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‘Everything’s contested’
Capturing audience and curatorial reflections on the Imperial War Museum’s exhibition ‘Northern Ireland: Living with the Troubles’ (IWM London and IWM North 2023-2024)
‘Everything’s contested’
Capturing audience and curatorial reflections on the Imperial War Museum’s exhibition ‘Northern Ireland: Living with the Troubles’ (IWM London and IWM North 2023-2024)
Authors: Prof. Katy Parry (University of Leeds) and Dr. Jenna Pitchford-Hyde (University of East Anglia)
July 2025
Katy Parry, Jenna Pitchford-Hyde (2025): 'Everything's contested’: Capturing audience and curatorial reflections on the Imperial War Museum’s exhibition ‘Northern Ireland: Living with the Troubles’ (IWM London and IWM North 2023-2024). White Rose Libraries, https://doi.org/10.48785/100/411
This report is an open access publication distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (https://creativecommons.0rg/licenses/by/4.O/)
This project is funded by the UEA’s AHRC Impact Acceleration Fund, Rapid Response Funding for Impact (2023-24).

University of East Anglia

All photographs of the IWM exhibitions in this report are by the authors.
1 UNIVERSITY ■I OF LEEDS
Table of Contents
Executive summary	3
Introduction	4
Curatorial intentions for the exhibition	5
Methods	6
Key findings from focus groups	7
Curator reflections and responses to feedback	13
Conclusions	15
References	16
Executive summary
This report presents a summary of our engagement activities with members of the public and curators regarding the Imperial War Museum’s temporary exhibition ‘Northern Ireland: Living with the Troubles’ (2023-2024). The exhibition was designed to engage diverse audiences with the complex legacy of the Troubles through personal testimony and inclusive storytelling. The research, conducted by Prof. Katy Parry (University of Leeds) and Dr Jenna Pitchford-Hyde (University of East Anglia), involved focus groups with veterans, Irish community members, and university students, alongside interviews with curators.
The exhibition represented a shift in how contested histories are presented in the national war museum of the United Kingdom. Rather than focusing on military narratives, it emphasised lived experiences in Northern Ireland, encouraging emotional connections and fresh perspectives across generations. A key aim of the exhibition was to broaden public understanding of the Troubles, especially among younger audiences with limited prior knowledge. Our research explored the effectiveness of the curatorial approach and its underpinning values, exposed through dialogue with visitor communities and the exhibition team.
Key Insights:
•		Engagement and Accessibility: Participants praised the exhibition's immersive design, multimedia formats, and educational resources (e.g. glossary booklets and further reading).
•		Curatorial Transparency: The inclusion of ‘curator’s notes’ was widely appreciated for demystifying museum practices and encouraging trust, dialogue and openness - an approach that could enhance future exhibition design.
•		Representation of Multiple Voices: Curatorial decisions prioritised voices often excluded from traditional war and conflict narratives, including women and community members affected by paramilitary violence. Balancing viewpoints was a central interpretive framework for the exhibition, but without reducing the story to a simple ‘two sides’ binary.
•		Institutional Confidence: The exhibition’s innovative approach has bolstered confidence within IWM to tackle sensitive and controversial topics, suggesting that the museum (and other public institutions) should be encouraged to engage with complex histories in a similarly sensitive, collaborative and care-led manner.
We intend for the report to contribute to ongoing debates about museum practice, and to generate further constructive dialogue between visitors, museum workers and academic researchers. Our aim was to bring to light the interrelated meaning-making elements of the curatorial processes, exhibition design, and the active engagement of visitors. Museums such as IWM are already shifting in their understanding of expertise, uncertainty, and how to encourage inclusive belonging in the museum space. Our report reinforces the benefits of civic engagement and knowledge exchange with a broad range of people (ideally at earlier stages as well), and how recognition of varied forms of cultural and emotional authority can enhance both exhibition design and visitor experiences.
Introduction
This project was inspired by questions that arose from our previous study is that it?’ (Pitchford- Hyde and Parry 2025), which examined veterans’ reflections on the Falklands and Northern Ireland exhibitions at the Imperial War Museum, London (IWM, London) in 2022. The title of our previous project is that it?’ was chosen to represent the disappointment our veteran participants conveyed in response to those exhibition.
One of the comments from our previous study had been on the lack of the diversity of personal stories to convey the experiences of those who had lived through the conflicts. For example, one participant asked about the mother of one Army veteran who had grown up in Belfast: “why aren’t they telling your mum’s story?”. Our interview with the curatorial team revealed that they were planning a new exhibition about Northern Ireland to address these very points. That exhibition became ‘Northern Ireland: Living with the Troubles’, which opened at IWM London in May 2023, and moved to IWM North in March 2024.
The new exhibition promised to foreground the lived experience of people from Northern Ireland. In this report, we present findings on how different groups of people we invited to ‘walk the museum’ and take part in focus groups engaged with the exhibition, collating their responses on what they valued about the exhibition design, and what they thought could be improved. The three groups we recruited were: British military veterans who had served in Northern Ireland; Irish community members in Greater Manchester; and Politics and History students from Salford University.
We also interviewed the lead curator and exhibition team leader of the ‘Northern Ireland: Living with the Troubles’ exhibition to capture their reflections on the decision-making processes behind the exhibition and the feedback from the focus groups.
The aim of the research was to explore how visitors responded to attempts of the curatorial and exhibition team to present the Troubles in a way which foregrounded multiple voices who lived through the conflict, while also differing from the permanent IWM exhibitions in their turn away from British military voices and displays of weaponry or armoured vehicles.
We position ourselves as ‘critical friends’ of the museum, providing qualitative data which we hope illuminates the value of an open dialogical approach between academic researchers, curators and audiences, where perspectives of visitors can also feed into future exhibition design. As researchers, we are also interested in how the Living with the Troubles exhibition challenges some of the traditional associated ideologies that come with the ‘imperial’ national memory of British conflicts indicated in the museum’s name. We hope the report generates further discussion and reflection on collaborative approaches to exhibition planning and evaluation.
Curatorial intentions for the exhibition
The exhibition was intended to foreground the lived experience and personal stories that the earlier participants found missing from the permanent Northern Ireland exhibition. In approaching the new exhibition, the curator Craig Murray and exhibition team lead Jack Gelsthorpe told us in an interview that they had clear aims for what they hoped to achieve through the exhibition, albeit within the limited space available to them.
The curators told us they ‘agonised’ over what they were leaving out, and they took the decision to focus on those living in Northern Ireland, which meant leaving out experiences of soldiers and civilians from England, Wales and Scotland who might have been affected by the conflict. There was a conscious decision not to tell the story from the British Army perspective, with the possible exception of those serving who were originally from Northern Ireland.
Making a comparison to the Ulster Museum, lead curator Craig Murray noted a ‘disconnect’ due to the IWM London location, rather than being “at the centre of where it happens, a living thing for them”. The constraints noted here are both those within the museum space, but also due to the ‘disconnected’ location (initially in London), and arguably a temporal distance, in the context of the museum’s broader remit where this is only one conflict among the many they cover.
They also had to attune their own aims to the level of knowledge and engagement of the visitors that come through the door. Their own ‘front end’ research indicated that awareness and nuanced knowledge of the conflict was relatively limited, in part because it is such an uncomfortable and difficult topic. For this reason their focus for their own visitor outcomes was on an attitudinal shift, rather than ‘cognitive’ - to make an emotional connection through the focus on personal stories, “rather than understanding exactly what took place and when.”
“I thought that the voices of people in Northern Ireland are often under-represented, particularly around everyday people, regardless of what their involvement was, we often heard from politicians, political analysts, etcetera, but you rarely ever heard from people.” (Craig Murray, curator interview, 19 November 2024)
Methods
As media and communication scholars, we view the museum as a significant site for ordering messy and contested events into a shared national cultural memory alongside other media forms. However, unlike some other studies of war museum representations, we are inspired by studies which adopt a “dialogical approach” (Caddick, Cooper & Smith 2019) and that privilege sociability and affective encounters to interpret the museum’s visual culture, both in the exhibition space and through focus group discussion. Our study is informed by a cultural studies approach to museums in the sense that we’re interested in how museum exhibitions construct meanings through representational practices, while also being alert to the multiple meanings Co-constructed and negotiated by audiences.
Our research design employs a focus group approach familiar to cultural studies and critical communication scholars, with group interviews focused on how interpretations of texts “are collectively constructed through social interaction” (Lunt and Livingstone 1996: 88). This sociability is further encouraged with a “walking the museum” approach (Thobo-Carlsen 2016), so that we were able to experience the space of the exhibition alongside our participants and observe how they interacted with each other and the exhibits.
We conducted four focus groups which involved ‘walking the museum’ and facilitated discussion of the 'Living with the Troubles' exhibition. Our first focus group took place on 5 January 2024 in London, just before the exhibition closed at that site. This group of eight veterans included four participants from our earlier study of the Falklands and Northern Ireland conflict exhibitions, who returned for this second meeting and so provided comments comparing the two experiences. As noted earlier, they had been disappointed with the permanent exhibitions (amended for the 40th anniversary of the Falklands conflict), and we were keen to hear their thoughts on this new Northern Ireland exhibition.
The three remaining focus groups were held in May 2024 at IWM North, where the exhibition travelled next. One of these groups included just two more veterans, and the other groups were comprised of students from Salford University and recruits from a local Irish community centre. In sum, for this study, we spoke to 10 veterans, 6 people from the Irish community in Greater Manchester, and 7 students studying a mix of international and military history and politics (23 people in total).
We also held an online interview with IWM senior curators, Craig Murray (exhibition lead) and Jack Gelsthorpe (exhibition manager) on 19 November 2024. For this interview, we wanted to learn more about the processes involved in collecting the materials and the curatorial decision-making for the exhibition. We also fed back some of the comments from our focus groups, and reflected on this data alongside the audience research conducted by the museum. The project received ethical approval in October 2023 (Ref: ETH2324-0824).
Key Findings
We cannot cover all of our fascinating conversations and the stories shared among our focus group participants here, but we have selected the feedback most specifically related to their perceptions of curatorial choices and visitor experience of the exhibition. The feedback from our groups was very positive overall, including from the four military veterans who had also attended our earlier workshop on the permanent Northern Ireland exhibition at IWM London.
Summary of positive feedback
Participants from all four of our groups were keen to stress that they appreciated the huge amount of work that had gone into the exhibition. The exhibition was praised by most of the participants as providing an excellent introduction to the Troubles for those too young to remember or for tourists that were unfamiliar with the conflict. All of our group participants had either lived experience or a high level of historical knowledge, and so perhaps did not reflect the anticipated visitor type with only a limited amount of nuanced knowledge. But they appreciated the variety of media formats in the exhibition, with text, graphics, visual and audio options, especially hearing the testimony which they felt humanised the varied accounts: “I don’t know if it’s just me but hearing a really thick Belfast accent talk about the Troubles just seems right. It just adds to it quite a bit more” (Student Group).
‘7 think that big photo when you go in, of the street with the barbed wire, it’s almost to scale - for a lot of people this is their view. You go out the house and you’ve got barbed wire in the street. I think that was a good introduction of what it was like living during this time. That’s kind of your everyday life.”
Author photograph of large wall-size photograph at the beginning of the main exhibition.
Short films that bookended the exhibition
All of the groups praised the short films which bookended the exhibition. Many participants felt that the first film provided some useful context for the exhibition, although pointed out the inevitable missing events in the historical timeline. The final film combined audio testimony with recently shot footage. Interviewees had been asked to reflect on their lives today, the legacy of the Troubles, and their hopes and anxieties for the future. All of the groups were keen to talk about how the final film captured the reality of the situation today and how many tensions and complexities remain. The film struck many of our participants as a way to keep audiences thinking and talking about the Troubles after their visit.

“A note from the curator"
Another key talking point for our groups was the decision to include the curator’s notes which gave an insight into the curatorial process and the kinds of decisions made at various stages of creating a new exhibition. One of our veteran participants acknowledged the difficulty of representing such a complex conflict: “it was very careful but it knew it was treading on eggshells because that’s why it had all the disclaimers about the language used and things like that. I mean I can see why they did it.” (Veteran Group).
One of the student participants enjoyed that fact that the curator’s notes had prompted them to think more about how museums work, and the kinds of decisions that the exhibitions team have to make in order to produce the finished exhibition.
They were also quick to highlight that it gave them a sense of how the curator had hoped they would encounter the exhibition. This awareness of curatorial intentions seemed to enhance the impact for them. Many of the participants were keen to see curatorial notes rolled out across other exhibitions and museums since they felt that the contribution was so valuable and enhanced their experience: “the curator’s notes has been the main takeaway for me. I would love to see that in so many more museums” (Student Group).

Author photograph of the exhibition.

“I like the curator’s notes on the
exhibition. I don’t really see that in
museums. That’s quite nice... it’s interesting to see how museums are set up and how people interact with them - because obviously every decision in that building is a conscious decision. It’s nice to have acknowledgement of that and what they were thinking when they were setting it up.” (Student Group)
Contested narratives
Balancing viewpoints was a central interpretive framework for the exhibition. The disagreements between the Loyalist and Republican supporters in the communities about why and how certain events happened provided a principal structure through which the contested narratives could be displayed. The groups praised the way in which IWM had represented the perspectives of different groups impacted by the Troubles. Despite their disparate backgrounds, most of the participants emphasised that they had encountered new perspectives in the exhibition which had caused them to reflect on their own experiences and opinions of the Troubles: “To read the other side of the story was, for me, a learning curve today” (Veteran Group).
One of the veteran participants highlighted the timeliness of the exhibition, and the original research behind it, in terms of the future preservation of the voices of those with lived experience of the Troubles: “That’s what’s important in here, that both sides needed to be told because in 20, 30, 40, 50 years, all those people will be dead and you’ll not have that voice”.
The sense that there are two sides to every story resonated with our groups, and they felt that the IWM team had effectively described the complexity of the conflict: “...the strongly held views on two sides seeing the same incident but reporting as if they were looking at different things. That does underline it for me, that they’re not going to agree on anything no matter what” (Veteran Group)
There was a general sense across the groups that the exhibition team had presented a range of voices and demonstrated effectively that there was no single “truth” about the conflict. One of the student participants explained why he found the final film so thought provoking:
“I really like the theme of the constant differing opinions... And my favourite bit was the final video where one guy would say, ‘Oh I think we’ve finally sorted it all, I think we’re finally improving,’ and immediately cuts to someone saying, ‘Yes, nothing’s changed, we’re still not a normal society.’... two completely different views that will probably never, ever agree till the end of time.” (Student Group)

Space, staging and atmospherics
Our first veteran group, who had visited the permanent exhibition with us for an earlier study, were pleased to see that the exhibition had been allocated a larger space within the museum. They felt that this gave the experiences of those who lived through the Troubles the recognition their stories deserved.
Our student group appreciated the emotional impact of “having the fence and looking through to the quotes on the wall”, noting that it was “a really good idea.” They felt that it partially recreated the feeling of separation during the conflict. Our Irish community group also praised how the exhibition recreated the unique visual aspect of living through the Troubles: “the murals on the walls I found quite evocative and provocative, the demarked territory, that made you feel as if you were there” (Irish Group).
The flexibility of the exhibition’s spatial design, where visitors could take multiple routes to consume the information, was also valued.
“I quite like that it’s a very non-linear way to go through it. You’ve got your start point and your end point, but then I think to get there each one of us went a different way. I think that freedom in an exhibition I always personally enjoy, where you don’t have to follow this set route.” (Student Group)
Our Irish community group spoke about the sound effects in detail. They discussed the ways in which the sounds they could hear on the continuous background soundtrack created a particular kind of atmosphere, even if some found it quite traumatic to hear screams and shouts: “...it puts you in that environment for a second”.
There was lots of different sounds. There was an overwhelming sound of burning the whole time,... in a way that I find was most impactful...and it was well done. (Irish Group)
The Glossary
Our participants welcomed the addition of the yellow glossary booklet and the option to scan barcodes as learning tools. In fact, some of the veteran participants picked them up and said how they had ‘resurrected’ their interest in both the past and present, refreshing memories of all the different paramilitary organisations.
This really emphasises the complexity of this conflict and why it is so important to hear the voices of those who lived through the Troubles as well as military points of view. Our student group were particularly enthusiastic about the glossary booklet and extra online resources available to them after their visit:
“Absolutely love the further reading on the back of the glossary. I think I’m going to definitely go and have a look at some of these texts,...So I think that should be something that all museums do. If you like this, if you want to go a bit more in detail with it, that’s there for you.” (Student Group)
The students suggested that it might be useful to make the further reading titles available in the gift shop.

Participant critiques and suggestions for possible improvements
Our participants were, on the whole, very appreciative of the efforts that had been made to include a range of media formats. They were keen to encourage IWM to build on this diversity in future exhibitions, and they had some suggestions about how the exhibition could have included even more ways to engage with the material and encourage technological accessibility.
Interactivity, immersion and popular culture
Participants liked the fences and the sense of separation they created in a relatively dimly lit exhibition space, but they felt this could have gone further, suggesting a gate to go through would further enhance this experience: “It’s just a shame there’s not more hands-on sort of things, like a gate or things like that.” (Veteran Group). All of the groups indicated a preference for interactivity, especially in terms of making the exhibition more accessible to children: “Many museums I go to, there's things that children can do” (Irish Group). People in this group also advocated further increasing the immersive nature of the exhibition, connecting new visuals behind the fenced-off area to the background audio.
Interestingly, participants in our Irish community group highlighted the importance of music in their own lived experience and in how they relate to the Troubles, particularly artists from the punk era. Students also mentioned contemporary artists such as Kneecap who provide insights into the ongoing tensions in Northern Ireland for the post-Good Friday Agreement generation.
Difficulty of including darker undercurrents
Some participants felt that the scale of the horror that people encountered was not fully explored: “It's quite hard for an exhibition as well to sort of demonstrate the fear factor of it all as well. ...I don’t think there's a great deal about people being kidnapped and tortured. I think they might have mentioned it, but, you know, there was quite a lot of that going on. So I think there was some awful atrocities being conducted during that.” (Veteran Group)
Indeed, there was a sense that the Troubles had been sanitised or ‘sugar-coated’ to some degree and the exhibition could have explored the “darker undercurrent” of the Troubles in more detail: “it's like a top level overview, without telling you any of the nasties” (Veteran Group). Both veteran groups expressed that they felt the underlying street gang culture and coercion of community members during the Troubles should have been explained in greater depth: “That tarring and feathering, do you think it came across in the exhibition about the coercion that went on within the communities, to keep quiet or take a side?”
Those from the Irish community in Manchester also noted that while both sides were responsible for the atrocities, the oppression for Catholics and the power imbalance was not dealt with: “You lived under the boot”. Our other groups also noted the important causal context of the lack of housing and jobs for Catholics alongside the civil rights movement, which the exhibition did not have space to explore in detail.
Curator reflections and responses to feedback
The exhibition curators were aware that no exhibition can please everyone, but they were keen to build on the success of the exhibition for future programming, ideally given more space. As Jack Gelsthorpe commented: “That's the starting point for us to build our collections further and maybe do future exhibition programming hopefully on this, because I think it has given us a bit of confidence to take this further.” Jack explained that the strong visitor numbers and positive feedback had helped to build “institutional confidence” with the museum body and trustees that controversial subjects such as Northern Ireland can be valuable for generating interest and building knowledge: “The world didn't implode. The roof didn't fall down”.
They acknowledged that it is a challenge to include some of the ‘darker’ elements of the contested narratives about the conflict, because claims can be hard to prove and they didn't want the exhibition to become a ‘millstone’ for the museum. “I think dealing with the darker aspects comes with all the issues around being able to prove these points,...you've got to be able to prove these highly controversial things for them” (Craig Murray).
‘Lifting the bonnet’: Curator’s notes
In responding to the positive feedback from our focus group participants for the ‘curator’s notes’, Craig responded that he couldn’t take credit for the idea. William Blair from National Museums, Northern Ireland, who was on the advisory committee, had made the suggestion: “the words he used was ‘lift the bonnet off your thinking’ for the audience and, you know, take that weight of expectation that they should know lots or, you know, this feeling of being uncomfortable, of being uncertain is okay.”
This was the first time the museum had used this particular approach, which Craig described as being more honest and open, ‘taking a step back’ and giving the exhibition a ‘human face’. 'Lifting the bonnet’ is therefore about humanising the unseen process and acknowledging uncertainties while retaining an authoritative voice. It not only gives access to the conversations behind the exhibition, but invites the visitor into those conversations.
“...what we've kind of done here is handed the storytelling largely over to the people involved, who saw it, who experienced it and said. ‘This is their experience. We're letting them tell you this story because they can tell it better than we can’.”
Balancing contested narratives
In response to the pairing of two opposing or contrasting narratives about specific events, Craig explained that this idea started with his determination to include a wide variety of voices and perspectives during the collection of new interviews:
“To try and get paramilitary voices in there. Try and get some soldiers. Some police. I was pretty keen to get a woman's voice in there as well because of this counterpoint to this sort of male war story narrative that usually dictates a lot of what we hear around the Troubles and also because women tend to do all the heavy lifting during these kind of periods.”
Voices such as Jayne Olorunda who has written about her experiences as a mixed ethnicity Catholic child whose father was murdered, or Jeff Dudgeon, a gay rights activist, are part of the cross section of society who are often not part of the story of this conflict, and whose voices Craig particularly sought to include.
Craig explained that working in the Imperial War Museum means that the notion that “everything’s contested” is certainly not a new concept to them, but they made the decision to have stark contrasting statements to underpin the persistence of opposing narratives and memories in the communities.
“So we made that decision to just have a section on the Battle of St Matthews with two voices that were there at the same time. But you know, you look at their perspectives and it's like they're talking about two very different events and I think we made that decision to kind of really reinforce and hammer home to our visitors."

Conclusions
We intend this report to contribute to ongoing debates about how museums can responsibly and effectively represent contested histories in ways that resonate with diverse audiences. It underscores the value of supporting exhibitions that address contested narratives with care, nuance, and community engagement. In our interview, the curators emphasised the importance of institutional confidence in addressing complex and controversial histories, and we hope the reflections from both visitors and curators encourage the museum to extend the openness to multiple perspectives and reflexivity adopted in this exhibition. Focus groups organised by researchers in addition to the museum’s own visitor research can offer a textured and possibly more honest evaluation of the exhibition. In achieving a degree of ‘institutional confidence’, the ‘Living with the Troubles’ exhibition has laid the groundwork for future programming of controversial conflicts and accentuated the value of in-depth engagement with a multiplicity of voices.
Beyond this exhibition, we can reflect further on how war museums present the contested narratives of recent conflicts, especially when those who have lived through them are still alive. What kind of material culture can best tell the stories of war and conflict in a manner that engages diverse audiences? Whose voices are missing from collections? We are moving into an era in the UK where the vast majority of the population have no direct experience or memory of war, and did not complete national service. How can young people be engaged in a manner that neither sanitizes war, nor seeks to entertain through visceral or alarming material? War museums are repositories of our collective memory and tell the nation a story about itself at moments of national and international crisis. This requires ongoing research by academics and museum workers into the shifting expectations around commemorating war, what kind of testimony and artefacts should be collected, and the continuing value of such exhibitions for public knowledge.

References
Caddick, N., Cooper, A., & Smith, B. (2019). Reflections on being a civilian researcher in an exmilitary world: Expanding horizons? Critical Military Studies, 5(2), 95-114.
Lunt, P., and Livingstone, S. (1996). Rethinking the focus group in media and communications research. Journal of Communication, 46 (2), 79-98.
Pitchford-Hyde, J. and Parry, K. (2025). “Is That It?”: Veteran Reflections on the Falklands 40th Anniversary and Northern Ireland Peacekeeping Exhibitions at the Imperial War Museum London. International Journal of Communication. 19, 115-134.
Thobo-Carlsen, M. (2016). Walking the museum—Performing the museum. The Senses and Society, 11(2), 136-157.
University of East Anglia
Faculty of Arts and Humanities
University of East Anglia, Norwich Research Park
Norwich NR4 7TJ
www.uea.ac.uk
University of Leeds
School of Media and Communication
The University of Leeds, Woodhouse, Leeds LS2 9JT
www.leeds.ac.uk