{"id":218,"date":"2024-04-29T13:59:07","date_gmt":"2024-04-29T13:59:07","guid":{"rendered":"https:\/\/museumemotion.wpenginepowered.com\/?p=218"},"modified":"2024-04-29T13:59:07","modified_gmt":"2024-04-29T13:59:07","slug":"guest-blog-its-a-privilege-to-do-my-job","status":"publish","type":"post","link":"https:\/\/museumemotion.stir.ac.uk\/?p=218","title":{"rendered":"Guest Blog – ‘It’s a privilege to do my job’"},"content":{"rendered":"\n
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By<\/strong> Esther Amis-Hughes<\/strong><\/p>\n\n\n\n

\u2018It is a privilege to do my job\u2019<\/em><\/p>\n\n\n\n

What an emotionally loaded statement. <\/p>\n\n\n\n

The word privilege has become very problematic, and the idea that those who access arts careers are privileged is often explored in articles and social media posts. But as a singular noun privilege means appreciation, as in \u2018I am so lucky to do my job.\u2019<\/p>\n\n\n\n

Both are true. I am lucky to have this job. And I am privileged.  <\/p>\n\n\n\n

But this statement \u2013 that I make daily, neatly encapsulates both guilt to be in a privileged position, perhaps even un-earnt, alongside appreciation and gratitude for the privilege. <\/p>\n\n\n\n

Add to this the historical weight of hundreds of years of often dubiously acquired objects that we cared for (who can\u2019t be grateful for these? Conversely who can\u2019t fail to feel shame or guilt?), and the emotional burden of our job suddenly seems like our museum stores. Bursting at the seams. Full up. Precarious. Unsustainable. <\/p>\n\n\n\n

I find community staff are confronted with these feelings of fortune and guilt on a daily basis. So many of the people we work with do not share my blessed circumstances of a steady income, or a job I adore. And of course, arts jobs aren\u2019t always secure or well paid, but they do at least exist within a recognised structure. Curator, Learning Officer, Site Manager, Registrar, are all roles that have precedents across the sector. But what about paying for lived experience? There is no sector-wise system for weighting experience. Often this is left to community staff, who must make impossible decisions based on practical considerations such as budget and partner availability, alongside emotional concerns\u2013 such as trauma, personal circumstance and guilt.<\/p>\n\n\n\n

There\u2019s that word again. Historic guilt. Privilege guilt. Material guilt. Museums seem to me to be a visual representation of society\u2019s age-old division: haves and have nots. They literally have what others do not have. And then make the rules about what people can do with this stuff.<\/p>\n\n\n\n

For better, or worse our roles have become muddied by emotions. This was perhaps inevitable with societal and workplace changes, but the very worst thing we can do is turn away from these changes and use outdated policies to justify the decision of emotionless robots. Humans were given emotions, so let\u2019s use them. My feelings about my job are complicated, and they include guilt and shame. But those feelings are also what drive me. So much of my motivation derives from situations that have given rise to \u2018negative\u2019 emotions. <\/p>\n\n\n\n

I\u2019m excited about the Emotions in Museums project because it is a timely reminder that emotional work in arts is not a matter of opinion, or even a problem. It is a fact, and it is our responsibility to observe, discuss and debate the effect this is having on the sector.  <\/p>\n\n\n\n

Esther Amis-Hughes is Community Engagement Manager at Leeds Museums & Galleries<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

By Esther Amis-Hughes \u2018It is a privilege to do my job\u2019 What an emotionally loaded statement.  The word privilege has become very problematic, and the idea that those who access arts careers are privileged is often explored in articles and social media posts. But as a singular noun privilege means appreciation, as in \u2018I am<\/p>\n

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