[Skip to content] [Skip to main navigation] [Skip to user navigation] [Skip to global search] [Accessibility information] [Contact us]

Previous Next
of 20 items

What's this? A Charmed Life

Since July, a group of 8 brilliant volunteers have been involved in collecting information and memories from visitors to the museum about an intriguing object – a glove charm from Naples. 

  • Glove protective charm, Mano cornuta, or horned hand amulet in the form of a brown leather glove with white stitching. Used as a charm against bad luck.
    Mano cornuta, or horned hand amulet in the form of a brown leather glove with white stitching. Used as a charm against bad luck.

As well as talking to people about the object and encouraging them to enter their thoughts into the iPads next to the object, they have been taking photos of the lucky charms our visitors have in their pockets.

Sze Kiu Leung - one of the volunteers - takes us through a selection of the charms.

During the past month, as part of the Collection People Stories project, we have been inviting our vistors (as well as our fellow volunteers) to share their special / lucky charms with us by letting us take a photo of the charm, as well as telling us a little bit of background information about it (e.g. what it is and why it's special).

This lady said this was a religious talisman given to her by her mother when she was a child. "I have worn it ever since – I am now in my 30s. I lost it twice and went to big efforts to retrieve it and fix it!"

  • Charm, A religious talisman.
    A religious talisman.

"I have carried this everywhere for 20 years. It is the name of the sun in Egyptian. I would feel lost without it."

  • Charm, Egyptian hieroglyphs.
    Egyptian hieroglyphs.

"This is my mother's wedding ring. Wearing it gives me a sense of closeness with my family member."

  • Charm, A wedding ring.
    A wedding ring.

Volunteer Louise's lucky charm bracelet – it is made of beads which ward off the evil eye.

  • Louise's lucky charm bracelet , A charm bracelet.
    A charm bracelet.

This is Roy's lucky glove (aged 3). It is a golfing glove, but he likes to think it is his wrestling glove and likes to just wear only one glove on his left hand.

  • Roy's lucky glove, A lucky glove.
    A lucky glove.

Volunteer Tempe's lucky bracelet – she wears this for all exams, interviews dates etc. As a rule though she wouldn’t say that she is superstitious.

  • Tempe's lucky bracelet, A good luck bracelet.
    A good luck bracelet.

Volunteer Kieron's cap – he wears this every day and has a subconscious need to wear it, like a good luck charm.

  • Kieron's cap, A lucky hat.
    A lucky hat.

What would you consider your charm? Let us know on Twitter, Instagram or Facebook by using the hashtag #Horniman.

What's this? What we know about the object

In July this year, we set up a new case displaying an object in our African Worlds gallery. Around the case were two ipads, into which our visitors can put their questions, information or memories about the object.

Lots of questions were asked about the object, so we asked our curator Fiona to tell us what she knows about the object.

This object is a mano cornuta, or 'horned hand' amulet in the form of a brown leather glove with white stitching, stuffed with pink wool to resemble a gloved hand.

The wrist is bound with a cotton thread to attach a twisted and knotted loop of string by which to hang it.

It would have been used as a charm against bad luck, probably hung from his barrow by a street seller. It probably came from Naples, and is believed to have been acquired by the Museum in the early 20th century from Edward Lovett, who was a collector of amulets.

Mano cornuta, or 'horned hand' amulets come in all sorts of material and sizes. In southern Italy, they are sometimes made of coral, amber, silver, and mother-of-pearl.

They are still sometimes used, and were once worn widely as a protection against the ‘Evil Eye’. This was the look given by someone wishing to cause a person injury or misfortune, usually a jealous rival, and it was thought that some such people could cause harm by glancing at you.

Making a gesture like the one formed by the glove, or wearing an amulet such as this one could offer some protection by diverting the evil glance.

Tomorrow, this object will be going back into our stores and a new object will arrive in the case in African Worlds. We hope you'll enjoy discovering the next object.

What's this? What our visitors are asking

Adrian Murphy - our Digital Media Manager - explains what we've been learning from our object case with iPad interaction in African Worlds.

In July this year, we set up a new case displaying an object in our African Worlds gallery. Around the case were two ipads, into which our visitors can put their questions, information or memories about the object.

We set this up as an experiment, so we could learn the different ways our visitors interact with technology, volunteers and to find out more about what questions they would like us to answer in our exhibition labels.

Two days a week, a number of volunteers stand by the case, ask our visitors questions, encouraging them to use the iPads and learn more about the object - an Italian gloved hand that is around 100 years old.

Matthew and Sze Kiu - two of our volunteers - have already blogged about what our visitors have been saying to them while they were working at the case.

Since the case was put into the gallery in July, our visitors have asked 898 questions.

Visitors can ask questions to the person who made the object, the person who uses it and our curator. Most questions were asked to the person who uses the object (379), with questions to the maker second (362) and finally our curator (157).

There is also a space where visitors can tell us something about the object - we received 329 pieces of information.

Top questions asked

The top 3 questions asked to the object's maker are:

  • What is it? What is it used for?
  • Why did you make it?
  • How long did it take you to make it?

Many questions asked to the object's user guessed at what its usage might be - the top 3 questions were:

  • What is it ?
  • What do you use it for?
  • What do you do with it?

The most asked questions to the museum's curator were:

  • What is this object?
  • How old is it?
  • Where is it from? Where did you get it from?
  • Why is this in the museum?

It might seem obvious, but from this, we understand that many people want a straight-forward type of information when looking at an object - what it is, where it comes from, what it is used for and why is it in this museum?

In addition to these frequent questions, visitors asked us many more questions - here are ten interesting examples:

  • Why is it in such a strange shape?
  • Do you make a lot of these objects? is this a special one or just standard?
  • Where is left glove?
  • Why did you give this to the museum?
  • Is your hand in it?
  • How do you know that this object works?
  • Do you think the use of iPads genuinely improves the experience and wonder of the museum?
  • How old is it and is it still used today?
  • How many years have you spent making it?
  • What type of person created it, working class or upper class?

What we've learned

In the section where visitors could tell us some information about the object, there were many different suggestions, hints and ideas given.

We learned that there was a connection between the object's gesture and spiderman's hands - something we definitely had not thought about before. Many visitors connected the gesture to the "rock on" symbol too, while many others suggested connections to other cultures - as Sze Kiu previously explained.

We also noticed that on the days our volunteers were by the case, visitors asked slightly more nuanced questions, having maybe learned a little by speaking with the volunteers.

We also saw that people asked questions about making to the user, using to the maker and all sorts of questions (completely unconnected to this object) to our curator.

Next month, we will be changing this object for a new one, and also changing the way the ipad screens work a little - so we can test a new approach for us. We hope you'll enjoy discovering the next object.

What's this? What our visitors are saying

Sze Kiu Yeung - one of our volunteers alongside our object case with iPad interaction in African Worlds - tells us what our visitors have been saying about the object.

As a volunteer on the CPS Engage Zone, my role is to support the museum in gathering information from the public about some of the lesser-known objects, by engaging and starting a dialogue with the visitors about the object on display - an Italian gloved hand that is around 100 years old.

Whilst we know that it is a charm against bad luck, we don't know who this was made by, who owned it, or if it was made for a particular reason.

In order to increase our understanding of the socio-cultural significance of this particular object, my role is to encourage visitors to share with us their questions, knowledge or memories associated with gloved hands, or good luck charms in general.

Over the summer, the display has attracted a lot of visitors, and we have had lots of conversations - here is a summary of some of the ideas our visitors have shared with us.

Guessing games

From clothing accessories (necklace, belt decoration) to back scratcher and air freshener, we have had some fascinating guesses about what the object actually is!

Many visitors have discussed with us the meaning behind the hand gesture (which is actually known as mano cornuto, the horned hand), and most thought that the object (and the gesture) had something to do with the devil's horns and would be used to ward off evil.

Other similar suggestions include something that farmers would use to keep away bad weather on a farm (like an Italian version of a horseshoe), or a relic of sorts. One group of visitors from the Philippines told us that the object reminded them of charms made from seeds of a fruit wrapped in red fabric which are then pinned on children for luck. One visitor thought the glove could have contained a real chopped-off hand, which could be hung outside a shop to deter people from stealing from it.

"Really, it's Italian?!"

As the object is located in the African Worlds gallery, most people we spoke to assumed it is of African origin, and were always genuinely surprised that it is in fact European.

Interestingly, not many visitors associated the object with Italy either. Whenever I asked someone to guess the origin of the object (by hinting that it’s a country beginning with an 'I'), Italy would always be the last country that people guess. Most guess India, Indonesia, Iraq, Iceland, even Ireland! 

However, visitors from Italy tended to recognise the object and the hand gesture more quickly.

One such visitor told us that, in southern Italy, men dressed in black would carry this in order to 'scare away' bad luck (or pass bad luck to others). Small charms like this can still be bought today.

A student from Bologna said the gesture would be used secretly - held against the leg, for example - in social situations to show that one person was saying something bad about another person.

A visitor from Genoa said that the gloved hand reminded him of strings of chilli peppers or garlic hung around doorways to ward off malocchio (evil eye); he went to to say that chilli pepper or garlic strings were more commonly used as charms than gloved hands where he came from.

One southern Italian visitor said the colour red is used to ward off bad luck, while another told us that people in Italy today often carry smaller red versions of this object, as a key ring.

Finally, a number of visitors who had been on holiday to Italy also recognised the gesture, having witnessed local people making this gesture in different situations, from during a case of road rage, to making this rude gesture in a jokey way between friends (seen in Naples). One visitor who had recently lived in New York recognised the gesture being used amongst Italians in the community.

One gesture, many meanings

Most people we engaged with seemed to be aware that one gesture can have different meanings/associations in different parts of the world, or depending on the context in which the gesture is used.  

Many of our young visitors would associate it with the web-spinning gesture made by Spiderman, while I have also seen people stopping by the object, making the gesture themselves and whispering "Rock on!" to each other before walking off.

More than one visitor had suggested that the gesture is perhaps associated with mudrā, a series of symbolic or ritual gestures in Hinduism or Buddhism; others wondered about possible Freemason or even anti-Semitic associations.  

Finally, we were also very excited to discover that this gesture is like the sign for 'I love you' in Japan (I myself own a doll whose hand makes this gesture!); in fact, it is also the 'I love you' sign in American Sign Language.

  • I Love You sign in American Sign Language, Wikimedia Commons
    , Wikimedia Commons

All in all, I've very much enjoyed the conversations I've had with our visitors - but more importantly, I hope it's been an equally enjoyable and refreshing experience for our visitors too.

What's this? Volunteers and visitors' voices

Matthew Edwards tells us about his experiences as one of our volunteers alongside our object case with iPad interaction in African Worlds.

I’ve been volunteering at the Horniman for 6 months as part of the Engage programme. Having studied History of Art at university, with a particular leaning towards world arts, muesology and anthropology, I leapt at the chance to become part of the Collections People Stories project.

I am one of a team of volunteers who are on hand to chat to visitors about their responses to a showcase object that is currently on display in the African Worlds gallery and to get them to enter these insights and questions about the object onto the ipads.

People approach the conspicuous tardis-shaped case as they meander through African Worlds. On the case’s side is a question: 'what's this?' This invitation, combined with the ipads and mysterious object in the case are an irresistible draw for people to discover more. Visitors are met by a small stuffed glove in the shape of a mano cornuto, supported in the case by a wire frame.

Reactions to the glove have been varied and interesting. Some visitors are underwhelmed, some find it creepy and others simply don't know what it is.

But after a moment’s reflection, or a brief chat with a volunteer, visitors start stroking their chins, mimicking the gesture of the glove with their own hands and begin to make all kinds of interesting deductions that offer us insights into their own beliefs – collective, cultural and personal.

When we suggest that the glove may be a kind of charm, we discover that many apparently unrelated people and cultures have correspondences in their use of charms and superstition. Some visitors have even been kind enough to show us their own charms and talismans which volunteers are documenting in a photographic series, which will be blogged about soon.

When it comes to finding out more concrete facts about the object, however, some visitors are frustrated by the lack of information offered by the ipads and the volunteers, and, as one of the faces of the project, I can feel a bit cruel for having enticed visitors in with the promise of knowledge, only to ask more questions.

I think this project is wonderful as it facilitates face-to-face discussion between people around our collection. The display and the use of ipads put the visitor at the centre of the discovery process and without the influence of context and provenance, people are more willing to make personal connections with the objects. People’s opinions, questions and insights (all – for better or worse) are put to our museum team via the ipads, giving us an insight into what people want from their museum experience and enriching the museum for all.

I’m looking forward to exploring our next object with our visitors soon.

A Visit from New Hope International

As part of the Collections People Stories project, we've been working with community groups, both to give them access to our collections, and get their help to learn more about our objects. Project Coordinator Johanna has updated us on how one visit went.

On Saturday 8 June we were visited by New Hope International, a group who have spent the last few months exploring Congolese heritage in collaboration with UCL and the Royal Geographical Society. They have been looking at archives and collections relating to Congolese history and were particularly interested in objects collected at the turn of the 20th Century.

We began with a tour of the African Worlds Gallery and were interested in hearing from them what they thought about the gallery and the presentation of objects from the Democratic Republic of Congo (DRC).

Mr Noel Mbala told us about a river near where he grew up in the DRC called the ‘nkisi river’. Nkisi are powerful objects that bind people to agreements and can cause havoc if these are broken. The river got its name at a time when nkisi were thrown into it by missionaries and local Christians who considered them to be associated with the devil.

My favourite part of the day was when we visited our stores and looked at some of our objects that are not on display. The group commented on how different the experience of being able to touch and smell objects was to seeing them in a glass case.

We get to work closely with objects in this way all the time, and so it was wonderful to be able to share this with new people.

Watch the video below to see footage from the group's visit.

Horniman Inspiration - Jessica Light

Jessica Light is one of the last working trimming weavers left in England. Here she tells us all about how the Horniman has inspired her work.

I'm a frequent Horniman visitor (it's one of my favourite museums) and I always come away inspired, whether it's from one of the exhibitions or the static galleries. I'm inspired in so many ways: designs, colours, materials, even processes and techniques, as well as the more esoteric, abstract and surreal qualities of the exhibits. 

  • Mask from African Worlds, Photo by Jessica Light
    , Photo by Jessica Light

I've always been fascinated by tribal and indigenous art and it is a constant theme that runs through a lot of my work, but I like to mix up my references as I think it produces something different and I don't like to be too literal.

The Horniman was a particularly important source for my Bexley Collection, which is an amalgamation of Art Deco motifs and time spent in African Worlds. I was in this instance especially inspired by the masks and graphic patterns: the tag-line for the range was '30s mock-Tudor meets African witch doctor'. The pale mint, sage, peach and coral are pure Deco colours, whereas the use of paper and raffia gave the products a tribal element.

I think so many people now just Google for their references, but I think there is no substitute for actually seeing and connecting with things first hand as you may be inspired by the whole object or a tiny detail triggers an idea. It gives you a physical and a creative relationship with what you are seeing that can be translated into your own work.

  • Masks on display in African Worlds, Photo by Jessica Light
    , Photo by Jessica Light

Visit Jessica’s website to read more about her work and explore her other collections.

Omalo's favourite object

We asked Omalo, who works in our ICT Department, what her favourite object in the museum was - the Sudanese dung bowls.

'Why did you choose these objects?'

What drew my attention them was a little drawing that a school child had made in one of the comment cards. He had drawn the dung bowl with horse dung in it and it was steaming!

 That made me think, oh that’s fascinating - the fact that something as humble as animal dung can be converted into bowls that are so beautiful. They are used as part of a girls or young woman’s  dowry at a wedding for storing things that she would find useful in her married life. Things like perfumes and flour.

I found it really, really, interesting that you see something that looks really nice but it’s made from something as humble as animal waste.

'How do you think it has been painted?'

You can see it seems like gum mixed with red earth, then painted with a thin layer of gum.  It is probably be gum Arabic from the plant which will act as varnish and seals it.
White is from whitewash, black from soot, and reds from local soils the blue could be from commercial dying.


Laura's Favourite Object

Laura worked as one of our visitor assistants until last weekend - to say farewall, we asked her to tell us about her favourite object in the Museum: the Benin bronzes in African Worlds.

What is about them that attracts you to these objects?

I am a sculptor, so I like the process of things, and it is interesting to see how they’ve been made. I did bronze sculptures myself when was been studying. It’s interesting to see a more original, traditional way of making them, like putting it in the earth, in the ground.

I did it in foundry, but this how they were originally made. I like that I can see the hands, I can see the journey of the sculptor making it, which is interesting. You can see how it’s been done in the piece. I see where things went wrong, or what happened - if there is a crack and why it happened. You can see the marks of the mould; you can see the tools he used. That is what is interesting for me.

So you like the fact that you can see the process and the craft?

I don’t know if I like the pieces physically, I think I like more what they mean more than how they look visually. I like the craft. I like the fact that this craft is being taught from family to family. It is beautiful that it hasn’t died out. There are people who are still making bronze sculptures.

In the modern art world, particularly, craftsmanship is disappearing and people are tending to do less making and do more talking. I find that interesting because you don’t see people making bronze sculptures in art colleges today in the UK, it’s not that common.

Why do you think that is?

I think it is just the way the modern art is gong – there is more video, media and things that are easy to make, people don’t have space and it is more expensive. Modelling is disappearing, like proper drawing or proper painting. It is kind of changing into something else, which is also interesting. 


Blue Earth is back on Display

  • Blue Earth, Striking artwork by Taslim Martin, commissioned to mark the bicentenary of the abolition of the transatlantic Slave Trade, on display in our African Worlds Gallery.
    Striking artwork by Taslim Martin, commissioned to mark the bicentenary of the abolition of the transatlantic Slave Trade, on display in our African Worlds Gallery.

This striking artwork by Taslim Martin, especially commissioned to mark the bicentenary of the abolition of the transatlantic Slave Trade, has been re-etched and re-positioned in African Worlds and is looking better than ever. Come and see this dramatic piece telling the story of the global impact of the slave trade.

Previous Next
of 20 items