British Museum blog

Forgery, Suffragettes and Nirvana: tracking visitors in the Citi Money Gallery

Tracking visitor paths through the gallery

Benjamin Alsop, curator, British Museum

When a gallery is radically transformed how do you judge if it’s a success? Obviously you hope that visitor numbers increase, but numbers alone do not cast much light on the individual experiences of those walking around the gallery. You hope people stay longer, read more and become so interested they go away wanting to learn more. You also can’t help but wonder which cases and objects are the most popular.

In the case of the new Citi Money Gallery are people attracted for instance by an example of the world’s first coin? A beautiful hoard of Roman gold? A Hungarian banknote with the value of 100,000,000,000,000,000,000 pengo? Or simply some white frilly pants?

To help the Museum answer such questions, and to inform future projects, we evaluate all new galleries and refreshed displays. Using both visitor tracking and questionnaires we get a better understanding of not only what people may think of the new display but just as importantly how they navigate their way around it. Over the summer we welcomed into the Department of Coins and Medals Lujia Hui and Yoomin Ko, both postgraduate students from Leicester University’s Museum Studies course.

Lujia Hui tracking visitors in the Money Gallery.

Lujia Hui tracking visitors in the Money Gallery.

During the subsequent eight weeks they began the process of evaluation by tirelessly tracking visitors as they entered the Money gallery, marking which cases they looked at and for how long.

Tracking visitor paths through the gallery.

Tracking visitor paths through the gallery.

It is fascinating to see how people interact with the space and what route they take as they wend their way through 6,000 years of monetary history. Tracked visitors were asked to complete a questionnaire on leaving the gallery to give us a deeper understanding of their experiences.

It was a particularly interesting time to be conducting a gallery evaluation as with the arrival of both the Olympic and Paralympic games into London, the results do suggest a truly global audience. Over 25 different nationalities were recorded, speaking 19 different languages, and with ages ranging from 12 to 70.

The Forgery case in the Money Gallery.

The forgery case in the Money Gallery.

Preliminary results indicate the most popular cases are those entitled Forgery and Money and Society. Forgery contains two great swirls of coins and addresses counterfeiting, a practice which has accompanied the legitimate production of coinage since its very beginnings. Visitors appear to enjoy comparing the pound coins they have in their pockets to the fake ones on display, and have been so intrigued that the case has to be cleaned daily to remove all the fingerprints!

Suffragette-defaced penny. Crown copyright

Suffragette-defaced penny. Crown copyright

The case about Money and Society from the nineteenth century until today, includes a penny, defaced by suffragettes, which starred in the ‘A History of the World in 100 Objects’ BBC Radio 4 series. Also on display are examples of money in popular culture, such as the iconic cover of the Nirvana album Nevermind, which shows a baby swimming towards a US dollar note attached to a fishing line.

The new gallery is quite different to those around it, certainly in terms of colour scheme and in-case design. Each case has a raspberry-coloured highlight panel to grab the attention of the visitor and provide a clear starting point, and a big part of the evaluation was trying to discern whether these are effective. From what we can tell, the new design is very much a success: visitors are spending longer in the space, reading more and focussing on the highlight objects in particular.

Yoomin and Lujia, after collating all the results and pulling together data from both the tracking and questionnaires, produced a final report which will form a large part of their final submission for their course. The department is incredibly grateful for all their hard work.

The evaluation of the gallery doesn’t stop here though, we are already organising for further evaluations next year so watch this space.

The Money Gallery is supported by Citi

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Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
#hoard #gold #jewellery #turquoise #treasure Continuing our exploration of the golden objects in the Museum, this amazing inlaid plaque is from 15th-century China. Lined with semi-precious stones, this piece would have formed part of a pair sewn into a robe. We can tell this belonged to an emperor of the Ming dynasty because only he would have been allowed to use items decorated with five-clawed dragons.
#Ming #gold #jewellery #China #BritishMuseum Our next trio of objects shows off some of the shimmering gold in the Museum’s collection. This stunning piece of jewellery comes from Egypt and was made around 600 BC. It was worn across the chest – this type of accessory is known as a ‘pectoral’. Popular throughout ancient Egypt, pectorals have been found from as early as 2600 BC. This example is made from gold and is inlaid with glass, showcasing the incredible level of craftsmanship in Egypt at the time, and asserting the status of the wearer. Falcons were important symbols in ancient Egypt – the god Horus took the form of a falcon.
#AncientEgypt #gold #jewellery #BritishMuseum In 1991, BMW invited South African artist Esther Mahlangu to make a work of art in their Art Car project to mark the end of apartheid. Her work, with its brightly coloured geometric shapes, draws on the traditional house-painting designs of Ndebele people in South Africa. Under apartheid the Ndebele were forced to live in ethnically defined rural reserves – their designs are an expression of cultural identity, and can be read as a form of protest against racial segregation and marginalisation.

See this incredible Art Car as part of our #SouthAfricanArt exhibition, which opens 27 October 2016. You can book your tickets now by following the link in our bio.

Esther Mahlangu (b. 1935), detail of BMW Art Car 12, 1991. © Esther Mahlangu. Photo © BMW Group Archives.
#SouthAfrica #history #art #design Mapungubwe was the capital of the first kingdom in southern Africa from AD 1220 to 1290. This gold rhinoceros, alongside four other gold sculptures, was discovered in three royal graves there. They are among the most significant sculptures in Africa today. They depict animals of high status – an ox, a wild cat, and a rhinoceros – and also objects associated with power – a sceptre and a bowl or crown. These treasures were discovered alongside hundreds of gold objects, including bracelets and beads. Gold was mined in the regions around Mapungubwe for trade with the coast, as part of an international trade network stretching as far as China, becoming a status symbol for the kingdom’s rulers.

On loan from the University of Pretoria @upmuseums, these gold treasures will be a highlight of our #SouthAfricanArt exhibition, opening 27 October 2016. Find out more about the exhibition by following the link in our bio.
#SouthAfrica #rhino #art #history Our special exhibition this autumn will explore the fascinating history of South Africa through art, telling a story that stretches back 100,000 years.

Rock art is one of South Africa’s oldest artistic traditions. It was first made by the ancestors of San|Bushmen and Khoekhoen, South Africa’s first peoples, at least 30,000 years ago.

This rock painting will feature in the exhibition. It depicts San|Bushmen running between eland, a type of antelope that is spiritually important. Hunter-gatherer rock paintings such as this are understood to relate to a ritual practice named ‘the great healing’ or ‘trance dance’, which continues today in the Kalahari outside of South Africa. 
The paintings address the relationship between healers, or shamans, and the worlds of the living and the dead. In the painting some eland are bleeding from the nose and frothing at the mouth. Eland do this when they are close to death, and shamans show similar symptoms when they are metaphorically ‘dying’ and entering the world of the dead during the great trance dance.

Find out more about our #SouthAfricanArt exhibition by clicking on the link in our bio.

The Zaamenkomst Panel. Detail of rock art depicting San|Bushmen running between eland. Made before 1900. On loan from Iziko Museums of South Africa, Social History Collections and SARADA. Photo: Neil Rusch.
#rockart #SouthAfrica #painting
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