Meet Patrick Ibbotson: NKCC Project Manager

NKCC is delighted to announce that Patrick Ibbotson will be shortly joining NKCC as a full time Project Manager. Patrick will have responsibility for overseeing current NKCC projects, developing new initiatives for the company and supporting NKCC, its consultants and its Managing Director, Naomi Korn.

Patrick headshot

Patrick will be coming to NKCC from the Museum of London, where he has worked for over four years managing the relationships with donors, including corporations, trusts, foundations and individuals. Prior to the Museum of London, Patrick worked at The Big Give, an online giving platform founded by Sir Alec Reed. Patrick attended Leeds University where he studied English Literature and Philosophy, and Lille University where he spent a year with the Erasmus programme. He is a keen film fan, and produced documentaries during his time at university, one of which won a 02 Media Award. He is a lifelong fan and season ticket holder of Leeds United.

Patrick Ibbotson:  “I am really excited to now be a part of NKCC!  It’s a great company and I’m looking forward to getting to know NKCC’s clients and helping the company develop”.

Naomi Korn:  “Its great to have Patrick on board. He’s got tremendous skills and I’m confident that as part of the NKCC team, the company will continue to grow, providing the excellent services in copyright, GDPR and information law for which we are known”.

Patrick will be starting at NKCC on 12th February 2018. His first day will be spent with Naomi Korn and Professor Charles Oppenheim at the National Museums of Scotland in Edinburgh.

GDPR or Getting Data Protection Ready

By Carol Tullo, Non Exec Advisor NKCC

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Christmas Day will mark the 6 month point before the new data protection regime is operational from May 25, 2018. This offered a seasonal hook for my personal reflections on data protection preparedness across a number of organisations that I have worked with and advised this year.

There are lots of countdown clocks and collected checklists available online. It can be scary. Ultimately though, data hygiene and preparation for the changes comes down to planning and confidence.  If you are responsible for data that drives your business, organisation, school or university then the loss or compromise of that data will drive a loss of confidence and, worse, loss of reputation.  Working across government, I saw departments developing robust information assurance systems and security capacity.  Government, like most institutions, is good at putting in place technical controls to manage information risk.  The weakest part of any system will be the people that use it.  Reinforcing the message that safe and secure handling of personal data is everyone’s responsibility from the senior through every level of your organisation continues to be a significant piece of learning for many.  Training offers and workshops focus on giving people confidence in identifying the risks and how to deal with them in simple stages and practical steps.

Nothing new here then?  If your organisation has been DP compliant and aware to date then you are well on the way to being GDPR compliant.  The aim is to build on the existing personal data handling but adapt it to our changing digital world.  The current Data Protection Bill places this firmly in the digital space.

A few months ago, I first heard the expression that GDPR is simply Data Protection on steroids! It is a direct way of saying it is more of the same and stronger, better, faster… to coin a phrase.  I have seen awareness taken very seriously.  Holding a data awareness month in the office, regular blog posts on intranets, internal newsletters and posters in the lifts, glossaries of terms, staff briefings and training –  just a few of the many initiatives.  Equally, I have been surprised at the lack of knowledge – still – about the need to strengthen data controls and housekeeping.  I know that in leading or attending external training events and conferences, that also reinforces messages internally and drives home personal understanding of how we expect our personal data to be managed and held.  The need for unambiguous consent and the recording of consent means that standard alerts on websites and opt out consent to cookies will no longer be fit for purpose.  If services are offered to children, then age verification and parental consent measures need to be thought about.  I have also heard comments that the threat of the Millennium Bug [ remember 31 January 1999] was a damp squib and that GDPR will be the same.  GDPR delivers a safer data environment and is a wakeup call for those that have been lax in the past.

My first starting point would be to look at your privacy policy or statement.  Don’t have one?  Then get help and advice to draft one that clearly explains what you capture or hold, for what purposes, for how long and your security measures.  Then think about how consent can be withdrawn or requests for the data held supplied.  Much is common sense.  If you do have one, then it is time for a refresh.  Use the opportunity to restate the data standards you require for your teams and colleagues to be compliant.  Data management and data privacy may not have been in Dicken’s mind in Christmas Carol but they are the skills to equip us all for our 2018 digital past, present and future.

(c) Carol Tullo, 2017.

The contents of this blog post can be shared and re-used under the terms of a Creative Commons Attribution Share Alike Licence http://www.creativecommons.org

GDPR Top Tips

Following a series of data protection – GDPR training sessions for schools, charities and museums this month, here are my top tips.

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Top Tip #1: Don’t be scare-mongered about GDPR. Its a step up from current data protection laws, and there is no magic bullet. GDPR is about embedding long term systematic “privacy by design” processes and policies within organisations. There is no ICT system that solves it!

Top Tip #2: You can bring together your external compliance obligations in one place. For example, your privacy notice should clearly state why you are collecting personal data etc. It can be published online with your copyright notice which explains what your position is on copyright, and stating what users to your website can do with your content.

Top Tip #3: Being compliant with Data Protection falls within  Schools, colleges and university’s broader safe guarding responsibilities.

Top Tip #4: Data Protection laws apply to print and digital forms of personal data. Know what you have, why and where it is stored. Decide if you should keep it or not, and if so, make sure you plan how you keep it safe.

Top Tip #5: If you can’t find a legal justification for processing personal data, delete or destroy. Otherwise its your risk.

Top Tip #6: The new Data Protection laws are a great opportunity to spring clean your personal data and/or reconnect with people with whom the personal data you hold on them belongs.

Top Tip #7: Make sure you understand your obligations as a Data Controller when others are processing your personal data on your behalf. Always ensure you use robust contractual agreements between you and your data processors.

Top Tip #8: Think holistically about how you can embed “Privacy by Design” into everything you do. Your existing policies like social media, ICT & HR can usefully be amended to cover your new GDPR obligations.

Top Tip #9: Embed clear guidance about data protection into staff awareness & engagement. its everyone’s responsibility.

Top Tip #10: Map out your next steps to be complaint with GDPR in an action plan comprised of short, medium and long term actions and who will take them forward. You won’t be able to do everything at once, but you can start your journey sensibly whilst committing to long-term organisational change.

The contents of this blog post can be shared and re-used under the terms of a Creative Commons Attribution Share Alike Licence http://www.creativecommons.org

 

 

Meet the NKCC Team: John Peel

NKCC is delighted to announce that John Peel, a museum professional who has worked in various collection management roles at Manchester Art Gallery over the past 13 years, has joined NKCC as a Junior Associate.

NKCC John Peel headshot

John is currently the Collection Information Manager for the Manchester Museums Partnership with responsibility for the collection of Manchester Art Gallery, and more recently the collections of the Whitworth and Manchester Museum. John is experienced in dealing with the policy and procedure of rights management in the museum sector and it’s application in a resource limited environment.

John continues working in his current roles whilst gaining experience at NKCC. John is being mentored and managed by Naomi Korn, as part of the NKCC new mentoring scheme. The aim of this scheme is to provide opportunities for skills development for cultural heritage professionals which are also transferable back into the sector.

John Peel “I’m thrilled to have been asked to be the first NKCC mentee. It’s a great opportunity for me to develop my understanding of copyright and data protection. And I will be able to put that new knowledge into practice in my day job which is a great added benefit.”

 

Being a CILIP Trustee

Since 2015, I have been proud to sit on CILIP Board as a Trustee and on CILIP’s Audit Committee. The elections for CILIP Board open at the beginning of November and I wanted to share the importance of the relationship I have with CILIP, why I am standing again and what I offer CILIP and the community in my role as CILIP Trustee.

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(c) Fred Saunderson

What is CILIP?

CILIP (Chartered Institute of Library and Information Professionals), is the professional membership organisation for UK information & library specialists. We have an eclectic membership of over 13,000 members and currently CILIP is the second largest professional membership organisation of its type in the world.

In what ways am I already involved with CILIP?

Apart from being a CILIP Trustee, my relationship with CILIP, its members and the wider information and library community  is extensive, well established and goes back many years. I have worked closely on a variety of projects and activities with CILIP, and have known CEO, Nick Poole for a long time.

As part of my professional relationship with CILIP, I provide copyright and compliance training for hundreds and hundreds of information and library professionals working for all types of organisations. I am involved in training and awareness raising via in-house training, seminars and conference papers, University lecturing and professional organisations, including CILIP, ASLIB, Ark Wilmington and RTA Regional Training. This type of training and awareness raising provides our information and library community with the skills and confidence to support them, their staff, students and members of the public.

I am a regular speaker at CILIP Annual Conference, but also try to support members of CILIP Regional Network and Special Interest Groups wherever I can. I am looking forward to  presenting at the CILIP NW meeting in November when I am up in Liverpool. I am also excited to be working in association with the new CILIP Knowledge Management and Information Group on a half day session on information law together with Prof. Charles Oppenheim later that month.

From 2013-2016, I chaired LACA (Libraries and Archives Copyright Alliance), which is convened by CILIP. Together with my LACA, Wellcome and British Library colleagues we successfully lobbied for UK copyright reform. These reforms, implemented in 2014, are the most important in copyright law for a generation because they include innovative exceptions with broad benefits, such as data and text mining and more favourable provisions for library and information professionals. The UK copyright reforms are acting as a beacon of reform for the rest of Europe. I remain a member of LACA as we navigate the more turbulent waters of UK copyright legislation post Brexit.

Since 2012, I have arranged the programme and chaired the annual CILIP Copyright Conference. This annual event has grown from strength to strength, and out grown CILIP hosting space. I am already starting to plan the 2018 CILIP Copyright Conference.

Finally, I am currently co-authoring a book about information law compliance together with Professor Charles Oppenheim for FACET (the publishing arm of CILIP). Watch this space…….

Why did I become a Trustee?

I already had a well established relationship with CILIP, its members and the wider information and library community but I wanted to become more involved in the strategic direction of travel of CILIP at a crucial time of library closures and when CILIP was  planning its future. Running a small business myself, I felt I could offer valuable business insight, as well as a professional perspective on risk, compliance and business planning. I had also successfully worked with CILIP CEO, Nick Poole, in the museum world, and I wanted to work with him again and his staff.

Why do I want to stand again as CILIP Trustee?

CILIP has a talented Board with diverse skills and experiences. I love working with them and want to do everything I can to support Nick and the Exec team in the successful implement of CILIP’s Action Plan and CILIP’s new membership offer.

I believe that my business acumen, professional compliance and risk skill set compliment the skills we already have on the Board, crucially bringing a synergy of sectorial understanding and business & compliance know-how at a critical time for CILIP and the members we represent.

What can you do?

The elections for CILIP Trustees open at the beginning of November. All the candidates are outstanding so CILIP wins every which way. CILIP members play a vital role in the process by voting and helping to shape CILIP’s future.

Welcoming Carol Tullo to NKCC

NKCC is delighted to have appointed Carol Tullo as its first Non Executive Advisor to provide oversight of the plans for business development. As Non-Exec Advisor, Carol will review and appraise the overall strategy and performance of NKCC’s development plan, and also support and help shape future plans and initiatives.

Carol has a career background in intellectual property practice and commercial law publishing with Thomson Reuters before she joined the Cabinet Office and The National Archives. She led information policy and management responsibilities within the open data and information regulatory space across government. Carol has a track record of Information assurance, security and governance as she steered the shift away from paper to digital records.

She was, until July 2017, Director of Information Policy and Services, The National Archives. Carol was responsible for providing leadership in information management and policy across government and the wider public sector to improve the way information is managed and exploited to deliver real benefit for all that use and access this valuable resource. As Controller of Her Majesty’s Stationery Office, Queen’s Printer of Acts of Parliament, Queen’s Printer for Scotland, and Government Printer for Northern Ireland, she delivered UK wide official publishing including legislation. carol-tullo

Licensing Our Heritage

Anne Buky, Licensing Consultant and NKCC Associate, looks at how museums and heritage organisations have developed strong brand licensing programmes.

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(c) IWM

Working with museums and heritage organisations is an immense privilege. When asked why I do so it is not hard to find the answers – breath-taking collections, beautiful buildings, experts with encyclopaedic knowledge and people who are committed to preserving and enhancing a heritage in which the UK is the world leader. And such an incredible and diverse heritage – from dinosaur bones millions of years old;  to paintings worth millions of pounds,  pilot’s notebooks written during the Battle of Britain, jewels worn by the Queen, Shakespeare’s gold signet ring, sculptures by world masters, record breaking trains and cars  – the list of course is endless – all of life is here.

The museum and heritage sector has changed out of all recognition in the way that it presents its collections.  Bright, interesting displays, immersive experiences and record-breaking exhibitions all show that great efforts have been made to explain the collections to a diverse audience.  And judging by the excited queues of visitors during the holiday period, these efforts have clearly paid off.

Developing Brands

In tandem with developing their content, Museums have also made strides in commercialising their brands and raising income through activities such as retail and brand licensing. Sometimes this has come about because funding from government, local authorities and other sources of income has been curtailed and it is has become necessary to develop other income streams. But the heritage sector itself has recognised the great interest and value that its brands and collections have and have made every effort to ensure that these brands are offered to the wider world.   It is not always an easy path.  Whereas the retail offer in a museum is driven by the visitors and specialist audiences, and bespoke products can be created for these audiences, licensed products have to appeal to the mass market which sometimes has different priorities. Brand Licensing is a large industry and in LIMA’s most recent figures of how the industry is divided, the not-for-profit sector occupies less than 1% of the total. Potential licensees are more familiar with, and more attracted to the ‘easy’ options of film and TV offers, fashion brands, sport and lifestyle etc.

Significantly, larger museums such as the V & A, Natural History Museum and the Science Museum and larger organisations such as The Royal Horticultural Society and the National Trust have resources to develop their licensing programmes. They have created strong programmes with clear messages. However, developing a strong programme is not only about resources. Museums with fewer resources or more difficult subject matter, such as the Imperial War Museum and the William Morris Gallery, have found their niche by playing to their strengths. Historic Royal Palaces have inspired Hobbs to create several ranges based on the fabric of their buildings. Sir John Soane’s Museum, a small yet iconic museum in Lincoln’s Inn Fields, London,  based on one man’s personal collection,  has inspired no less a brand than Dr Martens to create special boots, inspired by William Hogarth’s series The Rake’s Progress in their collection – how marvellous is that!

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(c) Sir John Soane Museum

Challenges ahead

The challenge for the heritage sector is to find licensees who understand the organisation and the cause and are happy to go a little further than usual delving into archives and developing products ideally that work well in both markets.  Museums help licensees in the following ways by:

  1. Developing a clear strong brand, understandable to all.
  2. Showing the ‘core purpose’. Museums, both large and small, have thousands, and in many cases millions, of artefacts and images – it is sometimes difficult for a licensee to know where to start in terms of developing products.  But museums that have identified the core purpose – the one thing that is recognised above all, can start with developing products around that idea before moving on.  For example Imperial War Museums (IWM) has 11 million photographs – an astonishing amount, but it is best known for its objects – in particular its Spitfires.  It also hosts popular air shows at its branch at Duxford – where Spitfires often feature.  The retail team at IWM know that anything with a Spitfire sells, and this is mirrored in the wider world where the authenticity of the brand helps retail sales.
  3. Exhibitions – Strong exhibitions are the lifeblood of museums and can bring in new audiences. Exhibitions can also bring in new licensees, as they see for the first time the opportunities that may be obtained, and a new audience or a new style. The V & A has been a trailblazer with its exhibition programme – queues around the building, evening openings and a superb retail offer mirrored in its licensing programme.
  4. Anniversaries – in the heritage world we are blessed with many historical anniversaries. By the nature of its subject matter IWM has several anniversaries a year – the challenge sometimes is to choose the most appropriate. Anniversaries can be a great bonus and licensees can be excited by the prospect of an event that will cause an increase in sales and interest.  However one must be cautious as well.  The anniversary of the start of the First World War (2014) has come and gone – it caused a spike in licensing activity – but the challenge is to grow a programme naturally so that it is not dependent on one-off dates. Luckily for IWM wars last quite a long time – and they are now looking at renewed activity geared to the end of the First World War in 2018, demonstrated in Remembrance and Legacy.
  5. Publicity – here the heritage sector struggles the most. The licensing world thrives on publicity and good news stories.  But with tight budgets and in many cases the use of public money, museums can only dream of the kind of publicity generated by the film and TV studios.  Each advertisement must be assessed and every PR campaign measured – it is difficult to get heard above the clamour, literally, of the big licensors.  At Brand Licensing Europe in October on the first floor where museums and brands are placed there is a quiet oasis above the hubbub below.

Taking all this into consideration, museums and heritage organisations punch above their weight in the licensing world.  There is much to be done and also much more to be discovered by licensees and retailers alike and benefits for all to be shared.

Text: (c) Anne Buky, 2017. All Rights Reserved.