Imagine a museum that doesn’t just display history, but ignites futures. That’s the vision behind V&A East, a groundbreaking new museum in London’s Olympic Park, spearheaded by Gus Casely-Hayford. But this isn’t your typical museum story. Casely-Hayford, himself a product of a Ghanaian-British family with a legacy of activism and creativity, is determined to make V&A East a space where young people, especially those from underrepresented communities, can experience life-changing moments.
Casely-Hayford’s own journey with museums wasn’t always welcoming. As a child, he felt like an outsider in institutions that rarely reflected his Black British identity. It was his sister Margaret who planted the seed of change, urging him to see museums as spaces belonging to everyone, even if they didn’t yet tell his story. And this is the part most people miss: Casely-Hayford isn’t just building a museum; he’s building a movement, a space where young minds can connect with art, history, and their own potential.
V&A East, opening its doors in April 2024, is a two-pronged project. The V&A Storehouse, already exceeding visitor expectations, and the upcoming V&A East Museum, a stunning five-storey exhibition space designed by O’Donnell & Tuomey, will form a cultural hub within the East Bank development. But here’s where it gets controversial: While the project boasts a “very generous” funding slice from the Department for Digital, Culture, Media and Sport, questions linger about the ethics of corporate sponsorship, a common practice for museums. Casely-Hayford acknowledges the concern, emphasizing the need for scrupulousness in choosing partners.
What sets V&A East apart is its relentless focus on inclusivity. Casely-Hayford has personally visited every secondary school in the surrounding boroughs, engaging with 30,000 young people to shape the museum’s identity, from its permanent collection to the staff uniforms. The result? A space that feels like it belongs to the community it serves.
The permanent collection, titled “Why We Make,” explores the universal human impulse to create, featuring 500 objects from over 60 nations. From an exquisite ceramic piece by Ecuadorian Guinea Spanish artist Bisila Noah to a pink dress by local designer Molly Goddard, the collection celebrates the diversity of human creativity. This is the part that will spark debate: V&A East unapologetically embraces diversity, challenging the notion of a monolithic national narrative. Casely-Hayford argues that museums, by their very nature, should strive for universal accessibility and representation.
Temporary exhibitions, like the upcoming “The Music Is Black,” delve into 125 years of Black British music history, featuring icons like Seal, Shirley Bassey, and Stormzy. This commitment to telling untold stories extends to the museum’s stance on looted artifacts. Casely-Hayford proudly highlights the V&A’s involvement in returning objects to Ghana, albeit on loan due to legal constraints.
Casely-Hayford’s own story is intertwined with V&A East’s mission. Descended from a prominent Ghanaian-British family with a history of pan-African activism, he’s a living testament to the power of art and history to shape identities. His brother Joe, a pioneering fashion designer, was a constant source of inspiration, and his legacy is honored in the museum’s focus on Black creativity.
From his work on the BBC series “Lost Kingdoms of Africa” to his directorship at the Smithsonian’s National Museum of African Art, Casely-Hayford has dedicated his career to challenging museum conventions. He sees V&A East as the culmination of his efforts, a space where young people can not only learn about the past but also imagine a future where they are the creators, the storytellers, and the changemakers.
So, what do you think? Can museums truly be spaces for everyone? How can we ensure ethical funding without compromising artistic integrity? V&A East is more than a museum; it’s a conversation starter, inviting us to reimagine the role of cultural institutions in our society.
