John Hay, Executive Member of Deaf History Scotland
UK
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Background and Current positionMy name is John Hay. I have attended and been involved with the Deaf Museums project meeting in Italy. I am now going to explain my background. I was a university lecturer in the field of Deaf Studies with English/BSL interpreter studies at Wolverhampton, England. I was originally an architectural technician for 25 years. I then joined the BDA (British Deaf Association) as the Community Advocacy Officer covering all of Scotland. From there I joined the University of Wolverhampton. When I retired from the university. I was then asked to work for the BBC programme See Hear as a Researcher for 6 months. After the BBC I went back to work for the BDA on their Film and Video project. This involved travelling around the UK to Deaf clubs and giving screenings of old video and film archive spanning from 1910 to 1970. I was born and raised in Edinburgh, attending Donaldson, the local Deaf school. I passed the ’11 Plus’ which enabled me to go to Mary Hare Grammar school in England when I was 12 years old. When I passed their entrance exam I studied at the school for my secondary education. When I left school I returned back home to Edinburgh. ResearchWhen I started working in Architecture, one day I was asked to go to look at a new building extension that I was to design. The street was called Dumbie Dyks Road. My curiosity was pricked as to how came to be named. I started to do some research and I found that it was the site of where Braidwood Academy had been located as the school for Deaf children from 1760. That then lead me into doing much more research about my local area and Edinburgh and ultimately going on to work in an adult based education setting, teaching local people about the history of Deaf people in Edinburgh. Ever since then I’ve been researching Edinburgh Deaf history, then Scotland Deaf history and moving on to Deaf UK history and so on. Myself and Raymond Lee co-founded the British Deaf History Society. That’s how my interest became my passion! In 2006 I applied for a grant from the Winston Churchill Memorial Trust for a travelling fellowship. I was successful in the application and was awarded an 8-week study touring grant, covering Europe, the US and Canada. The aim being to visit Deaf museums and archive centres. I visited over 300 museums and archive centres that varied enormously in size and scale. My primary objective was to gather intelligence on how each of the museums and archive centres were run? Where they received their funding from? Who were the people running it and whether they were run on a voluntary or professional basis? Whether the curators were trained, volunteers or people just doing what they can? I was to take a look at the quality of the exhibitions. Some exhibitions were simple by nature, scanned photographs on a wall and some were extremely high quality. So, it ranged from very professional to amateur. Also, what hit me was the way different cultures supported the arts in different countries. For example in the US, just as happens with hearing museums, they all have a list of their sponsors or donors. But in other countries museums rely on government grants, such as the UK. The rich people in the UK now need to save their money for their own future retirement. So, there were different systems. I wrote my report and it is on the website of the Churchill trust. When I had completed my report in 2006/7 if we look at what has happened since then. I was asked to go to Norway for the official opening of a museum run by professional regional curators. I was astonished at the professionalism of the displays, subtitle access on all the exhibits. Then I went to Finland, to the Glass House. The museum there was fantastic, and I thought that is the model for others to follow. The museum was housed within the building of the Finnish Deaf Association. In my report I underlined the importance that museums need to be accessible to all because hearing people also need to appreciate the positive perspective of seeing Deaf people, they also need Deaf awareness and to truly understand the famous quote that “ Deaf people can do anything except hear.” In terms of admittance. Some places in the US did charge an entrance fee. My friend was in the US and whilst looking around the local Tourist Board saw that they displayed leaflets for the Deaf museum. That is one way of creating public awareness of the museum. We need much more training of younger Deaf people to become curators and archivists. Gallaudet University had 2 Deaf archivists, one has since retired. But their museum opened after my travelling fellowship was completed. People ask me how we can attract graduates who are qualified professionals as curators or archivists? We have very few Deaf people in those positions anywhere in the world. I then realised that we need to reinforce a strategy to promote to young people that there are career opportunities to develop within a museum environment. A career where they may start off in a hearing museum, learn the skills and their craft and then be able to transfer those skills and become curators of Deaf museums. It is a discussion we need to have between us all. Next StepsIt is good to see the creation of the Deaf Museums project bringing several countries together and people, with the help of volunteers, sharing and exchanging information. I do feel it is important that we have Deaf museums as a part of our society, for example in London there is a Jewish museum, a Women’s museum, a Women’s library, Black countries museum and a whole variety of museums that celebrate various peoples culture and history. So, it’s incredibly important that we have something for Deaf peoples’ history and to increase public awareness. The issue is that everyone has a limited budget on what they can spend. For example, Deaf History Scotland didn’t have any income stream but fortunately we were able to secure funding from the Lottery Heritage Fund to develop our archives here in Edinburgh. But from that small grant it meant we were able to employ a student interpreter who happened to be a para-archivist. She was incredibly helpful as she was able to write up scoping reports to start off with, recording what we had but also what we needed to improve our archives. Now we have just one room packed with archives and very little working space. Of course, ideally a museum has three spaces: an exhibition room, a research room, and a working room, but we just don’t have that sort of space here. The British Deaf History Society is a perfect example of how a Deaf museum should be placed because it is placed within Manchester Deaf Centre and on the ground floor, which means even greater accessibility. They have space for staff to work, space for a library and an exhibition area with plenty of extra storage. They are also being conscious that an exhibition must be able to change and be flexible with what it exhibits. That way it continually draws the public to come back and see the new exhibitions including school children can have annual visits to see the new exhibitions and hearing people can return too. Also the museum is there to inform and for the use of Deaf Studies students, student interpreters, training Teachers of the Deaf, parents of Deaf children- to give them the realisation that Deaf children can do anything and to give them hope that their child can grow and become successful Deaf adults working in lots of professions. Of course, museums must think and plan carefully how to attract children to the museum by having Fun Days, having tactile and interactive exhibits, and give them tasks to complete. For the older age groups, they can be invited to engage with the library looking back at our historic books, for example our magazines and to find stories within the magazines. I know there are some museums that have poor quality exhibits, poor photocopies, or just plain photos on a wall without reference to when it was taken, description or credit to the photographer. I know that now we must contend with privacy laws too. There are lost of legal limitations which may stifle our creativity to produce exhibitions, but we must work within the laws of the land. We cannot as Deaf people choose to ignore those laws we must operate as any other museum would operate. Deaf people may wish to add names and identities on to photos but at the same time we must respect the laws of the land. |
Interview by Luigi Lerose, UCLan, 13 March 2023. Photos by Liesbeth Pyfers, Pragma: Siena, October 2022