Our distorted society needs our museums

2017.01.19 Simon Brown

Many of us have watched horrified as the standard of public discourse has rapidly descended in recent years.

It would be naïve to assume that powerful people in public institutions have never lied. But there has been a clear shift to a more brazen, arrogant and shameless language. The language and actions of powerful decision makers are moving away from truth, and towards emotional manipulation. They seek to engage through emotional connection, rather than logic, analysis and fairness.

Public conversations are increasingly hijacked by political figures. Not to engage with the issue, but to galvanise support from those who already agree with them. An entire industry of opinion has been enabled by this behaviour. Opinion writers produce deliberately inflammatory pieces, to get an emotional reaction and the publicity that comes with it. National newspapers including the Sun and the Telegraph are printing pieces with openly racist, discriminatory language. Racist, discriminatory political figures can then cite these words as public opinion.

We are all able to list countless examples of this. It is arrogant, self-serving behaviour by the very people whose job it is to serve the public.

Public figures seek to distort science and history, in order to legitimise their actions. Modern fascists such as Tommy Robinson feel able to speak to crowds of supporters, directly in front of the cenotaph. Climate change deniers are sufficiently emboldened to publicly criticise schoolchildren for protesting about inaction on climate breakdown.

This behaviour matters. It influences public opinion. It leads to selfish and short-sighted action in our leaders.

One of the great privileges of working in museums is that we are public servants. Everything we do is for the benefit of the public. As trust in other public bodies collapses, museums remain among the most trusted institutions in the country.

We can and must be part of the solution. Museums represent public life in the past, the present and the future in all its glorious, grubby multiplicity. Museums show that nothing that matters is simple, and life is all the more beautiful for it. Museums are public spaces to engage with the things that affect all of us, with openness, depth and rigour.

You cannot deny the existence of dinosaurs when you are in the presence of one in a museum. You cannot deny the huge depth and scope of the transatlantic slave trade when presented with its enduring legacy in a museum. You cannot deny the deeply dangerous and destructive consequences of fascism when confronted with it in a museum.

Museums are already engaging with the issues that public figures are seeking to distort. Manchester Museum’s display of a life jacket used on a refugee travel route is a way of discussing the refugee crisis. The National Trust, the Museums Association and others being a visible presence at Pride shows to people who feel threatened by abuse that they are not forgotten in our museums. Leeds City Museum’s collecting of migration stories counters the toxic dominant narratives on migration. Museums all over the country are prioritising programmes that make their spaces open, accessible and welcome to all. They are showing how public space can, and should be, administered for the public benefit.

We spend a lot of our time worrying about the practicalities. About funding, maintenance, leaking roofs. But we are only fulfilling our purpose as public servants by remaining relevant and trusted. We are in the privileged position to be a positive voice in public discourse. We must continue to surpass our own expectations- it is as vital now as it has ever been. 

Simon Brown is a curator at Newstead Abbey and the National Justice Museum, both in Nottingham. He is also a board member of the Museums Association.



Our recent blog by Rebecca Morris-Buck on leaving the museums sector caused a real stir with many of you. Danie Hadley, Events and Visitor Programmes Officer at Norfolk Museums Service, responds from her own experience.

You can follow Danie on Twitter at @ThinkExhibit

Rebecca’s blog on why she left the museum sector resonated so much with me – as I’m sure it did with many current and ‘recovering’ (I love this) museum professionals. Low pay, huge workloads, exhuastion, pessimism, exploitation, temporary contracts, and trying to squeeze the demands of two, three, four jobs and projects into your brain at one time – I felt all that too. I never actually intended to leave the sector though. At the same time as the rental contract for my flat coming to an end, the freelance work that was an instrumental part of my income ended. It was farewell London for me.

Outside of the hubbub that is the capital’s arts and heritage sector, I struggled to find work to ‘suit’ my skillset and experience. I had zero idea of where to look for alternatives – where would my seemingly ‘unusual’ skillset fit outside of the museum world? I struggled to know how to translate the last five years of my career.

The opportunity to join a school in an events capacity came along at the right time – after a long job search I had lost all confidence. In this new role, I was able to continue engaging with young people, was responsible for an amazing careers-focussed programme and for the first time in my career enjoyed working in one, full-time, permanent role (with no weekend working!)

Looking back, I realise that it shouldn’t have taken the ‘perfect storm’ of disaster to encourage me to take a step back and review the way in which I was living and working. I was working Monday right through to Saturday, and often Sunday too, in three different jobs – as a freelance educator, a project lead and a Learning Officer. I spent four of those years also working at a bar until the early hours of the morning, before getting up to go to my museum job the next day, just to keep afloat financially.

The tumultuous change and the decision to leave London was a blessing in disguise. I discovered what it was to have a stable income, to book holidays and make travel plans. To let go at 4pm on a Friday and to know that the weekend was mine. My break from museums was a welcome lesson in wellbeing and self-care. I would echo Rebecca’s words: there are other roles you can be happy in, don’t be afraid to step off the carousel, give yourself a break, don’t feel trapped.

Working on a term-time basis at the school allowed me the time to do occasional freelance work with my local museum in the school holidays. After a few shifts over the Easter break, I wanted back in, full time. I now find myself working on museum visitor programmes again and I love it.

More and more voices are being added to the discourse on the heritage sector’s poor practices – people are speaking up on pay, workload and contracts, and are challenging the restrictive routes into museum jobs. We’re calling out unhealthy museum behaviour and I hope that more of us are prioritising our wellbeing as individuals first. There’s still much to be done though. I’d like to explore how the skills developed in the course of a heritage career can translate to other sectors – we should know the true value of our experience and be confident in the transferable nature of our skills. It should be easy to hop in and hop out of museum working – without the fear getting left behind. Experience gained outside of the sector should also be recognised as valuable, if you decide to come back into it.

I’ll always be grateful for the breathing space that my ‘accidental’ break from the sector afforded me. This time out gave me clarity – it is possible for me to find happy, fulfilling and balanced work outside of museums. I am just not done with them yet.

Change at the Top


Katie Ann Smith, Independent Consultant across the Museum and Heritage sector responds to Simon Brown’s post ‘Inching Towards Equality’.

My brilliant colleague Simon Brown published a provocation ‘Inching Towards Equality’ last month which outlined the excellent work taking place across the sector to try and create more balanced, open and accessible organisations.

I do a large amount of work in the access world, and often get asked how we can make equality and diversity an organisational priority.  My response is always the same, we need to move away from tokenism, and start to embrace and embed this at the core of how organisations work – this, in my opinion means at Trustee and senior leadership level.

Whilst I’m not saying that it isn’t brilliant that Arts Council England put diversity as a key pillar of their NPO programme, and there is no doubt that there are organisations doing great work in this area, I worry that without the drive for workforce development and diversity any change will be slow and incremental, always sitting on the periphery rather than at the heart of the arts.

Let’s think about diversifying our thinking as I call on those of you who are on Boards and in senior leadership roles to start thinking differently about who and how you bring people into your senior teams.

Driving forward a vision to create an equal and diverse workforce will no doubt make our sector more relevant, creative, resilient and engaging for all, so go forth and embrace the change!


Inching towards equality


Simon Brown, curator at Newstead Abbey and the National Justice Museum in Nottingham, has been thinking about the direction of the museums sector.

In a recent job interview I was asked to describe the current ‘trends’ in the museums sector. It was an odd and unexpected question, but I understand why it was asked.

In considering my answer I realised that a massive part of the current conversation can be filed under one word: equality.

It was something my mind was drawn back to last month, as I attended a symposium at the V&A about the concept of ‘decolonising’ museums. There were plentiful case studies of individuals driving their institutions towards addressing difficult subjects around race and the legacy of the British Empire.

There are numerous other projects on equality that have been implemented and discussed in the past 18 months or so. The National Trust’s Prejudice and Pride programme saw a deeply traditional, conservative organisation embrace the opportunity to celebrate the 50th anniversary of the partial legalisation of homosexuality. The Past is Now exhibition at Birmingham Museum and Art Gallery explored Birmingham’s relationship with the British Empire and its continuing legacy- it was fascinating as much because of the process of its development than the brilliant exhibition itself.

Shape Arts continue to develop a huge programme of work supporting access to culture for disabled people- the annual Adam Reynolds Memorial bursary will next year include a residency at BALTIC in Newcastle. At an even higher scale, Arts Council England have made the Creative Case for Diversity a central pillar of their National Portfolio Organisation framework.

These are large scale examples, but are being replicated at different levels all over the country. The unveiling of Gillian Wearing’s statue of Millicent Fawcett on Parliament Square, in this year of the centenary of the Representation of the People Act, felt hugely significant. The statue always seems to be surrounded by people waiting for photographs next to it, and is one of dozens upon dozens of projects celebrating the anniversary all over the country. That the continually inspirational Glasgow Women’s Library came so close to winning such an establishment-minded prize as Museum of the Year is another acknowledgment of the value of work towards equality.

I never imagined I would be stood in a queue at a conference, among other white men in suits, waiting to have my nails painted by a trans activist. Yet that is what I experienced at last year’s MA conference in Manchester. Just the opportunity to spend five minutes with inspirational people like Charlie Craggs put me in the company of someone whose experiences I have little personal comparison to. Opportunities like that are why I visit museums in the first place.

All of these projects, and many similar ones on small and large scales all over the country, have all had a similar aim- to make our institutions more open and equal for all. Not only in terms of the workforce, but ultimately for the public.

I came to understand in that moment that this work is a huge part of why I – and many others – am in this sector. When I was growing up, I never felt that museums were for people like me. Museums and art were simply never on my radar, in just the same way as ballet or golf. It took the extraordinary opportunity to go to university, and move to a different city, for me to feel confident enough to even try setting foot in one. If this white, straight, deeply conventional bloke can feel that way, then what about everyone else?

A lot of this work has been spoken about for a long, long time. It could easily be me being naïve, but I feel that we’re pushing forward. Many conversations around equality in museums five years ago spoke about intentions– now we are speaking about case studies. We have examples of successful projects that have tip-toed national institutions towards being properly representative of society. This is progress. Small progress, but progress nonetheless.

This should be celebrated, but it is far more important to see this progress as a catalyst to move further forward. I hate to think of such a fundamental issue being a ‘trend’ – but those of us who are gaining positions of responsibility can keep moving beyond that, to push the sector further towards equality.


We’ve launched a podcast!

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We’ve launched a podcast!

Culture Now is a community of mid-career museum professionals who want to challenge established thinking and provide platforms for discussion and debate on the major museum issues of the day.

The podcast is full of shared experiences and questions and is for anyone who feels ’emerged’ in their career but not quite ready for that Director of the British Museum job just yet.

First Episode – What is a mid-career museum professional anyway?

In this first episode co-hosts Sarah and Simon explore what it actually means to be a mid-career museum professional and share what they believe are some of the main issues which go with that badge.

You can download the podcast through spotify, iTunes or your favourite podcast app, or you can simply click the link below to listen:

LISTEN NOW: Culture Now – What is a mid-career museum professional anyway? By Sarah Hartshorne and Simon Brown.

Get involved:

We’d love to hear your thoughts. Do you agree with the episode? Do you have experiences you’d like to share? Please share these via email at or DM us on twitter @_CultureNow

In the next episode we’ll be discussing some of the issues we face in our mid-career. Keep your eyes peeled and let us know what you think!



Rebecca Morris-Buck b&w

Rebecca Morris-Buck, Alumni Relations Co-ordinator at Nottingham Trent University, describes her motivations for moving to a new career outside of the museums sector.

‘Recovering museum professional’ is how I describe myself on my Twitter bio, six months since I actually worked in a museum. Working in a museum isn’t just a job, it’s more definitive than that, somehow. It makes it hard to let go.

I never imagined I’d need to let go. My museum career began front of house, in costume. I moved into education delivery, then education project management, then volunteer coordination and community participation. A career trajectory of nearly a decade in which I discovered that my motivation was engaging people. At a heritage conference I heard John Orna-Ornstein say he believed that museums are more about people than things, and he seemed to speak to my soul. In an ideal world, I’d have remained in FOH where engagement is real and every day. But we all have bills to pay.

I took my passion with me from FOH – I wanted to invite people in, connect with them, give them the space to connect with each other. I love history and heritage with all of my heart and I’ve long been an evangelist for the power of heritage sites and museums to move people, to tell stories, to provoke reflection. I wanted so badly for that to be the essence of my work life, forever.

But those bills still needed paying. And something else had happened too. I was tired. I found myself describing the sector as ‘abusive’ – strong language I didn’t use lightly as a survivor of domestic abuse. I felt as though my passion was being exploited, that what I loved also kept me trapped. My income came from HLF – in the form of fixed term contracts. In the end, I was working in two entirely different museums, in two quite different roles, in two part time, fixed term, jobs with demands I’d have struggled to fit into a full time week, some weeks. I loved the museums and the projects. But I was so very tired.

And tiredness wore away the passion. At that point I began to see the faults with the sector I loved. Primary amongst them was the tendency towards navel-gazing. In my roles, we talked about engagement, participation and diversity a lot. But we were mostly talking amongst ourselves. Once, I was on a panel discussion about audience diversification when a question was asked related to the museum workforce being mostly female. We then spent the rest of the session fixated on this, rather than the audiences we were meant to be discussing. It’s a conversation that needs to be had, for sure, but audiences are the lifeblood of museums and how to engage them, to me, needed to be higher on the agenda than discussing our own profession – again. In heritage, I felt, I was increasingly stuck in a bubble full of good intentions.

I was also entering mid-career without an MA and with no available time or financial cushion to study for one. So many conversations with new museum contacts would include ‘where did you do your MA?’ that it was difficult not to feel like it impeded my career progress. Part-time, fixed contract project jobs also offer less CPD opportunities, with organisations less committed to staff who will be leaving, taking any support towards an AMA or similar off the table.

In the end, I was too tired and too poor. My passion was eroded to nothing. So I took my transferable skills, and my network, and got a job in alumni relations in a university. All jobs have their frustrations, but I am carrying less weight, I am less tired.

I’ve stopped looking for jobs in museums now, stepped outside of the bubble. And I feel relieved. I miss heritage and I’m still a believer in its power. Outside of my day job, I’m a freelance writer, and I hope to stay connected with museums by crafting the words they need to tell their stories, when they need an extra wordsmith. But I don’t think I’ll work in the sector directly again. Sometimes you have to know when to let go.

If I do return, I will do it in full knowledge of what I am taking on and that taking a side-step, a break, is not the end of the world. My museum jobs were not good for me, mentally or physically. The transferable skills they gave me opened up other doors. And walking through those doors was the best thing I could have done.

Museum friends: you don’t have to be heroes. Sometimes, we have to admit defeat. We all know of the people who work 12 hours a day for virtually no money and volunteer at another museum on the side because they’re so dedicated to heritage. But, honestly, there are other roles you can be happy in, when you need to take a break. Perhaps you’ll return, refreshed. Perhaps you won’t and life will lead you in another direction. But don’t feel trapped. Don’t only look at museum jobs.

You won’t lose your museum friends. You can join in on Museum Hour on Twitter, you can attend heritage events, you can join your local Heritage Forum, you can stay part of the conversation – taking a break doesn’t cut you off. Don’t let your passion burn out, don’t be worn away to nothing.

Curate and conserve your own life as if you’re an object in your museum’s collection. You deserve that level of care.

Looking Back to Look Forward: Breaking down the barriers to diversification


Alex Bird, Museum Development Officer: Workforce and Skills for Museum Development North West, reflects on the impact of internships on the sector.

The first job I applied for after finishing my GCSE’s many moons ago was an entry-level one, and I still remember the response: “You do not have the necessary experience for the role.” I was absolutely gutted. My brother worked there at the time and he loved it, but after speaking to those recruiting it became obvious that at the time, to get an entry-level job in a museum, you had to have a number of years of volunteering experience. Because I was unable to do unpaid work at the time, I was initially put off applying for museum jobs, but being the stubborn person I am I didn’t let this stop me and eventually got the necessary (paid) experience to get ahead.

Almost 20 years later and little has changed. Across the sector people are expected have some form of unpaid experience in museums prior to starting a career, and many entry-level back-of-house roles require applicants to have a masters. But how are these requirements impacting on the diversity of the sector? In my opinion, these requirements are restricting the diversification of the workforce. It’s very likely that many young people are put off pursuing their dream career in museums, as they simply don’t have the means to undertake unpaid work. The perceived need for an MA can also be off putting, as once again many people are not financially able to do an MA in order to get the qualifications deemed necessary. Yes, specialist skills and expertise will always be needed, but is an MA really essential for an entry-level back-of-house role? At a time when job opportunities are few and far between, and with massive competition for all types of roles, we need to look beyond the norm and embrace more diverse skills and recognise that benefits that skills from outside the sector can bring to museums.
Going back to when I was a teenager, it was suggested I get some experience by undertaking an unpaid internship. Internships can be wonderful experiences. I recognised this immediately and although I was desperate to work in museums, this was not an option for me, as is the case for many people. Being aware of this when the opportunity arose to take on paid interns at Museum Development North West, we jumped at the chance to get involved and were hugely grateful for the funding via the Creative Employment Programme. The funding allowed us to take on two young men that had studied non-heritage courses (film-making and journalism), and allowed us to benefit from their diverse skills in a variety of ways. This subsequently led us to develop a region-wide, university placement programme for students from non-heritage courses to gain experience working in the sector. The programme also allows the participating museums to benefit from the diverse skills the students bring and it’s our attempt at bringing some diversification to the workforce.
I was recently interviewed for the Museums Journal about unpaid internships, their impact on the sector and those who undertake them. I ranted for quite a long time about how these opportunities are unrealistic for many people. I actually found the experience quite cathartic, but felt sorry for the journalist on the other end of the phone who had to make sense of my ramblings. Since that call I have been thinking a lot about the sector, the diversity of its workforce and the future, and came to the realisation that we need to start with our learning programmes. We need to inspire people at an early age the same way I was inspired all those years ago. We need to engage with schools and colleges and showcase the sector as a viable career option. We need to move away from the need to have volunteering experience to get an entry-level role, and recognise the importance of other, non-museum skills. We need to be a sector in which all types of people, no matter where they’re from, are able to thrive and share the wonderful histories museums have to offer.

Flexing Your Talent

Liz by the beach

Liz Johnson, Consultancy Manager for the National Trust reflects on flexible working practices in museums, and explores how we can move current policy into meaningful practice.

I believe in the mutual value of flexible working for the employee and the employer. Flexible working is for anyone, and is defined as a working pattern which suits the needs of the employee. You can find out more about it at

In November 2017 I chaired a session on flexible working in the museum and heritage sector at the MA conference. It all went very well, good discussions and engagement and so forth. But the funny thing was that there had been a session on it the year before too and not much had changed in the time between.  So a group of us decided to see what we could do. How could we make flexible working the norm in museums?

I’ve changed jobs in the last year. I’ve gone from working in a policy organisation (Arts Council England) to a practical, operational and charitable organisation (National Trust). There are many parallels for me – no longer thinking one step removed from the delivery of art and culture, but getting stuck right in to doing it. Or stop talking, start doing. I wrote another blog about what it was like to change jobs and try to have a flexible working life.

So why this blog and why now?  Part of our campaign, Flexing Your Talent #flexingtalent is about sharing stories of practical examples with people, about encouraging people to talk about the benefits of flexible working and asking for input: what would help make this a reality?  It’s national Flexible Working Week 26 March- 1 April 2018 so you’ll see me and others on Twitter talking about it.

Flexible working matters to me on a number of levels. It matters personally because it helps me keep different parts if my life in balance: family life, work life, my house renovations, I could go on… I’m learning, painfully slowly, that keeping those things in balance is really important for my mental and physical health. And when all of those things are in place, I’m able to deliver my best in all of those different contexts.

It matters to me as a principle of equality, of fairness. I’m lucky to be able to use my talents in a varied and interesting role which suits my training, experience and skills. I can only do that because I work for an organization that supports flexible working and I had the confidence to broker it when I got this new job. But how many organisations are not open to flexible working? How many talented people feel restricted in their choices of where to work?

And it matters to me because I think museums are missing out on great talent- which would be good for them, good for our audiences and good for business.  Half of my team members have flexible working arrangements and our levels of creativity are greater because they can work with us.

The Mendoza Review of Museums (Nov 2017) states that ‘There are two pressing issues regarding workforce: the need to diversify in order to help attract more diverse audiences, and the need for excellent leaders with the right skills to guide museums… Diversifying the museums workforce is important both in terms of creating equality of opportunity and also in making museums more relevant to their community and to modern society in general. A diverse workforce helps attract larger and more diverse audiences by generating more creative and inclusive programming.’ [page 57-58]

Looking back, there are many ways to address this, and there have been many ways by which organisations, sector bodies, programmes and schemes have tried to affect change – but this change has been slow.  Now is the time to think of other ways that can work alongside traineeships, volunteering, and other targeted programmes to support people coming into the sector, remaining in the sector and also progressing within the sector.

Looking forward and focussing on flexible working, making it more of a reality for the sector rather than an aspiration, moving it away from a policy and into practice, can make a significant difference to representation in all aspects of our sector and the lives of our workforce.  We’re starting this #Flexingtalent campaign by having conversations, providing space to share experiences, opportunities to develop skills, and learn from others.

If you’re interested get in touch @lizmuseums


Culture Now Meet Up – East Midlands


Come along and flex your networking muscles at the first of several informal Culture Now meet ups.

Our mission at Culture Now is to give a voice to early and mid-career museum professionals and to encourage networking across the board. To achieve this, we’ll be working collaboratively with various people and organisations to host informal networking meetings across the country.

For our first, we’re partnering with Jodie Henshaw and the Museums Association Tweet Up at Melton Carnegie Museum on the 14th March.

When: 14th March – 6pm till 9pm

Where: Melton Carnegie Museum, then onto the Ann of Cleves Pub

Meet at Melton Carnegie Museum at 6pm for a tour and insights from the wonderful Zara Matthews, Market Town Museums Manager. She’ll be talking about the incredible work the museum has been undertaking over the last 12 months and some of the challenges it has overcome through the ACE Resilience funded ‘Market Town Museums’ Network’.

After that we’ll be heading to the Ann of Cleves pub (a 10 min walk away, and very close to the train station). Here we can chat about the great things we’ve seen in Melton, and put the world of early to mid-career museum professionals to rights. The pub does great food, and we’ve got a table booked from 8pm.

If you’re driving we’d recommend parking at the pub. For more details on getting there and where to park, and to learn more about MA Tweet Ups click here.

Everyone is welcome, if you’d like to come along just turn up or feel free to drop us an email.

From doer to thinker – Enablers Assemble!


Sarah Hartshorne, Museum Development Programme Officer for the East Midlands reflects on the challenges of transitioning into mid-career.

When entering mid management one of the hardest balances is to shift gears between grafter and enabler. Often when starting on the career ladder you’re keen to showcase your abilities through high quality and high volume work. It’s what singles you out in a world saturated by temporary and project based contracts and an overqualified workforce.

Becoming a regional Museum Development Officer (MDO) was a real step change for me. Previously I’d managed several departments in a bustling historic property and was constantly working at the operational front line. (I was the lucky person whose phone rang when the bats had got in at 10pm, just as I was pouring a glass of red wine on a Saturday).  Now as an MDO I hold a strategic position and I’m primarily a facilitator for museums, and an enabler of people and projects. Which I should point out, I absolutely love. However if the museum front desk is the coal face, then I’m now several steps removed and I’ve found the transition an unexpected challenge.

On a practical level it’s hard to flick the switch in your head from proactive problem solver, to strategic thinker who often delegates. Delegation is a skill that we don’t value as much as we should in the sector. To delegate effectively and genuinely is a challenging thing. It takes trust in yourself and your team, as well as generosity. This also needs to be balanced with remaining in touch with what it’s actually like on the front line, something which I’m trying consciously to remember the further away from my operational experience I get.

I’m extremely lucky to have a very supportive manager who has allowed me to address this through lots of continued professional development, a position I know not everyone shares. There isn’t a current training course on my radar which focuses specifically on how to move to mid management which is where I intend to spend a good chunk of my career – if you know of any I’d love to hear from you. I’ve looked in a variety of places for support. Particularly helpful to me was the AIM Enablers programmes which looked at strategic delivery and its wider issues at length. Furthermore I’ve become a trustee and also continued to volunteer in an operational capacity, all of which I’ve found helped give me my ‘doing’ fix.  I’ve also collected a group of peers along the way that I can call on for support outside of the work setting; you’ll know them as the brilliant Culture Now team.

I wanted to use this blog to share some of the lessons I’ve learnt whilst making this transition. The most important one is to take time. This may sound a simple lesson but it’s been one of the hardest to really embed into my practice. In the past to have an ‘office-day’ was a laughable pipe dream, and now it’s where I spend at least 2 days a week. In reality this means don’t feel you have to respond to emails on the same day, prioritise effectively. When asked to take on a challenging task, ensure you build in thinking time as well as preparation for strategic meetings. Delegate wherever appropriate, and really mean it when you do. Also ask and give feedback with generosity to your team and peers, challenge and professional oxygen can sometimes be exactly what you need.

So if you’re finding transitioning to the middle of the career pyramid a challenge, don’t worry you are not alone! For me it took deeper self-awareness and a commitment to continued professional development. I’d urge anyone reading this to really think about their own development and how it helps to foster these softer and non-museum focused skills. I still haven’t cracked it completely, but I’m looking forward to growing in my role and hopefully continuing to improve along the way, as that’s the one thing I really can’t delegate.