Tune in to Switched On
Charlotte Howard
Interpretation Developer for NSMM
This year the Science Museum Group is celebrating the BBC's centenary through displays, exhibitions and events across three museum sites (National Science and Media Museum, Science Museum and Science and Industry Museum) on a programme called Broadcast 100. The National Science and Media Museum leads the celebrations with its dedicated exhibition, Switched On: 100 years of broadcast innovation open until January 2023.

The Switched On exhibition was developed in collaboration with the BBC to tell the most authentic and surprising stories in broadcast evolution over the last 100 years. To communicate these stories, we use a wide variety of interpretation methods including object displays, interactives, videos, images, commissioned films and soundscapes.
This exhibition would not have been possible without the BBC as a leading partner. The majority of the images and videos in the gallery come from the vast BBC Archive. There are some real gems to discover, from the earliest variety show television broadcasts to current programmes: Strictly Come Dancing and RuPaul's Drag Race.

Peter Sinclair, the popular Scottish comedian, performs for Cabaret Cartoons, a live light entertainment series broadcast in the 1930s

Eastenders actor Rose Ayling-Ellis and dancer Giovanni Pernice compete on Strictly Come Dancing in 2021
The first step to developing an exhibition is nailing the 'big idea'. What is the main message and what themes should the exhibition explore? We worked closely with the BBC in the early stages of content development to shape stories. Once this has been done you can start to think about what visitors will see and experience. Curators delved into our collection of over 1,000 unique broadcasting objects to choose the best objects to display. This collection was donated by the BBC to the National Science and Media Museum 10 years ago to celebrate their 90th anniversary. The rich collection that includes pioneering microphone design, innovative colour camera technology and television props (Doctor Who's Daleks and puppet Muffin the Mule) made object selection a difficult feat - with so much choice, how can you whittle them down?

EMI Emitron Camera Head and 'Iron Man' Camera Pedestal, 1936. Science Museum Group Collection

Marconi-Sykes Magnetophone, 1923. Science Museum Group Collection

Enlarged replica of Muffin the Mule puppet marionette, 1998. Science Museum Group Collection

Hexacopter drone kit and digital video camera, 2013. Science Museum Group Collection
Working out what you can't have is one way of starting. Your most impressive objects might be too big to fit into your gallery space. One object, the iconic 2001 EMI television camera, didn't make the cut because of where we wanted to put it and what it was made of. There wasn't enough room to tell the full story in our gallery so we explored the possibility of putting the camera in the museum foyer. This was quickly rejected by our conservation team who wanted to protect the object for the future. The camera was one of the last to be used in regular broadcasting service on Eastenders and has a piece of paper listing the cast and crew of the last episode it filmed taped to the body. Paper is light sensitive, and the foyer has floor to ceiling windows, put the two together and the names will fade in the sunlight meaning it can't be enjoyed by future generations. The object was sadly dropped from the exhibition but the stories we had collected from BBC alumni of working with the camera were gathered and posted on a blog for everyone to enjoy wherever they are.

EMI 2001 television camera, c.1968, last used on Eastenders in 1991. Science Museum Group Collection

Floor to ceiling windows in the museum's foyer mean paper objects cannot be displayed as they will fade
After weeks of content discussion, 40 objects were selected and the conservation team started checking their condition and completing any needed treatment. Work then began on how to display objects: do they need plinths, bespoke supports or suspension? What is the best way to show off the object and get visitors to engage with the content? One way is to replicate how it would have looked whilst in use.
We got the green light to suspend the BBC puppets and started measuring.

Conservation Manager Gabrielle Flexer and Broadcast Curator Lewis Pollard work out how to attach Muffin the Mule's strings and where it needs extra support

Drawing rough case display sketches with dimensions help us to communicate our plans with other teams and contractors

Completed puppet case featuring Muffin the Mule, Sausage the Dog and Bill and Ben the Flowerpot Men. A cut vinyl aperture shape applied to the front of the case makes the puppets look like they are inside a giant television

The BBC's Hexacopter drone was also suspended to make it look like it had just taken off from the ground
The grass base links to the associated footage of its first use by BBC News taking off from a farm in Cheshire in 2013.

The EMI Emitron camera is on open display and raised on a stage as if in a studio. Conservation Manager Gabrielle Flexer secures the base of the object before the front of the barrier is attached

Conservation Manager Gabrielle Flexer cleans intricate details on Little Ben before locking the case. The object was used in BBC studios in the 1950s to replicate Big Ben. The backdrop of Elizabeth Tower contextualises the object
As well as objects already in our museum collection, we seek additional objects as loans. Early on in development we secured a loan of the coveted Strictly Come Dancing Glitterball Trophy.

Conservation Manager Gabrielle Flexer and Researcher Tasha Kitcher carefully position the Glitterball Trophy
This stunning object deserves to be the centre of attention, so we staged it in a tower case to show it off from all angles and act as a draw into a story about dancing over the decades. Dancing has always been popular since the beginning of television in 1936 and the artform still dominates today with 7 million tuning in to watch Strictly every year.

Focused lighting on the Glitterball Trophy draws attention to the object and also bounces off the many mirror plates. A graphic outline of presenter Bruce Forsyth's iconic pose adds to the set dressing

The dancing story in Switched On featuring ballerinas Alice Niktina and Alicia Markova, hand drawn studio set plans, Les Ballets Nègres, Television Dancing Club and Strictly Come Dancing
There's much more to see, so why don't you pay the National Science and Media Museum a visit this year? The exhibition is free to enter and open until January 2023.
Click here to find out more about Broadcast 100.
