There is always a danger of security contractors taking the view that one guarding assignment is very much like another. As contractors we must beware of this, as there is a very real danger we will not respond to the very precise needs of our clients.
Some of the most high profile security assignments can be found in the museums and galleries sector, where priceless paintings, sculptures and exhibits are set out on display with – necessarily – little in the way of obstruction to the viewing public. That said, the Government’s Indemnity Scheme allied to insurers’ demands necessarily means that the ‘host’ must put in place measures to combat any threat. Not just potential theft, but also possible damage or even destruction.
It stands to reason that, on top of sound perimeter security and intelligent access control provision, there needs to be a well-trained team of gallery attendants or ‘invigilators’ (as they are sometimes referred to) dedicated to keeping a close watch over exhibits. These attendants or invigilators are really the ‘security officers for the arts’.
Exhibitions in buildings such as The Tate Modern and the Victoria & Albert Museum tend to be of a short-term nature, with periods of ‘downtime’ inbetween. Thus demand for security staff can fluctuate. The attendant costs of employing in-house staff in an environment like this are leading museum and gallery administrators to turn to outside contractors for their manned security provision.
Before doing so, however, the in-house security manager should draw up a very clear framework of the tasks to be undertaken, and how the contractor’s duties might interface with that of his own team.
Considering the contractor’s duties
The contractor must be able to demonstrate to the end user experience gained in what is a very different, customer service-based environment. The role of the gallery attendant is varied, taking in not just gallery invigilation but also crowd control, fire protection and even interpretation for overseas visitors.
With these points firmly in mind, the guards must have a sound knowledge of – and training in – dealing with security and emergency procedures. They must be able to inspect the premises to ensure the safety of exhibits, as well as the integrity of the building itself, and be able to identify fire and safety hazards.
In discharging these important duties, gallery attendants should in no way detract from the ‘visitor experience’ – in fact, they should add to that experience wherever and whenever possible. Knowledge of the key points of a given exhibition, its layout and the artists whose works are on display will allow attendants to answer tricky questions that may be asked of them.
How attendants are paid and managed will be of particular interest to the security manager. As with any type of employment, pay rates need to be pitched at a level that will attract the calibre of staff required, yet still fit in with the overall end user security budget.
End users should always check that the contractor’s management team is experienced in working with various gallery departments so that staff are properly deployed towards the needs of that gallery in its entirety. Those needs will often encompass specific exhibition sponsor requirements.
Vetting of security staff
Vetting of security staff will be a critical feature in the end user’s assessment of a contractor. As a base requirement, all staff must be screened to BS 7858 standards. The contractor must also be prepared to work alongside the gallery security vetting team where appropriate.
It’s true to say that the core security competencies enshrined in BS 7499 are just as relevant to gallery attendants as they are to ‘traditional’ security guarding staff, so the contractor should be registered with a top quality surveillance body to ensure that comprehensive training is a reality. That training then needs further enhancement by way of generic, on-site gallery training combined with exhibition-specific briefings.
What must never be underestimated are the logistics of staffing exhibitions. A gallery will only need attendants (in volume) for the duration of an exhibition (which may last for only 10-13 weeks). At the same time, attracting staff who are prepared to work only for short spells is not easy.
Experienced contractors will ensure that staff finishing their stint at one gallery’s exhibition can be redeployed to another gallery or museum and be briefed on guarding a new ‘lot’. Forward scheduling of exhibitions – and the manpower demand for each – enables the bank of existing staff to be targeted in advance. Any additional requirements on behalf of the end user may then be anticipated.
Employing a contractor for the provision of gallery attendants offers enormous flexibility to the end user in terms of being able to tailor manpower costs. Not only that, it moves the burden of recruitment, management and training of what is essentially a temporary guarding workforce.
Fundamental to the end user’s selection of a contractor is the security company’s ability to supply staff of sufficient calibre and quantity when needed.
If the contractor fails on these counts, this will inevitably lead to a gallery’s closure and loss of revenue. And your superiors will not be too pleased about that!
