and draw on different and new perspectives to reimagine the heritage sector in the future.
New views
To start this conversation, this month we are launching ‘Future Heritage’, a series of opinion pieces from a range of leaders across our sector. We hope these diverse views will stimulate new thinking, ideas and debate about the future of heritage in a world after coronavirus (COVID-19).
"All of us involved in heritage know – beyond its economic contribution – how critically important it is."
All of us involved in heritage know – beyond its economic contribution – how critically important it is. The benefits it delivers will be just as important as we look to the future, if not more so, but our sector will need to innovate and embrace new ways of working to thrive.
It is an unfamiliar landscape that I find myself returning to, but I'm very pleased that I’m back and able to contribute at a time when there’s so much that needs to be done.
Cancer makes you stop and reassess your life. I’ve come out the other end of it feeling that what we as a sector do, and the work of The Fund is more important than ever. Working with our stakeholders, our Board of Trustees, committee members and my team, I look forward to tackling the challenges ahead for the heritage community.
In the meantime, stay safe and look out for each other. I know how important it is to have the support of family and friends during these extraordinary times.
Returning to a changed heritage world

Ros Kerslake, CEO, The National Lottery Heritage Fund
Today is my second day back at work after abruptly having to put my life on hold in November 2019. Six months ago, out of the blue, I was diagnosed with Acute Myeloid Leukaemia.
But, if it is possible to be lucky when having cancer, I have been (so far). I had a speedy diagnosis, excellent medical care from all the NHS staff at The Royal Marsden, and successfully completed intensive treatment before the onset of the coronavirus (COVID-19). My thoughts are very much with those being diagnosed or in treatment right now.
"The world, the workplace, and the heritage sector that I am returning to, are, of course, not normal."
Thankfully, I am now cancer free and, despite having a lot less hair (which is, at least, practical during lockdown) I am more or less back to normal.
But the world, the workplace, and the heritage sector that I am returning to, are, of course, not normal.
Facing the crisis
This is the biggest crisis I have seen in my lifetime. I’m very proud of the way everyone at The Fund has mobilised to support people and organisations working in heritage across the UK.
Within days of moving all our 300 staff to home working, my team surveyed over 1,000 heritage organisations to understand the immediate impact of coronavirus (COVID-19). Using this evidence, we launched our Heritage Emergency Fund, offering emergency grants of between £3,000 and £50,000. We have already approved the first round of applications.
We increased our investment in digital skills for the sector, recognising how important digital expertise will be in a ‘social distancing’ world. And we firmly committed to supporting our existing grantees through this most difficult of times, providing them with greater flexibility on grant payments and making over £31m of grant payments in April.
Next phase of financial help
But we also recognise that some organisations, particularly independent heritage attractions that are highly dependent on visitor income, may have a higher level of financial need than our initial emergency funding can cover.
I’m pleased to announce therefore – as my first action since returning – a new strand to our Heritage Emergency Fund.
Within the current £50m Heritage Emergency Fund, we’re creating a new grant range of £50,000–£250,000. It will be open to past and current grantees.
This new strand will help us:
- respond to exceptional cases of larger-scale need
- protect heritage at severe immediate risk
- and, crucially, safeguard the heritage that can play a key role in the UK’s economic and community regeneration from the impacts of coronavirus (COVID-19)
We are developing the detail for how to apply for these new grants in the coming week. We will actively communicate this when applications are open. In the meantime you can keep up to date with the latest information by following us on social media.
The future for heritage
The Heritage Emergency Fund will enable us to help those most in need in the immediate term. Our non-financial support, such as the additional investment in digital skills, will help many more organisations adapt to new ways of working and be better equipped to survive.
This crisis, however, brings new and unique challenges.
Even heritage organisations that have built successful income streams are vulnerable. The impact of the coronavirus (COVID-19) will be uneven – the consequences for some communities, regions and types of organisations will be far more significant than for others. And I recognise that despite all our efforts at the Heritage Fund, the difficult fact is that we will not have the resources to help everyone we would like to.
Some heritage organisations are going to have to rethink their future. Given the uncertainty we face, some may have to do so despite their own Herculean efforts even if they have received support from us.
"We are living through an extraordinary time, and neither we – nor our vital, creative sector – will look quite the same again."
We are living through an extraordinary time, and neither we – nor our vital, creative sector – will look quite the same again. But the fundamental importance of heritage in people’s lives, the contribution that it makes to people’s wellbeing, sense of self and of place, the need to protect it for future generations and its value as an employer and to the economy means we must all work together to achieve the best possible outcome.
So, beyond the immediate funding support we have already launched, I see our role at The Fund as supporting the heritage sector to work through how the future will be different. This must be a joint endeavour, and we will work with the widest group of partners and draw on different and new perspectives to reimagine the heritage sector in the future.
New views
To start this conversation, this month we are launching ‘Future Heritage’, a series of opinion pieces from a range of leaders across our sector. We hope these diverse views will stimulate new thinking, ideas and debate about the future of heritage in a world after coronavirus (COVID-19).
"All of us involved in heritage know – beyond its economic contribution – how critically important it is."
All of us involved in heritage know – beyond its economic contribution – how critically important it is. The benefits it delivers will be just as important as we look to the future, if not more so, but our sector will need to innovate and embrace new ways of working to thrive.
It is an unfamiliar landscape that I find myself returning to, but I'm very pleased that I’m back and able to contribute at a time when there’s so much that needs to be done.
Cancer makes you stop and reassess your life. I’ve come out the other end of it feeling that what we as a sector do, and the work of The Fund is more important than ever. Working with our stakeholders, our Board of Trustees, committee members and my team, I look forward to tackling the challenges ahead for the heritage community.
In the meantime, stay safe and look out for each other. I know how important it is to have the support of family and friends during these extraordinary times.
For this too is history – four ways to change

Hilary Carty, Executive Director, Clore Leadership
It is difficult to think of a month like the last. Despite our many differences, people across the world have come together, joined by shared experiences and common causes.
Whether it is the climate emergency, coronavirus (COVID-19) or the issues of racial injustice stirred by the death of George Floyd in the USA, people from Korea, Kenya and Kent have connected on concerns at once both personal and universal.
How can the heritage sector respond to this time of upheaval?
"This we are all living through is history. From the perspective of future generations, this too is heritage."
The challenge is to capture these moments of shared meaning. And then to reflect them well. For this we are all living through is history. From the perspective of future generations, this too is heritage.
But what should be collected? Whose heritage should be conserved? Who decides? And is the sector moving fast enough to capture the nuances as well as headlines of current events? Are different perspectives being given a fair representation? We are hearing loud and clear that there is little tolerance for a single lens view.
Here are some questions we could all think about:
Who is on our staff?
Are you making the most of your teams’ experiences and connections? Are their networks contributing to the mix at this critical time? Who are the well-connected individuals with the insights, understanding and community links necessary to capture the range of narratives we will wish to tell?
Many heritage organisations have long moved to reflect a broader range of perspectives and experiences. Has that gone far enough? Is it embedded practice?
Without a diverse workforce the challenge will continue to be steep.
A review of the workforce to inform team planning after the pandemic could be helpful. And how can we ensure that the line of least resistance is not the first answer?
Who are we talking to?
Paradoxically, while in lockdown, we have experienced a great opening up of institutions – illuminating access to collections, catalogues and treasures. It has been joyful to see heritage humour brought forward through Yorkshire Museum’s #CuratorBattle or the #GettyMuseumChallenge (other heritage humour examples are available!).
What these projects have in common is the way in which they invite you to engage with heritage professionals alongside heritage objects – the personalities of curators meeting the creativity of the public.
These innovations also bring significant numbers of new audiences to heritage.
Some may never have the opportunity for a site visit or membership, but might their curiosity still be encouraged, to build on this audience adventure beyond the period of lockdown?
How are we funded?
One of the most dramatic shifts of the coronavirus (COVID-19) experience has been the ways in which sector funders have responded with dynamism and speed.
Asking questions, listening, releasing new resources, flexing schedules, connecting and creating timely responses to urgent needs. And that is in addition to providing essential information and guidance, and a genuinely empathetic approach. It is, rightly, being applauded.
Might we stick with the lean and nimble processes of this dynamic response, seeing this as the new way forward rather than simply an emergency measure?
"This funding response need not fade as a one-off gesture. Rather, it could be marked as the catalyst for innovation, spurring adaptations and new ways of investing in cultural heritage."
It could be an opportunity to prioritise innovative organisations and ways of thinking, focusing on curation, capacity building and engagement – particularly with those who have found barriers in their way in the past. That truly would be "future heritage".
As a former member of The National Lottery Heritage Fund’s London committee, I do not underestimate the challenge. But I believe this funding response need not fade as a one-off gesture. Rather, it could be marked as the catalyst for innovation, spurring adaptations and new ways of investing in cultural heritage.
How do we invest in leadership?
Clore Leadership has had the pleasure of working with, supporting and nurturing many of the heritage sector’s professionals. Responding to the pandemic, we:
- shared resources for crisis management
- offered timely perspectives to deal with immediate challenges
- facilitated peer-to-peer support
- created the Clore Leadership Experience (short-form professional development opportunities for staff on furlough or freelance)
We too face the challenge of learning and adapting – of balancing our highly regarded Fellowship and Intensive Courses with the new webinars and online learning that have brought fresh successes and keen new learners to our table.
For us, as for the heritage sector, our challenge is to look sufficiently far ahead. We need to combine urgent needs with a strong foundation for the future we want to create.
By strengthening leadership right across the sector, from established to new professionals, we share the aspirational load.
Shared experiences mark this time. Let’s ensure equitable outcomes mark the future.
Carpe diem.
About Hilary Carty
Hilary Carty is the Executive Director, Clore Leadership, a role she took up after six years as a consultant, facilitator and coach specialising in leadership development, management and organisational change.
Hilary’s earlier roles include:
- Director of the Cultural Leadership Programme
- Director, London (Arts) at Arts Council England
- Director, Culture and Education at London 2012
- Director of Dance for Arts Council England
- Visiting Professor on leadership (Austria)
- The National Lottery Heritage Fund London Committee Member
In recognition of her contribution to the arts, culture and heritage, Hilary has been awarded three honorary doctorates and three fellowships from UK universities. Hilary is a governor of The Royal Ballet.
- Views expressed in the Future Heritage blog series are those of the authors, not necessarily of The National Lottery Heritage Fund.
You might also be interested in...
Returning to a changed heritage world

Ros Kerslake, CEO, The National Lottery Heritage Fund
Today is my second day back at work after abruptly having to put my life on hold in November 2019. Six months ago, out of the blue, I was diagnosed with Acute Myeloid Leukaemia.
But, if it is possible to be lucky when having cancer, I have been (so far). I had a speedy diagnosis, excellent medical care from all the NHS staff at The Royal Marsden, and successfully completed intensive treatment before the onset of the coronavirus (COVID-19). My thoughts are very much with those being diagnosed or in treatment right now.
"The world, the workplace, and the heritage sector that I am returning to, are, of course, not normal."
Thankfully, I am now cancer free and, despite having a lot less hair (which is, at least, practical during lockdown) I am more or less back to normal.
But the world, the workplace, and the heritage sector that I am returning to, are, of course, not normal.
Facing the crisis
This is the biggest crisis I have seen in my lifetime. I’m very proud of the way everyone at The Fund has mobilised to support people and organisations working in heritage across the UK.
Within days of moving all our 300 staff to home working, my team surveyed over 1,000 heritage organisations to understand the immediate impact of coronavirus (COVID-19). Using this evidence, we launched our Heritage Emergency Fund, offering emergency grants of between £3,000 and £50,000. We have already approved the first round of applications.
We increased our investment in digital skills for the sector, recognising how important digital expertise will be in a ‘social distancing’ world. And we firmly committed to supporting our existing grantees through this most difficult of times, providing them with greater flexibility on grant payments and making over £31m of grant payments in April.
Next phase of financial help
But we also recognise that some organisations, particularly independent heritage attractions that are highly dependent on visitor income, may have a higher level of financial need than our initial emergency funding can cover.
I’m pleased to announce therefore – as my first action since returning – a new strand to our Heritage Emergency Fund.
Within the current £50m Heritage Emergency Fund, we’re creating a new grant range of £50,000–£250,000. It will be open to past and current grantees.
This new strand will help us:
- respond to exceptional cases of larger-scale need
- protect heritage at severe immediate risk
- and, crucially, safeguard the heritage that can play a key role in the UK’s economic and community regeneration from the impacts of coronavirus (COVID-19)
We are developing the detail for how to apply for these new grants in the coming week. We will actively communicate this when applications are open. In the meantime you can keep up to date with the latest information by following us on social media.
The future for heritage
The Heritage Emergency Fund will enable us to help those most in need in the immediate term. Our non-financial support, such as the additional investment in digital skills, will help many more organisations adapt to new ways of working and be better equipped to survive.
This crisis, however, brings new and unique challenges.
Even heritage organisations that have built successful income streams are vulnerable. The impact of the coronavirus (COVID-19) will be uneven – the consequences for some communities, regions and types of organisations will be far more significant than for others. And I recognise that despite all our efforts at the Heritage Fund, the difficult fact is that we will not have the resources to help everyone we would like to.
Some heritage organisations are going to have to rethink their future. Given the uncertainty we face, some may have to do so despite their own Herculean efforts even if they have received support from us.
"We are living through an extraordinary time, and neither we – nor our vital, creative sector – will look quite the same again."
We are living through an extraordinary time, and neither we – nor our vital, creative sector – will look quite the same again. But the fundamental importance of heritage in people’s lives, the contribution that it makes to people’s wellbeing, sense of self and of place, the need to protect it for future generations and its value as an employer and to the economy means we must all work together to achieve the best possible outcome.
So, beyond the immediate funding support we have already launched, I see our role at The Fund as supporting the heritage sector to work through how the future will be different. This must be a joint endeavour, and we will work with the widest group of partners and draw on different and new perspectives to reimagine the heritage sector in the future.
New views
To start this conversation, this month we are launching ‘Future Heritage’, a series of opinion pieces from a range of leaders across our sector. We hope these diverse views will stimulate new thinking, ideas and debate about the future of heritage in a world after coronavirus (COVID-19).
"All of us involved in heritage know – beyond its economic contribution – how critically important it is."
All of us involved in heritage know – beyond its economic contribution – how critically important it is. The benefits it delivers will be just as important as we look to the future, if not more so, but our sector will need to innovate and embrace new ways of working to thrive.
It is an unfamiliar landscape that I find myself returning to, but I'm very pleased that I’m back and able to contribute at a time when there’s so much that needs to be done.
Cancer makes you stop and reassess your life. I’ve come out the other end of it feeling that what we as a sector do, and the work of The Fund is more important than ever. Working with our stakeholders, our Board of Trustees, committee members and my team, I look forward to tackling the challenges ahead for the heritage community.
In the meantime, stay safe and look out for each other. I know how important it is to have the support of family and friends during these extraordinary times.
Independent museums can shine a light after the darkness

Nat Edwards, Chief Executive, Thackray Museum of Medicine
When in doubt, revel in the darkness.
Each act of celebration is a spark.
Gathered together
they call back the sun.
- from Revelers, by Lynn Ungar
Disregard statistics for a moment. At a human level, these are dark days.
As in many other workplaces, in an independent museum, where you know the name not just of every colleague but also their children and pets, the individual cost of the pandemic is everywhere.
"This crisis has shown the remarkable capacity for people to adapt and bring their human instincts and resilience to the fore."
Our team has had its share of anxiety, illness and grief. The toll is only exacerbated by the fact we can’t reach out and touch those who most need it.
Yet this crisis has also shown the remarkable capacity for people to adapt and bring their human instincts and resilience to the fore.
The future museums face
Museums face an unimaginable future. Writing in mid-May, I hope the sector might reopen in time for the summer. But I don’t quite know how, nor whether people will come.
My own museum, the Thackray Museum of Medicine in Leeds, faces a double whammy as the lockdown started during a major refurbishment. Not only did we lose our trading income, but delay to the project means we have lost the opportunity of even an uncertain summer reopening. Government assistance, such as rates relief and furloughing, has helped us stay afloat, just.
Funders such as The National Lottery Heritage Fund and Arts Council England have been quick to provide emergency funding for those in the most need. But we know that it won’t be enough for everyone. Many museums will need to make difficult choices after coronavirus (COVID-19).
The value of independent museums
The irony is that independent museums will be needed more than ever post pandemic.
"Where better to make sense of what we have all been through than in a medical museum?"
People will need places in which to reconnect with relatives and friends. Families will need affordable destinations for previously cooped-up children to decompress. Where better to take your gran for her first cup of tea out? Where better to make sense of what we have all been through than in a medical museum?
The UK doesn’t have a national museum of medicine. Most of our medical museums are away from the bustle of the nationals, tucked in corners of medical associations and colleges or else independent charities like Thackray Museum. They don’t have the larger museums’ access to resources.
Yet these are the very times that people need to know that the Anaesthesia Heritage Centre, the George Marshall Medical Museum, the Florence Nightingale Museum, or the many others across the country, will continue to bear witness to this remarkable moment and to inspire the next generation of health heroes.
Galvanised by crisis
Even during the lockdown, the value of our sector has been proved.
Like many, we contributed to #MuseumFromHome. We have supported wellbeing through activities such as our Lorina Bulwer Sew-In and initiated coronavirus (COVID-19) collecting and co-curation initiatives, including a very hastily built Health Heroes microsite.

We made our car park free for NHS staff and hosted a food distribution point for frontline workers. We provided details of ventilator parts held in our collection to engineering companies to help make new ventilators. We worked round normally time-consuming and complex rules on disposal of museum objects to make useful kit available to the people who needed it.
"Those furloughed staff who could do so signed up as NHS volunteers while others found creative and daft ways to keep the team talking."
Those furloughed staff who could do so signed up as NHS volunteers while others found creative and daft ways to keep the team talking, laughing and even crying together, while apart.
Our trustees have been re-galvanised by the crisis, helping us to add coronavirus-related objects from the closing Nightingale Hospital and elsewhere to our museum collection, bringing both time and an enormous range of expertise to our cause. We have been in touch with other teams across the region to plan collecting strategies and digital engagement and sometimes, as in the case of Yorkshire Museum’s Curator Battles, just to be very silly indeed.

Preparing for a different future
Expectations have been (carefully) thrown out the window. And I've found that when freed from constraints of process, people’s deeper instincts and values have kicked in. That's why I’m optimistic about our capacity to meet the future. We don’t yet know quite what to expect, but we can have a good guess.
With fewer resources and audiences under pressure, our production costs will need to come down. More than ever, we will need to find ways to make every penny count, adding value and finding extra uses for everything we produce, from exhibitions to events.
"Museums that fail to reflect our collective recent experience on a human scale will seem aloof."
That will mean including more digital content in our projects and tailoring that content to a far greater range of communities’ needs, from training resources and apprenticeships, to advocacy tools, social prescribing opportunities and a whole host of other applications and re-uses that genuine collaboration will define.
Big, expensive, blockbuster projects are, I think, going to feel unworldly after the crisis. Museums that fail to reflect our collective recent experience on a human scale will seem aloof.
Sharing for the common good
I believe that, with museums struggling to survive, remaining resources need to be shared for common good. This is not simply for the museums themselves, but for public benefit too.
This presents a fantastic opportunity for independent museums.
We are more agile, less process-driven and less beholden to patronage than many larger museums. We can get ahead of the curve.
I see this happening in a number of ways:
- It could mean finding ways to share investment in projects across multiple organisations and sites, both physical and digital.
- Contracts could follow models like Integrated Project Insurance to share risk.
- We need to share operations too. Administration and HR could be more efficiently delivered through collaboration.
- We need to find better ways of pooling our trustees’ time and expertise – why not have shared boards overseeing multiple independent museums? Put aside technical preconceptions (and a few egos) and it makes sense.
For the past bunkered weeks, we’ve all been reduced to identical digital boxes on the screen. A virtual existence that encourages democracy.
Let’s not forget how easy it is to connect and work together when the sun comes out again.
About Nat Edwards
Nat Edwards is Chief Executive of the Thackray Museum of Medicine in Leeds, one of the UK’s largest independent medical museums.
Currently he is based in his daughter’s bedroom, both overseeing a £4million refurbishment of the museum and trying to get the virtual backgrounds on Zoom to work.
- Views expressed in the Future Heritage blog series are those of the authors, not necessarily of The National Lottery Heritage Fund.
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Returning to a changed heritage world

Ros Kerslake, CEO, The National Lottery Heritage Fund
Today is my second day back at work after abruptly having to put my life on hold in November 2019. Six months ago, out of the blue, I was diagnosed with Acute Myeloid Leukaemia.
But, if it is possible to be lucky when having cancer, I have been (so far). I had a speedy diagnosis, excellent medical care from all the NHS staff at The Royal Marsden, and successfully completed intensive treatment before the onset of the coronavirus (COVID-19). My thoughts are very much with those being diagnosed or in treatment right now.
"The world, the workplace, and the heritage sector that I am returning to, are, of course, not normal."
Thankfully, I am now cancer free and, despite having a lot less hair (which is, at least, practical during lockdown) I am more or less back to normal.
But the world, the workplace, and the heritage sector that I am returning to, are, of course, not normal.
Facing the crisis
This is the biggest crisis I have seen in my lifetime. I’m very proud of the way everyone at The Fund has mobilised to support people and organisations working in heritage across the UK.
Within days of moving all our 300 staff to home working, my team surveyed over 1,000 heritage organisations to understand the immediate impact of coronavirus (COVID-19). Using this evidence, we launched our Heritage Emergency Fund, offering emergency grants of between £3,000 and £50,000. We have already approved the first round of applications.
We increased our investment in digital skills for the sector, recognising how important digital expertise will be in a ‘social distancing’ world. And we firmly committed to supporting our existing grantees through this most difficult of times, providing them with greater flexibility on grant payments and making over £31m of grant payments in April.
Next phase of financial help
But we also recognise that some organisations, particularly independent heritage attractions that are highly dependent on visitor income, may have a higher level of financial need than our initial emergency funding can cover.
I’m pleased to announce therefore – as my first action since returning – a new strand to our Heritage Emergency Fund.
Within the current £50m Heritage Emergency Fund, we’re creating a new grant range of £50,000–£250,000. It will be open to past and current grantees.
This new strand will help us:
- respond to exceptional cases of larger-scale need
- protect heritage at severe immediate risk
- and, crucially, safeguard the heritage that can play a key role in the UK’s economic and community regeneration from the impacts of coronavirus (COVID-19)
We are developing the detail for how to apply for these new grants in the coming week. We will actively communicate this when applications are open. In the meantime you can keep up to date with the latest information by following us on social media.
The future for heritage
The Heritage Emergency Fund will enable us to help those most in need in the immediate term. Our non-financial support, such as the additional investment in digital skills, will help many more organisations adapt to new ways of working and be better equipped to survive.
This crisis, however, brings new and unique challenges.
Even heritage organisations that have built successful income streams are vulnerable. The impact of the coronavirus (COVID-19) will be uneven – the consequences for some communities, regions and types of organisations will be far more significant than for others. And I recognise that despite all our efforts at the Heritage Fund, the difficult fact is that we will not have the resources to help everyone we would like to.
Some heritage organisations are going to have to rethink their future. Given the uncertainty we face, some may have to do so despite their own Herculean efforts even if they have received support from us.
"We are living through an extraordinary time, and neither we – nor our vital, creative sector – will look quite the same again."
We are living through an extraordinary time, and neither we – nor our vital, creative sector – will look quite the same again. But the fundamental importance of heritage in people’s lives, the contribution that it makes to people’s wellbeing, sense of self and of place, the need to protect it for future generations and its value as an employer and to the economy means we must all work together to achieve the best possible outcome.
So, beyond the immediate funding support we have already launched, I see our role at The Fund as supporting the heritage sector to work through how the future will be different. This must be a joint endeavour, and we will work with the widest group of partners and draw on different and new perspectives to reimagine the heritage sector in the future.
New views
To start this conversation, this month we are launching ‘Future Heritage’, a series of opinion pieces from a range of leaders across our sector. We hope these diverse views will stimulate new thinking, ideas and debate about the future of heritage in a world after coronavirus (COVID-19).
"All of us involved in heritage know – beyond its economic contribution – how critically important it is."
All of us involved in heritage know – beyond its economic contribution – how critically important it is. The benefits it delivers will be just as important as we look to the future, if not more so, but our sector will need to innovate and embrace new ways of working to thrive.
It is an unfamiliar landscape that I find myself returning to, but I'm very pleased that I’m back and able to contribute at a time when there’s so much that needs to be done.
Cancer makes you stop and reassess your life. I’ve come out the other end of it feeling that what we as a sector do, and the work of The Fund is more important than ever. Working with our stakeholders, our Board of Trustees, committee members and my team, I look forward to tackling the challenges ahead for the heritage community.
In the meantime, stay safe and look out for each other. I know how important it is to have the support of family and friends during these extraordinary times.
Nature restores hope for children disproportionately impacted by COVID-19

My School, My Planet worked with 49 school across the country from September to November 2020. It was delivered by Learning through Landscapes with a £275,000 grant from The National Lottery Heritage Fund.
The programme aimed to help children re-engage with learning after a significant period away from school during the coronavirus (COVID-19) lockdown and encourage a greater connection to their natural heritage.
“Time spent outdoors can improve the physical and mental health of our most disadvantaged children, as well as helping increase their knowledge and giving them a sense of ownership over their planet.”
Carley Sefton, CEO at Learning through Landscapes

How nature helps
An evaluation of the pilot programme found:
- Increases in children’s knowledge of the programme’s three core subjects. Children correctly answering a majority of test questions improved for biodiversity (from 40% to 65%), climate change (from 30% to 58%) and soil (from 7% to 31%).
- A 36% increase in participants’ frequency of physical activity by the end of the programme. In one school, the trainer reported children covering several miles a day for My School, My Planet.
- Positive shifts in children’s wellbeing, including students reported to be “very motivated” on days that involved My School, My Planet.
“It is a birth right that all people should have access to nature. I find it heart-breaking that some of the most vulnerable children in our communities are once again missing out."
Carley Sefton, CEO at Learning through Landscapes
The 1,029 children who participated in the programme ranged in age from six to 13 years old (the average age was nine). They self-identified from 47 different ethnic backgrounds, and over a third were eligible for Free School Meals (more than double the national average). In one school, of the 29 children taking part, only five reported going outside most days during the six months that they were off school.
Carley Sefton, CEO at Learning through Landscapes, said: “It is a birth right that all people should have access to nature. I find it heart-breaking that some of the most vulnerable children in our communities are once again missing out.
“The My School, My Planet evaluation shows that dedicated outdoor learning programmes can redress the balance, that time spent outdoors can improve the physical and mental health of our most disadvantaged children, as well as helping increase their knowledge and giving them a sense of ownership over their planet.”
My School, My Planet helped the children link their learning about local biodiversity and migratory species to the countries their families had come from. Children learned that birds they spotted during the project spent part of the year in places such as Morocco and Somalia.
They also discussed how the biodiversity of their local area compared to the places their families had originated from. The My School, My Planet trainer supported these discussions by bringing in a large map of the world, which the children annotated to share their heritage.
A trainer from Ark Bentworth said: “What I saw between the first week and the last week was people building a pride in place, a pride of where their school was and what they were doing with it, but also a pride in the places their families come from.
"I had one boy say 'Miss, Miss! Did you know there’s been a mouse just found in Somalia that hasn’t been seen for 50 years?' I don’t think he would have shared that as a thing to be proud of from Somalia without My School, My Planet.”
Children worked with a My School, My Planet trainer to revitalise a raised garden bed and replant it with herbs. The trainer taught children how to separate and transplant the herbs into the bed and how to look after them.
This understanding of the link between the natural world and the food they ate was further reinforced by children planting vegetables and then using them to make soup or stew in home economics classes.
My School, My Planet also gave children opportunities to spend time outdoors with their peers, which had a number of benefits, including increased physical activity, and improvements in their ability to work together.
A trainer at Craigmarloch said: “Their teamwork and working together on a physical activity was really good. It did improve drastically. It didn't matter what the weather was like, they were up for it. They wanted to go on with it. And they were literally like spring lambs and they were leaping into the garden.”

Alternative ways to learn
The My School, My Planet evaluation – conducted by The Centre for Education and Youth and published today (25 February) – offers insights that could be effective in supporting pupils when they return to schools on 8 March in England.
Sian Riddell, a teacher at the participating Balderstone Primary School in Blackburn, said: “When we returned to school after lockdown in September 2020, we could have all easily got distracted by catch up lessons. My School, My Planet helped us to prioritise the children’s emotional and mental health and wellbeing by getting outside and immersing ourselves in nature.”
Ros Kerslake, Chief Executive at The National Lottery Heritage Fund, said: “We chose to support this innovative and inspiring project because of the way it uses the outdoors to engage pupils with nature and climate change in a very real way. Outdoor learning is a brilliant way to help children get back in to an educational setting after so much time away from the classroom and staring at screens.
“It is critical that all children are taught the value of nature all around us and understand the impact of climate change so that all have a say in the future our of planet.”
Our commitment
We want all our projects to do their very best to help mitigate against, and adapt to, the effects of our changing climate and to help nature recover.
In 2021-22, our National Lottery Grants for Heritage – which reopened for applications at all levels earlier this month – are prioritising applicants that demonstrate they are environmentally responsible and are integrating environmental measures into their projects.
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Kick the Dust Norfolk Journeys: helping young people into work

participants in Kick the Dust Norfolk Journeys, Renaisi and the Centre for Youth Impact
Page last updated: 5 July 2022
Lockdown has been tough for many young people, both socially and in terms of education and career development. The number of young people in employment remains lower than before the pandemic, despite unemployment returning to pre-pandemic levels.
Kick the Dust Norfolk Journeys is seeking to address this by helping young people to get involved in heritage-themed work experience, volunteering opportunities and creative projects.
An opportunity to build workplace skills
The Western Area Kick the Dust Work Experience programme brings 14-25 year olds together with staff at Stories of Lynn Museum in King's Lynn. Here, young people are supported to build workplace skills they would like to focus on - such as public speaking, curation, or writing for a professional audience.
The 13-week programme works closely with local schools and other partners to support those with additional health and learning needs, as well as those experiencing disruption in their lives.

Since its launch in 2020, the programme has been a hit with young people, with all cohorts being filled, and some additional sessions being offered to meet demand.
Young people interact with staff from all areas of the museum, the local council and Norfolk Museums Service. Activities are tailored to the skills that each cohort would like to develop, and the young people regularly record and reflect on their progress.
Hands-on experience
In the 'Museum in a Jar' project, young people were given the chance to plan, curate and publicise their own exhibition. They were teamed up with a professional curator and the museum’s communications department, who helped them share the exhibition on social media.
Another project, ‘Deal Justly With All’, saw young people select objects for an exhibition focused on poverty and homelessness in the local area. This group engaged the local mayor, which helped them gain skills in writing for a professional audience.
As part of the programme, young people were offered mock interviews, so they could reflect on their achievements and learn how to talk about them in a professional context.

Securing employment
Five of the participants went on to secure their first jobs after their placements, including roles in a museum, local councils and a care home. Skills developed included:
- design
- marketing
- professional writing
- object curation
- teamwork
They also gained an understanding of the heritage sector and their local area.
Boosting skills and confidence
One young participant said: “[It’s] a bit of a surreal feeling to know that I’ve helped contribute to something meaningful and important for people to think about. I had previously thought projects such as an online exhibition were out of my reach and only when I became an experienced professional would I ever be able to work and create one.’’
The biggest impact that Kick The Dust has had on me over the last few months has been my massive boost in confidence! I have taken opportunities that I would normally be too scared to even think about.
Young participant with mental health challenges
A participant with mental health challenges said: “Since joining the Kick The Dust team in December 2020, I have been offered endless opportunities and gained long lasting skills and contacts.
“The biggest impact that Kick The Dust has had on me over the last few months has been my massive boost in confidence! I have taken opportunities that I would normally be too scared to even think about.”
Another said: “Now, about five months into my journey with them, I have a Kickstart placement with the arts organisation, Collusion!
“[Kick The Dust] are my creative support group that have helped me through this difficult time and inspire me every day to keep taking as many opportunities as I can handle.”
Find out more
These resources provide further information on supporting skills development for young people:
- Page 25 of Youth Work Curriculum reflects on how youth provision can support skills development
- A Framework of Outcomes for Young People 2.0 has information on how skills development, specifically related to social and emotional learning, can support outcomes for young people
- The Listening Fund Reports for England and Scotland share learning and recommendations for designing and delivering effective listening practices
About the authors
This is one of a series of blogs about Kick the Dust, a programme of 12 large-scale projects which are making heritage relevant to the lives of young people aged 11-25.
Renaisi is a social enterprise that has been helping people and places to thrive for more than 20 years. Renaisi is responsible for the Kick the Dust programme-level evaluation.
The Centre for Youth Impact brings together practitioners, funders and policy makers to improve services and support for young people across the UK. The Centre brings a youth sector perspective to the evaluation of Kick the Dust.
Kick the Dust Norfolk Journeys is a Norfolk-based programme that empowers young people to get more involved in local heritage.
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A missing voice - the young person in the museum

Niamh Kelly, Digital Maker Club participant
I have thought a lot about where and how there can be a space for young people in museums.
As part of the Digital Maker Club, supported by The National Lottery Heritage Fund's Kick the Dust programme, a group of young people (including me) were brought into the Ulster Museum and over several weeks, we learned how to use a range of digital technologies.
Alongside this, we were encouraged to interact with museum collections and we met with curators. This meant that we were able to digitally create something in response to our own national heritage.
By the end of the project, we had enough creations to host an exhibition.
Telling a new story of The Troubles
I was inspired by one of the main exhibitions in the Ulster Museum, about The Troubles. The exhibition's curator, Karen Logan, encouraged us to explore and discuss the collection.
One of its strengths was that it was able to include multiple narratives, not only those of Unionists and Nationalists, in telling social history, like the first Pride festival in Belfast and women's writing groups. However, there did seem to be a missing voice - that of the young person.

I identified the gap of young voices and that the exhibition didn't connect the history of The Troubles to the subsequent social and political landscape of Northern Ireland today. I felt that if a tourist visited this exhibition, they would not grasp the aftermath of The Troubles and what that means for Northern Ireland at present.
The project gave me the opportunity to try and create a space for this missing voice. So I decided to exhibit a series on what the main issues were facing young people in Northern Ireland today.

Sabi, a friend I met on the project, took stunning, abstract photos from around Belfast and I interviewed young people from a range of different backgrounds. Their answers illuminated and lamented issues such as:
- mental health problems
- the oppression of LGBT+ rights and women's reproductive rights
- Brexit
- segregated schooling
- the absence of our government and how Green and Orange politics continue to hold us back
Tech can help revolutionise the museum
From my experience and observing others on the project, I think that, as well as being able to bring young people into the museum, technology provides a new way for them to think about their place in it.
Technology can offer a new paradigm.
The museum is (or should be) an inherently interactive space (with or without tech) but using interactive technology reminds us of this. Being given technological tools to create something as a response to the collections energised me to respond to it thoughtfully, creatively, critically.

I didn't necessarily need tech to make my part of the exhibition, but being part of the Digital Maker Club and having my ideas listened to, encouraged and facilitated, inspired me to do so.
It is through interaction that the visitor makes meaning from objects and collections. The museum should not merely be a system of knowledge which we can passively accept meaning from. Introducing technology can help revolutionise the way we see the museum, kicking the dust from our perceptions of an old, hierarchical system of acquiring knowledge.
I think that it is this outlook, as much as the technology itself, which has the potential to draw young people in to the museum and make it an inclusive, engaging space.
Find out more
Niamh has written a longer blog on the Reimagine Remake Replay website.
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Helping all young people get hands on with nature

London Wildlife Trust’s Keeping it Wild programme helps young people aged 11-25 gain skills for life while conserving the city's wild spaces.
Trainees undertake three-month paid internships at a London Wildlife Trust site. They have the chance to join the Youth Forum, which advises the Trust’s board on how to really embed youth engagement. It plays a vital role in planning, managing and evaluating the project so that it meets the needs of young people.

We visited Sydenham Hill Wood, south London, on a Wild Action Day. Despite heavy rain, the dedicated trainees showed their passion for conservation by sticking out the day until its waterlogged end.
Trainee Jess said she thought the programme was about: “increasing opportunities for young people who may not have had the chance to experience the natural sector. It’s not the most diverse and many people think it’s not for them.”
Using nature for wellbeing
The day was guided by The Wheel of Wellbeing. Developed by the South London and Maudsley NHS Foundation Trust, The Wheel of Wellbeing offers practical tips to improve your wellbeing by considering Body, Mind, Spirit, People, Place and Planet.
Find out more on the Wheel of Wellbeing website.
Body
"Be active... Your body is designed to move. Physical activities can positively influence the way you think, feel and function."

We met Lee as he sawed through fallen branches to be used as path edges. He told us: "I never had the breaks, I left school with few qualifications. But this has really been a great opportunity, it is great what they are doing across London.”
Mind
"Keep learning... Studies are showing that life-long learners are some of the healthiest, happiest people around."

While removing duckweed from the pond, we scooped up a discarded dragonfly nymph shell . We learned that both dragonfly nymphs and dragonflies are carnivorous - the nymph's prey-crunching jaw was the inspiration for the Alien films!
Spirit
"Give... Practicing random acts of kindness, volunteering time, or simply saying ‘thank you’ all work wonders for your wellbeing."

Here's Chantelle laying new path edges using fallen branches, fastening them with axe-whittled stakes and wire. We found out that following on from her time with Keeping it Wild, she is about to start a new job as project officer for the Great North Wood Project at London Wildlife Trust.
People
"Connect... Close relationships with friends and family can add up to seven years to our lives. So plan a get-together to connect more with the people around you."

A crackling camp fire had two benefits: cooking homemade calzone pizzas and drying everyone off! The team gathered around for a chat over a much-needed hot drink.
Planet
"Care... Keeping our planet in tip-top shape is the best recipe for world wellbeing. Small positive changes can make a big difference."

We met Calum clearing duckweed from the wood’s Dewy Pond so that oxygen can reach the life below. The release of sulphuric acid generated a questionable odour, but Calum said: “I’d rather be here in the rain with a funky smell than be on my sofa at home." The traineeship solidified his passion for nature, and he’ll soon be studying British Wildlife Conservation at Gloucester University.
Place
"Take notice... Noticing nature helps us press the pause button. It reduces the stress of our 21st-century ‘hurry-worry’ lives."

Ishmael’s interest in mindfulness lead the team to ask if he could lead an exercise to finish off the day. He told us that mindfulness can combat “unnecessary rumination and unhelpful thoughts, so you can stay more in the present. The sounds and sensations can be more nuanced in nature."
He encouraged fellow trainees to “shut your eyes, distinguish five sounds: this could be the rain coming down, the birds, the breeze occasionally rolling past."
We're feeling better already...
About the project
Keeping It Wild is part of the National Lottery-funded Kick the Dust programme, a series of 12 projects across the UK which are putting young people at the heart of heritage.
London Wildlife Trust is leading on the programme with support and expertise from:
- London Youth
- Headliners (UK)
- John Muir Trust
Funding for natural heritage and projects that involve a wider range of people are both priorities for The National Lottery Heritage Fund. Find out more about what we want your project to achieve.
Ways to meaningfully involve young people in heritage

A blog by Rosie Gibson, The National Lottery Heritage Fund Social Media Manager
Making heritage relevant to more – and more diverse – young people, is important to The National Lottery Hertiage Fund. That's why we set up Kick the Dust, a £10million pilot programme to explore new ways of working with young people.
In summer 2019, we held a workshop to gather the ideas learned so far from organisations that received funding.

Top tips on involving young people in heritage
- Organisations may find it useful to think about who makes decisions internally – and consider how young people can be involved in those decisions.
- Work out who in your organisation might be enthusiastic about your project and want to help.
- Think about how to create safe discussion spaces for young people.
- A trustee or CEO could meet and discuss ideas with the young people at their meetings, rather than the young person having to attend a trustee meeting – which could be intimidating.
- Consider having training for staff, and CEO briefings run by young people about young people.
- Young people need different routes of progression within your organisation.
- Young people can inform adults too; it’s a two-way relationship.
- Think about time commitments: young people have complex and busy lives and may not want to be involved all the time – or at all.
- Don’t impose your own agenda, stay flexible and exploratory.
- Question your assumptions and the language you use.
- Evaluate internal structures. For example, if you want to involve young people in a board meeting, holding it at 2pm might not be the best time if they have school, college or work.
- Consider leadership and life skills guidance for young people as part of the project.
Learning from case studies
Every project that attended the workshop brought along an object that represented an activity or method they have successfully used to engage young people.
Norfolk Museums Service Norfolk Journeys project: clay sculpture
They said: “We’ve been working with young people involved in the criminal justice system on a project about mark making, creating marks and thinking about the marks we leave on society.
"We have found that young people want to engage with the project, but don’t always know how.”
Don’t Settle project: image of young people on visit to Migration Museum

They said: “We are looking at neglected narratives of cultures and have been setting up a youth committee. We have been thinking about the question: ‘what do young people of colour bring to the board room?'”.
Ignite Yorkshire: logo, newly designed with young people

“Young people wrote the brief and mission statement. It’s important that co-creation is authentic and genuine.”
The Y, Leicester: paper money
“We found that some young people were interested in money, so we gave them their own budget. Young people commissioned their own project, and heritage organisations presented ideas to them 'Dragon’s Den' style.”
Find out more
You can read more about the scheme in our Kick The Dust Evaluation.
Boost for youth heritage thanks to £7million government investment

The additional funding is part of a new £7m Youth Accelerator Fund from the Department of Digital, Culture, Media & Sport.
The Youth Accelerator Fund has been set up to address urgent needs in the youth sector, and to expand existing projects at The National Lottery Heritage Fund, Sport England, Arts Council England and the British Film Institute.
"This fantastic additional investment will build on the already strong partnerships that are flourishing through our Kick The Dust programme."
Eilish McGuinness, Executive Director, Business Delivery at The National Lottery Heritage Fund
Nicky Morgan, Secretary of State for Digital, Culture, Media & Sport said: "I'm thrilled this funding will allow even more young people across the country to participate in fantastic activities, whether at their local youth centre or through sport, arts, film and heritage organisations.
"If we wish to get the best out of all the great talent in our country it is vital that we offer the next generation opportunities to build character and resilience, not just in school but outside the school day."
Eilish McGuinness, Executive Director, Business Delivery at The National Lottery Heritage Fund, said: "This fantastic additional investment will build on the already strong partnerships that are flourishing through our Kick The Dust programme. The collaboration we're seeing through the Youth Accelerator Fund shows a really joined-up approach across all the activities that, together, we know young people can benefit from."
How the funding is distributed
The funding will be distributed as follows:
- The National Lottery Heritage Fund: £1.27m to invest additional funding into Kick the Dust.
- Sport England: £1.32 million to expand grassroots programmes and offer extra-curricular sport to young people in deprived areas.
- Arts Council England: £500,000 to expand their Youth Music programme.
- British Film Institute: £155,000 to expand the weekly BFI Saturday Clubs to more areas of the country
Also:
UK Youth, the membership organisation for youth clubs in the UK, will distribute £1.15m to run a small grants programme to deliver extra sessions in youth clubs and youth groups across England.
Additionally, over £2m of the funding will go towards setting up new Local Partnerships across the country, designed to effectively coordinate and sustain local youth activities.
The Youth Investment Fund will cost £500m over five years. It consists equally of £250m capital and £250m resource spending. It is expected to attract match funding from private, local authority and civil society sources.
Kick the Dust
Kick the Dust is a £10m investment to make heritage relevant to young people aged 11-25. There are 12 large-scale projects currently running across the UK.
To mark its second year, we will be running a series of features on our learnings so far, sharing ideas on ways to involve young people in heritage.
You might also be interested in...
Podcasts: how the heritage sector is embracing the trend

The London & South branch of The National Lottery Heritage Fund supports hundreds of heritage projects, from museums and places of worship to parks and arts and community centres.
Despite being closed due to the pandemic restrictions, our grantees have shown a resilient spirit and quickly reshaped live exhibitions and in-person activities into digital alternatives such as podcasts to foster engagement and keep delivering their projects.
Inspired listening
Here are some of our favourite and most inspirational podcasts:
PECo Theatre in Bristol created City of Threads, a new 12-part immersive podcast series. Put together by a team of visually impaired and sighted artists and participants, City of Threads takes listeners on an exciting journey across Bristol through the perspectives of its visually impaired citizens. All of a sudden, the city is transformed into a place of sensory delights, navigational intricacies, challenges and shared discoveries.

The new podcast series by Bentley Priory Museum, Defending Britain from Nazi & Nuclear Threat, unveils the exciting stories of a top-secret Battle of Britain and Cold War bunker as well as its vital role for the RAF. It includes inspiring oral histories from the Royal Air Force, Women’s Auxiliary Air Force and the Royal Observer Corps personnel who played key roles in the operation at Bentley Priory’s bunker.
Foundling: Found is a podcast series created by Julian Brown, a 20-year-old care leaver, in partnership with the UK’s oldest children’s charity: Coram. It features the emotional stories of children in care from 1739 up to the present day.
Doorstep Arts, a non-profit organisation based in South Devon’s Torbay, organised a 'Cabbage Rebellion' last summer to provide its young participants with a creative outlet and a sense of community in times of adversity.
Inspired by ‘absent or silent protests’ from history, including those of the Paignton cabbage farmers, a group of 11 to 20-year-olds dressed as cabbage farmers took to the streets of Torbay to hand out cabbage seeds, dance and play music. History Repeats is the original concept album and podcast series telling their story.

Music enthusiasts will love Making Tracks ‒ a podcast and music-making project from Bristol Trinity Community Arts in partnership with academic, museum and youth partners from across the city. The project narrates the history of local community activism between 1918 and 2018.
To support the restoration of the memorial Hunter organ at St Mellitus Church in London, St Mellitus Organ Podtours are designed to be downloaded and taken on location as a guided walk ‒ the perfect accompaniment to daily lockdown walks!
The tour focuses on the musical heritage of three significant communities in the Finsbury Park and Stroud Green area: African-Caribbean, Greek Cypriot and Irish. It takes listeners on an exciting musical journey from a piano factory and a former music hall all the way to the studios belonging to the oldest independent record label in the world.
Find out more
Since 1994 we have awarded over £3bn to more than 13,000 projects in London & South.
To stay updated about this and other news of our London & South funding:
- Sign up to our newsletter and select the ‘London & South’ box
- Keep an eye on our dedicated London & South web page
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