Imagine a museum so transformative, it could change the entire course of a young person's life. That's the ambitious vision behind V&A East, a groundbreaking new museum complex specifically designed to resonate with Gen Z. But what makes it different, and why is it so crucial for the future of arts and culture?
Gus Casely-Hayford, the director of V&A East, understands firsthand the importance of feeling welcome in cultural spaces. He recalls childhood visits to the British Museum with his sister Margaret. While drawn to the artifacts, he often felt like an outsider, noticing the absence of stories representing Black British people like himself. His sister instilled in him the belief that these spaces belonged to everyone and that he had the power to change the narrative. This powerful message has fueled his mission to create a museum where all young people, especially those from historically underserved communities, can experience life-altering moments.
V&A East is a sprawling project encompassing two distinct sites within London's Olympic Park. The V&A Storehouse, already open and exceeding expectations in visitor numbers, offers a behind-the-scenes glimpse into the museum's vast collection. The V&A East Museum, a striking five-story building designed by O'Donnell & Tuomey, will house exhibitions and gallery spaces. V&A director Tristram Hunt emphasizes the aim is to democratize access to the V&A's world-class collection, making it relevant and engaging for audiences who have traditionally been excluded by major cultural institutions.
The museum's opening, slated for April 18th of next year, faced numerous delays, which Casely-Hayford attributes to the pandemic, labor supply challenges, and the sheer complexity of launching two large-scale buildings simultaneously. V&A East is a central pillar of East Bank, a £1.1 billion cultural and education district spearheaded by the Mayor of London, aiming to revitalize the former Olympic boroughs and solidify the legacy of the 2012 Games. The V&A joins a constellation of institutions, including Sadler's Wells East, London College of Fashion, UCL East, and BBC Music Studios. Casely-Hayford describes the funding received from the Department for Digital, Culture, Media and Sport as "very generous," underscoring the project's significance.
During a visit to the V&A Storehouse, Casely-Hayford's passion for the arts is palpable. Surrounded by an eclectic mix of objects, from football shirts to local school students' artwork, he articulates his vision for V&A East: a welcoming and inspiring space for young, creative minds who may not yet feel ready for the South Kensington V&A (the main institution) but have outgrown the Young V&A (aimed at children under 14). East London, with its rich history of manufacturing, design, and creative talent (think Alexander McQueen and David Bailey), is the ideal location. Casely-Hayford is determined to discover and nurture the next generation of creative giants, providing them with a point of entry into the art world. He recognizes that many young people possess immense creative potential but feel alienated by traditional museum settings.
To bridge this gap, Casely-Hayford has personally visited every secondary school in the four boroughs surrounding V&A East over the past five years. The project has also consulted with approximately 30,000 young people, incorporating their feedback into every aspect of the institution, from the permanent collection to the staff uniform (a customizable burgundy waistcoat). The diverse staffing also reflects the local communities. "We've worked really hard to embed V&A East in local communities," Casely-Hayford explains. "This is a space that belongs to them. These are collections which belong to all of us. Hearing them reflect back the passion, the aspirations, the objectives, in terms that are theirs is deeply heartening."
So, what will visitors actually see inside? Hunt explains that the V&A's collections have been radically reinterpreted through a contemporary lens to explore themes relevant to today's audiences, such as representation, identity, wellbeing, craft practice, and social justice. The V&A East Museum's permanent collection, titled "Why We Make," delves into the fundamental human impulse to create. "Before we walk or talk," Casely-Hayford asserts, "we make. It's an impulse that is shared by every culture and across the span of human history."
The collection will feature approximately 500 objects from more than 200 practitioners across over 60 nations. Highlights include a ceramic piece by Ecuadorian Guinea Spanish artist Bisila Noah, described by Casely-Hayford as "absolutely exquisite," a pink dress by local designer Molly Goddard, and textiles by postwar Trinidadian designer Althea McNish. These objects, he says, tell the story of human creativity through the diverse mediums for which the V&A is renowned. V&A East will be unapologetically diverse, reflecting the complex and multifaceted nature of human expression. Casely-Hayford believes that museums should strive to engage and represent the broadest possible audience, embracing diversity as a core principle. But here's where it gets controversial... Some argue that focusing too much on diversity can dilute the artistic merit of the collection. What do you think?
In addition to the permanent collection, V&A East will host temporary exhibitions. The inaugural exhibition, "The Music Is Black," will be an immersive journey through 125 years of Black British music history, exploring genres from calypso and hip-hop to reggae and drill. While Casely-Hayford remains tight-lipped about specific details, he confirms that artists such as Seal, Shirley Bassey, Stormzy, and Little Simz will be featured, along with Joan Armatrading's first guitar, a treasured item belonging to a "personal hero" of the director.
Beyond the excitement, Casely-Hayford will be tasked with addressing the larger issues facing museums, including the repatriation of looted artifacts. He has been a vocal advocate for the return of such items, and the V&A has already taken steps in this direction. "I'm very proud that the V&A is among a number of museums who have returned objects, particularly the programme we've been involved in with Ghana," he says. Due to legal constraints, the objects are currently returned on loan and displayed at the Manhyia Palace Museum.
The issue of ethical funding, however, presents a more complex challenge. Many museums, including V&A East, rely on corporate sponsorship to support temporary exhibitions. While some museum representatives have dismissed concerns about accepting funding from companies with questionable environmental or social practices as "relentless negativity," Casely-Hayford takes a more cautious approach. "Ethical funding is something that concerns everyone who works in museums," he says. "And of course, we would want to be deeply scrupulous about any institution, company or partner that we engage with." And this is the part most people miss... The line between ethical and unethical funding can be blurry, and different people have different perspectives.
Casely-Hayford's own background is deeply rooted in a legacy of achievement and social activism. He hails from the Casely-Hayford dynasty, a prominent Ghanaian-British family descended from J.E. Casely-Hayford, a 19th-century politician and advocate of pan-African nationalism. His Ghanaian father, Victor, was a lawyer turned accountant, and his Sierra Leonean mother, Ransolina, worked for the British Council, both immigrants to Britain. His siblings include a university chancellor, a BBC executive producer, and the late Joe Casely-Hayford, a pioneering fashion designer whose work was celebrated in Somerset House's "The Missing Thread" exhibition. Casely-Hayford becomes visibly emotional when speaking about his brother Joe, whom he describes as his "inspiration."
His own career has been remarkably diverse, encompassing television presenting, authorship, and museum leadership. Before joining V&A East, he served as director of the Smithsonian's National Museum of African Art in Washington D.C. His journey into the museum sector began after completing his PhD in African history at SOAS University of London, when he joined the learning department of the British Museum, the very place where his sister Margaret had instilled in him the power of change.
While at the British Museum he staged Africa 05, the largest African arts season ever hosted in Britain. This ambitious project involved 150 cultural institutions and aimed to celebrate Africa and its history. "Museums, by their very nature, are conservative," Casely-Hayford observes. "They don't just hold the past. But many people within museums reify aspects of it." His experience with Africa 05 taught him that "you can make the changes that seem to be impossible."
Casely-Hayford considers V&A East the crowning achievement of his career, a culmination of his lifelong mission to make cultural institutions accessible to all. "These are spaces that tell our stories through the best things that humanity has ever created," he concludes. "The arts are about us making a mark that we hope will outlast us. And one of the few ways in which we can really know what other people are feeling, rather than thinking alone, is through creativity. Museums are repositories of the finest of those impulses."
What are your thoughts on the role of museums in the 21st century? Do you agree with Casely-Hayford's vision for V&A East? And what are your own experiences with museums – have you ever had a truly transformative moment in one? Share your thoughts in the comments below!
