 Of course it's down. I'm here to come and present. So it's going to be a little bit of a whistle-struck tour, an exhibition which ran at the British Museum between 2015 and 2016. I was open there for four months. And this was a collaborative exhibition which was organised in partnership with National Museums of Scotland, but I'm going to be talking specifically about the British Museum exhibition Mae gwasanaeth y cyfrannu gwneud yma o'r cysylltu'r rygwyddiadau cyfrannu yn y ddysgu yma, a'r ysgolwch gyda'r cysylltu'r ysgolwch cyfrannu yn y dyfodol a'r ysgolwch cyfrannu yn y dyfodol yn y byd i'r ysgolwch cyfrannu cysylltu'r Ysgolwch Gwysylltu'r Ysgolwch Cyfrannu. Mae'n rhaid i'r cyfrannu'r ysgolwch gyfrannu, os rwy'n ei ddim yn dweud, I'm going to go through our goals in putting on the exhibition and to talk a little bit about these focus groups that we did to think about what respective visitors were you know, what they wanted or expected to see in the exhibition or what they told us they wanted. I'm very briefly going to say what we actually did in the exhibition though I'd be very happy to discuss that more if people want later. And then I'm going to look at the summits and evaluation that we did so if you're actually paying us the exhibition and try to think about whether it were what people think, what worked well and what didn't work and just a few tools for the future and what lessons would I take when we were going to do it again. So our goals in putting on the exhibition, primarily and I've had to really kind of sort of perhaps oversimplify this for many, many goals in putting on the show but a big reason why we were able to have these opportunities to put on a big blockbuster exhibition on the Celts at the British Museum because our director, Llyfr Gregor, wants to explore ideas of appreciation national identity and specifically to bring some of this that's what I'm calling new but academic research from the kind of 1990s onwards to a museum audience and tell that story through objects. And I'm sure probably everyone here will be familiar with what I'm saying about the new academic ideas about the Celts but very, very briefly really the idea that this sort of traditional map showing kind of Celtic migrations into Britain might in fact not be the best way to think about kind of your population dynamics and how people lived their connections in the Iron Age period. And instead of what we wanted to present in the exhibition was the fact that there is kind of clear historical air between the areas where the classical there's spoken about the ancient Celts as living from around about 500 BC into the early Roman period and the areas which today have become the modern Celtic nations and explored the way that that name has kind of been reappropriated from the sort of 1700s onwards to refer to something which is an equally valid identity but is quite different to the prehistoric identity. So this is just to give you a sense of the remit that we had. I see my co-curators over there as well as well. So the British Museum, the remit was this can be a blockbuster exhibition in the exhibition space in the Sainsbury's exhibition gallery and you can see it here with a Viking boat in it. So it's a really colossal space. And the remit was that we had to create a show which spanned from 500 BC to present pretty much. And I'm not going to go into this in detail but within that framework we didn't have complete carte blanche to do whatever we wanted because there are some quite specific requirements about kind of how style in terms of putting on a BMX vision and think about the number of sections you can have, objects and enders which is partly connected to budget requirements and things as well. And quite specific ideas in terms of the number of sort of stops, so like text stops that people have and the total number of words and the sort of tone and style of those labels in certain situations. So we did these focus groups with a group called TW Research and they were three focus groups for us and people were able to send in some sort of pre-group information, some of the first responses about who they thought the Celts were and they were able to use the internet for this. And then they came in. These were people who were mostly based in London because we held the focus groups in London and they were all museum goers between the ages of about 20 and 40. So this is a spontaneous kind of open response when people are asked, this is they are at home, at their computer, they have the internet available to them and this is the response when they were asked what they thought of when they heard Celts. The majority responded that they didn't know. People noticed that Scandinavian is as big as Scottish and Ireland, like Game of Thrones, the Druid's Ancient Tribes. Someone said in the exhibition, those were in one of the focus groups, this was reported in much more usage terms by the actual search group people. What the guy said when we were talking to him about it and what he thought about us putting on a Celts exhibition at the British Museum was, Celts man, he ain't got no brand! And it's interesting, but I think this is quite different to the ideas which we set out to kind of counter these kind of myths and things. So what people came up with, so when they're at home they use Google image, these are the images they suggested, there's some quotes there. So actually the top one is the best, I try to sort of spam them, so this is I think the quote that showed the most sort of knowledge and understanding. I think the balls might be Celts, I think the asterisks, I think we're then fighting the Romans. I think we did a lot of intricate jewellery. Irish words to that is all done in a simple way. These are all extra quotes from our responses, so I apologise for any offensibles where I'm trying to present to you what we actually were told, compared to the thing about Game of Thrones and the Game of Warriors. And really generally the responses reflected a very, very kind of war-like stereotype. Most people, and I think this is telling because we were doing it in London rather than, for example, if we'd done the same assessment in Scotland, I think we'd got very different answers. But mainly I'm thinking of the Celts being associated with Ancient Britain, but they actually had very little chronological sense. If you ask people about dates, there wasn't a lot to draw on. And nobody mentioned this kind of Celtic expansion, Celtic migration. So what did they want to expect to see? They originally expected to see weapons around us. But I think the size of weapons there, like the reasons for a war-like stereotype that these people had come back with. One of the things, so the point where I actually got to speak in the focus groups, we then ravelled at the end to kind of show them some of the kind of objects we would be displaying. And we had some really, really lovely responses to that. And people were really fascinated by the idea that these people who they thought was being very war-like were actually producing this incredibly war-nades kind of jewellery and weaponry. And we had somebody say, I just didn't think it would be any art from that era. I just saw that era as being war and savagery and I didn't imagine any art from it. So this, and the kind of, you know, the mystery and the discovery, which this was talking about, were really, really kind of key that those were some of the things that people were very interested in. So I'm really going to only talk very, very briefly about the actual exhibition, because I've only got 15 minutes and I can spend a phone and that's about the exhibition. But we opened with, so when you first went in, you were facing these three objects, a Scottish heart, a glass heart, and a lunchbox from Y Llywodraeth, which is quite a modern piece, and a stone cross which is only medieval. Although you weren't going to read them, this is what it says about it, so we were going straight in and just around the corner you would see those two maps that I showed you at the beginning, the areas where the ancient Celts were described as living and the modern Celtic nations. And we were very much following that story all the way through three. So this is, we tried in the design exhibition, this is one of the things I think worked really well, but to draw on that kind of new Celtic art designs in it. And so we had people arriving here, sort of as a model in the exhibition that they made for us. And as they came through, people first, so they had this introductory section that you could see an image of, or we tried to sort of situate it and explain that we were telling this sort of two and a half thousand year story. And that we were not talking about seeing people through time, but the ways in which they were changing how we were used. We started them with the Iron Age section in here, which was the largest section of the exhibition where we dealt with ancient Celts. We looked at what happened with the arrival of the Romans in a much smaller area, and then we went on to talk about the emergence of distinctive identities in the Wales, Scotland, Ireland, and particularly Scotland because of the connection with National Museum of Scotland in the Old Medieval section. And then we looked at how the name Celtic got applied to this in the Celtic revival section, which bore in the last part of the exhibition there. So, who actually came to the exhibition? This is based on an assessment done by all the BF's own visitor number count, an assessment done by Norris Harwes in McIntire. So we had 162,000 visitors in total, which was really good. And the average well time we were told to aim for 90 minutes, we got 83 minutes, that's quite standard. And that's well said about that, but that's roughly how many people want to spend standing up in the exhibition. Something which was really interesting, so I'm only going to talk about the ways in which the visitor demographic to Celts is quite a difference to the normal British Museum page for exhibition demographic, which tends to be an older, from London based demographic. But something that might have been interesting was that the emotional drivers visiting the exhibition were much higher for Celts than they were for our earlier Vikings exhibition, which was really primarily intellectual. And we did have a sense that some of the people who came, this is a quote from a visitor, that that was what they felt they'd got from the exhibition. And more visitors, so it's very typical that most of the UK residents, because often our international visitors just go to the free parts of the museum. But 55% from outside London, which is unusually high. 8% of our visitors find us white Irish, which is again unusually high for a BM day for exhibition. But most of our visitors, and it shouldn't really be a surprise to any of us, but I say it anyway, came saying that there would be a general level of knowledge, and many actually describe themselves as having little or no knowledge about the elsewhere. So it didn't work, what do people think? Broadly speaking, whilst like any major exhibition, you know, you do get complaints and things, most of the complaints are about things like overcrowding, the pervasive music, which I will tell you about over beer if you like later. But the majority of the comments on the narrative and interpretation, which I think is perhaps of more interest to us here, were actually very positive. And so 85% of visitors satisfied with the information, 81% with the theme storyline. That's obviously not as high as it could be, but that's very standard for when we do these sort of polls. And these are just some quotes from visitors. I mostly got to see the more positive quotes, but you know, that's reflected in that. And we had a very nice review of my well-known books in antiquity as well. So there were lots of things about it that went really well, but I wanted to take a minute to think about what could we have done differently, and one of the things that when putting this together, I wanted to discuss this because I thought about this kind of for the first time when putting this together. So this is just absolutely true, but the British Museum really had the opportunity to curate this kind of blockbuster prehistory exhibition because there's a certain amount of name recognition for Celts, despite our, Celts man, they ain't got no brand, the show, the buddy. And we wouldn't have had that opportunity if it wasn't for that kind of book. So even if we think there were kind of these sort of myths around the idea of the Celts, that's a sort of a double-edged sword there for us because the hook is what gets people interested in what gets people in, so we have to think very carefully about how we balance that. But actually one of the things I thought when going through this and I'm really thinking about it for the purpose of putting this together was that a lot of people, the myths that we thought we were setting out to dispel, nobody in our focus group actually came with those myths in their head. So there's a question about who this exhibition was really for. I mean I got a really nice feedback from lots of academics who came to see the exhibition and I don't think I would have actually had the guts to do it any differently, but I do think that the way that we did it with people coming straight in and us being like, so this is actually quite complicated and saying some of these things you think of as Celtic, maybe they aren't, what are we going to do, actually maybe that wasn't the stereotype that most people were coming in with directly, most people were coming in with a stereotype of warlike barbarians. And the only comment that I got repeatedly, and I say repeatedly, there were maybe like three or four, because the comments that made them way to the curator were the ones that asked a question about content. And the only kind of repeated comment that I got about what people wished they'd seen but hadn't was that they wanted to see more about daily life, more about how people actually lived and that they'd come to an exhibition called Cells and they wanted to hear about these ancient mysterious people called Cells. And so my final kind of thought is just, so this is one of the headlines. From Monster Surmanne, The Golden Age Heart, by the Celtic Race, that never was. The headline when we made Kennedy and the Guardian, when we launched the exhibition. So you shouldn't have been to see the exhibition at this point, it was after the press launch. I just feel like, have we made this too complicated? Like that headline does not make me want to go to an exhibition. And I just wanted to start a discussion about how do we deal with it when we have this double-edged sword which is both a real positive and a negative, where we think we have this kind of hook that we do have some name recognition and we can get people in. But actually there's a danger that in trying to dispel those myths. And I know we talked about that from day one of creating the exhibition, that you actually kind of answered them. But I think our real challenge has got to be maybe rather than deconstructing myths which people may or may not have in mind, that we actually need to kind of just tell better stories and maybe that's the way that we can do it. So, thanks very much.