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Museums in the Pandemic

New museums opening during the pandemic

When we began the Museums in the Pandemic project, we anticipated that some museums might be forced to close permanently as a result of pandemic restrictions. What we didn’t anticipate is that so many new museums would open during this period. As far as we know, fourteen museums have opened between March 2020 and September 2021. Five opened in 2020 and nine new museums have opened so far this year. Two are run by local authorities, while the rest are independent. Most of the museums were at least at the planning stage before the pandemic began, although in some cases we have not been able to determine when their development initially began.

After the pandemic was officially declared, the first new museum to open was forced to close just a few days later with the announcement of the initial nationwide lockdown in the UK. This was the Malton and Norton Heritage Centre in North Yorkshire, which displays the Woodhams Stone Collection. The collection is an amalgamation of two separate collections acquired by Sid Woodhams, a former curator at Beck Isle Museum in Pickering, and John Stone, former Mayor of Norton, who are long-term friends. Work began on refurbishing a bookmakers’ shop to provide accommodation for the heritage centre in Autumn 2019, and it opened briefly in March 2020 before having to shut its doors.

Perhaps unsurprisingly, many of the planned openings were delayed by lockdowns. The first museum to be affected was The River Tweed Salmon Fishing Museum.  It was due to open in May 2020, but the pandemic put paid to those plans and it eventually opened four months later. Based in Kelso, Scotland, the museum was in development for three years by a group of volunteers and tells the story of the fishing techniques that developed in the area and their influence on the development of the Eastern Borders. The displays combine items from several private collections.

A single storey wooden clad building at an angle to us, with a door and three windows. A red sign on the end wall that reads Radlett & District Museum
Radlett and District Museum. Photo courtesy of the museum.

The last museum to open in 2020 was also delayed by the pandemic. The Radlett and District Museum in Hertfordshire is run by the Radlett Archives Group, a Charitable Incorporated Organisation. They initially kept their archives in the local library, but now have permanent, purpose-built premises at the rear of the village institute. The building was constructed in January 2020 but fitting out the museum was held up by the first lockdown. Work resumed in the summer and the museum opened in October 2020. In common with other museums, they were forced to close for the second and third lockdowns but are now open two days a week.

No fewer than three museums opened in May 2021 and all of them had been some years in development. In London’s Covent Garden, Bow Street Police Museum occupies part of the former Bow Street Police Station, which closed in 1992. The adjacent magistrate’s court closed in 2006 and a hotel developer purchased the empty building in 2017. As a condition of granting planning permission for the hotel, Westminster City Council stipulated that a museum be created on the site. An independent curator was commissioned in 2019 and the museum, run by a charity, opened less than two years later.

A cell inside the Bow Street Police Museum. Above a narrow dark wooden bench are displays of photographs and text.
A cell display at Bow Street Police Museum. Photo by Matt Brown

Also in London, Southwark Council redisplayed some of the collection formerly on show in the Cuming Museum, which closed in 2013 after a fire, in the new Southwark Heritage Centre & Walworth Library. Objects are displayed in cases throughout the library, but there is also a separate gallery dedicated to the borough’s heritage. Originally intended to be completed in December 2020, the opening was postponed by five months although it is unclear whether the delay was due to the pandemic.

The third museum to open in May was The Great British Car Journey in Derbyshire. The brainchild of Richard Usher, the collection of cars designed and made in Britain began with an offer of a single car and over the course of four years grew to almost 150 vehicles. The cars are displayed chronologically and around thirty-two are available for visitors to drive. The museum was originally scheduled to open in 2020, but two of the founders faced health problems and the pandemic also contributed to the delay.

The following month, a small local authority museum opened in at the town hall in Leigh, Greater Manchester. The town hall houses the archives of Wigan Borough Council and has undergone a major refurbishment. Originally due to be completed in April 2020, the project was significantly delayed by the pandemic and the town hall eventually reopened in June 2021. Objects from the archives are displayed in a new purpose-built exhibition space that illustrates the history and culture of the borough.

Displays at the Archives Exhibition in Leigh Town Hall. Display panels surround a black metal spinning wheel. An old barber's chair can be seen behind.
Leigh Town Hall Archives Exhibition. Photo by Mark Liebenrood

A major new museum in the Scottish Borders also opened in June 2021, after years of planning. The Great Tapestry of Scotland, in Galashiels, displays a 160-panel tapestry that tells a people’s story of Scotland. A thousand stitchers contributed to the project, which was originally the idea of author Alexander McCall Smith. The tapestry itself first went on show in 2013 and toured a number of venues in Scotland. Plans for a permanent home were in development from 2014 and Galashiels was chosen as the site in 2016. The museum is part of plans to regenerate the town and received capital funding from various bodies including the Scottish Government.

Three museums focused on railway heritage opened in August and September, and all of them were in development well before the pandemic began. A new museum inside Glasgow Central railway station opened in August, having been planned since at least 2019. Developed in collaboration with students from the Glasgow School of Art, the museum tells the story of the station from 1879 with a wide range of objects. Unlike the other museums mentioned here, which are all directly open to the public, this one is only accessible during guided tours of the station.

Interior of Glasgow Central Station Museum. On the left wall is a large illuminated station clock, and on the right wall are lamps, signals and other objects.
Glasgow Central Station Museum. Photo courtesy of Network Rail

Along similar lines is the Doncaster Rail Heritage Centre, which opened in September after years of planning by Heritage Doncaster. The Centre is housed in the Danum complex that includes a library and two other museums, and the core of the collection comes from Doncaster Grammar School’s Railway Society, which began collecting in 1948. The National Railway Museum has loaned two locomotives, both built in Doncaster, to complement the other exhibits.

The most recent of these railway museums to open is in Bishop’s Castle, Shropshire. The Weighbridge Museum is the result of years of work by the Bishop’s Castle Railway Heritage Society. The project began in 2017 with a derelict weighbridge building, and after sustained effort from a group of volunteers and some professional builders, the museum opened in September 2021. It records the history of the Bishop’s Castle Railway, opened in 1865, that joined the town to Craven Arms, ten miles away.

There are a few museums that opened in this period where we know much less about how long they were in development before opening. One was the first new museum to open after the initial UK lockdown was lifted. It is dedicated to the footballer Duncan Edwards, and opened in Dudley in the West Midlands in August 2020. Situated above a shop and run by a charitable foundation that was founded two years earlier, the museum tells the story of Edwards, who played for Manchester United. He was amongst the team members in the 1958 Munich air crash and died in hospital fifteen days later at the age of twenty-one. The museum includes a display on the Munich disaster and period rooms focussed on Edwards’ life.

Also opened in August 2020 was a new museum devoted to Cockney Heritage. It was founded by George Major, the Pearly King of Peckham. It isn’t clear how long George had been planning the museum for, but he began collecting cockney heritage sixty years ago after becoming concerned about that heritage being lost. The museum features a mock-up of a nineteenth-century street and a display of pearly king and queen suits adorned with mother-of-pearl buttons. Traditionally a cockney is anyone born within the sound of London’s Bow Bells, but the Original Cockney Museum is in Epsom, Surrey, a site chosen for its much lower running costs than central London.

Exterior of the National Film and Science Fiction Museum in Milton Keynes. A two-storey building in stone or concrete, with large windows. Through an upstairs window can be seen figures including a dinosaur, Kung Fu Panda and a silver dalek.
The National Film and Science Fiction Museum in Milton Keynes. Photo courtesy of the museum.

Lastly, Milton Keynes gained a new independent museum in August 2021 with the opening of the National Film and Sci-Fi Museum. Building work was underway in December 2020, but we don’t know how long the museum was in development before that. The collection includes costumes, props, and images from film and television productions including Star Wars, James Bond, and Harry Potter. Run by a charity, the museum is also connected to a company that runs events for film and comics fans.

The pandemic has doubtless presented numerous challenges to museums, but it has not prevented many new museum projects from coming to fruition. Some of them had been in development for years, with the collection now on show at the Malton and Norton Heritage Centre being formally established a decade earlier and the Great Tapestry of Scotland first going on show in 2013. Other projects have had shorter timescales, but many of them have been delayed by lockdowns. We began our research into this period expecting it to be marked by permanent closures, so it has been a welcome surprise to see so many museums opening.

Mark Liebenrood

(header image by Leo Reynolds)

Categories
Museum Snapshots

The Museum of Rail Travel, Keighley

The Museum of Rail Travel is devoted to railway carriages through the ages. It is run by the Vintage Carriages Trust, formed in 1965 by a group of volunteers interested in the preservation of wooden-bodied carriages, and now has nine historic railway carriages, three small steam locomotives, a railbus and a large collection of railway signs, posters and magazines. Visitors can enter the carriages and numerous films have been shot using the carriages as a film set, including the Railway Children.

Interior of Museum of Rail Travel, Keighley, showing the side of a rail carriage

The Museum is on the outskirts of Keighley in West Yorkshire, adjacent to Ingrow West railway station and Ingrow Loco Museum. The station is part of Keighley and Worth Valley Railway (KWVR), a five-mile long heritage railway that runs to Oxenhope reopened by the KWVR Preservation Society in 1968, the first privatisation of any part of British Railways. The Museum of Rail Travel is in a purpose-built carriage works/museum with sets of rails connecting it to the adjacent railway. The building is divided into two main sections – a museum space containing a series of historic carriages, signs and displays and a large workshop area devoted to carriage repair and restoration. The building also contains a well-stocked shop selling new and second-hand railway enthusiast books and a substantial collection of railway magazines and journals (13,000), which are for sale and are an important income stream for the Trust.

Visitors can sit in many of the carriage compartments and stickers on windows of the carriages detail films the carriage has featured in, listing the title, year made, stars and location of the carriage for filming. Somewhat surprisingly many of the mannequins featured in displays are, on close examination, incognito members of the royal family. A young queen is off to Brighton and Princess Margaret sits on a station bench in a scarf and enormous sunglasses.

Interior of Museum of Rail Travel, Keighley, with a seated Princess Margaret mannequin

Text and photographs by Toby Butler

Categories
Research Process

Subjects that Matter

Devising a new subject classification system

One of the aims of the Mapping Museums research is to examine trends in subject matter. We wanted to know if the rates of opening and closure varied according the subject of the museum, whether each country or region favoured museums devoted to different subjects, and if there were differences as to when particular subjects emerged as being popular choices for new museums. Above all, we wanted to understand whether subject matter could be understood as a social barometer: were trends in subject matter indicative of wider or popular concerns? To accomplish this work, we needed to classify all the museums in our database according to their over-arching subject matter, so we looked to see what systems were available. 

The Problem with DOMUS

The most recent taxonomy for museum subject matter was developed for the DOMUS survey, which was conducted between 1994 and 1999. The classification system remains in use, most notably by the Museum Association’s Find-A-Museum service (although it is now used to classify collections rather than museums in their entirety and the categories of ‘Mixed’ and ‘Arms and armour’ have been dropped).

The DOMUS system divided museums into twenty-two categories:

  • Agriculture
  • Archaeology
  • Archives
  • Arms and Armour
  • Biology/Natural history
  • Costume /Textiles
  • Decorative / Applied arts
  • Ethnography
  • Fine art
  • Geology
  • Maritime
  • Medicine
  • Military
  • Mixed
  • Music
  • Numismatics
  • Oral history
  • Personalia
  • Photography
  • Science / Industry
  • Social history

While DOMUS provided a longer list of categories than previous museum surveys, it was not sufficiently detailed for our research purposes. For instance, we suspected that the majority of railway museums opened in the late 1960s and early 1970s, shortly after steam locomotives were phased out and following the second Beeching Report of 1965, which resulted in over half of all stations and some 33% of track being closed. These closed lines provided space for enthusiasts to run their engines, and the redundant stations functioned as exhibition space. This history is not shared with buses, or cars, or helicopters, which would also be classed as Transport. If we wanted to tease out the various histories of Transport then we needed to be able to distinguish between them.

Similarly, we wanted to examine the patterns of emergence of manufacturing museums. Did museums devoted to pottery open at the same time as those of mining? Was there a correlation between the demise of certain industries and the foundation of museums on those subjects? Did all industries have their museums? Clearly, then, we could not have a single capacious category of Science and industry, as was the case in the DOMUS system; we needed a taxonomy that allowed for a greater degree of discrimination.

One way of managing the lack of detail within the DOMUS system was to introduce sub-categories. However, we had several other reservations about its usability. One issue was that some of the categories blur subject matter with methodology. Social history and oral history are ways of pursuing history, while an archive refers to a specific type of collection, and they are not subjects in themselves. It is entirely possible to have a social history of aristocratic women’s lives in the eighteenth century or a social history of Welsh mining in the late twentieth century; an oral history of performance art or of hop picking in Essex; and an archive of political ephemera or matchbox labels. This elision had practical consequences for the efficacy of the classification system. In DOMUS, social history was used as a synonym for open-air or living history museums, or as a means of describing museums that used dioramas or other media to present a contextual display. As a result, museums were divided across subject matter categories depending on the form of their exhibition: museums of rural life were misleadingly split across Agriculture and Social history, and museums of industry were similarly split across Science and Industry and Social History.

There were also noticeable gaps in the DOMUS system, which stayed close to conventional academic disciplines, and to the categories common to nineteenth and early twentieth century museums. While there were three different categories for visual arts: Decorative / Applied art; Fine art; and Photography there was no category for local history or for museums devoted to particular buildings. (Although some historic buildings act as little more than containers to museums, and their subject matter is quite distinct from their accommodation, on other occasions, the building is the artefact and the point of the museum). Likewise, there was no category for museums devoted to different denominations and faiths, to the fire, police, prison, and rescue services, or for museums that address popular or everyday subjects such as fairgrounds or radios.

And finally, the categorisation system reinforced normative conventions. For example, Military focuses attention on the armed forces, state sponsored conflict, and recent conflict, and it marginalises historic and unsanctioned modes of struggle and the everyday experience of war.

Given all these problems, we decided to develop a new classificatory system for the Mapping Museums project.

The Mapping Museums taxonomy

Devising a list of categories is a practical and logistical task. It needs to cover a wide variety of museums but not be so long a list as to be unworkable, and terms cannot include each other or overlap to any great extent. We began devising our system by deleting, rejigging, and adding to the existing DOMUS categories to create headline categories. This process went through numerous iterations, and at each stage we tested our taxonomy against our list of museums. After six months of editing, only the categories of Archaeology and Transport remained.  

In creating our new taxonomy, we dropped Social history, Oral history and Archives as categories for the reasons discussed above. There were no museums solely devoted to coins so we cut Numismatics, and after much discussion, we removed Ethnography since this focuses on objects’ country of origin, rather than on their subject matter as such. For example, clothing from the Solomon Islands would be categorised under ‘Ethnography’ rather than with clothing or fabric arts from elsewhere in the world.

We replaced Personalia, which emphases collections of objects, with Personality, which is centred on the individual in question. Science and industry have been decoupled and we have linked Industry and manufacture, which encompasses both the processes and the products of manufacture. Costume and textiles, Decorative/applied arts, Fine art, Music, and Photography were collected together as ‘Arts’.

We renamed and implicitly re-shaped some categories to make them more inclusive. ‘Agriculture’ has been replaced with ‘Rural industry’. Late twentieth century surveys have used the two categories relatively interchangeably and we have chosen the wider, more encompassing term. We added health to Medicine, so as to encompass other varieties of healing and wellbeing more generally; Geology and Biology/Natural History were subsumed under the wider title of Natural World; and Maritime became ‘Sea and Seafaring’, so that it would cover subjects such as fishing as well as sea-borne trade and naval matters. We followed the Museums Association in taking Arms and armour to be part of Military, although we have renamed it War and conflict, a term is intended to include wider aspects of conflict.

We also introduced the new categories of Buildings; Belief and identity; Communications; Food and drink; Leisure and sport; Local history; Services; and Utilities. Other was added for museums that do not easily fit anywhere. This work produced the following list:

  • Archaeology
  • Arts
  • Belief and Identity
  • Buildings
  • Communications
  • Food and drink
  • Industry and Manufacture
  • Leisure and Sport
  • Local history
  • Medicine and Health
  • Mixed
  • Natural World
  • Personality
  • Rural industry
  • Science and technology
  • Sea and seafaring
  • Services
  • Transport
  • Utilities
  • War and Conflict
  • Other

We continued the process with respect to sub-categories. For example, Transport is divided as follows:

  • Aviation
  • Bicycles
  • Bus and Trams
  • Canals
  • Cars and motorbikes
  • Mixed
  • Trains and railways
  • Other

Where possible, we introduced sub-categories when a single group was large and unwieldy. Large categories such as Transport have several sub-categories, while the relatively small category Food and drink has none. Again, the sub-categories went through numerous iterations, not least when we took our data to be checked by external experts (see the previous blog: Picking the Brains of the Museum Development Network).

Having worked out a usable system, we had to classify all 4,000 museums according to subject matter. This was no small endeavour, but we are now able to analyse historic trends and geographical patterns in subject matter in close detail. That research has produced some surprising results, which will be discussed in future blogs.

Fiona Candlin

Categories
Museum Snapshots

Bournemouth Transport Museum

Yellow bus from Bournemouth Transport Museum
Leyland bus from Bournemouth Transport Museum marked as a Mobile Museum. Photo by Michael Wadman at Netley rally, 1988.

The Bournemouth Transport Museum was a collection of public transport vehicles on display to the public each summer, probably from the late 1970s. It was later known as the Bournemouth Heritage Collection. Some of the vehicles were returned to commercial service in the early 1990s. The collection changed hands and locations a number of times and was eventually sold at auction in 2011. The bus pictured above now appears to be in the West of England Transport Collection, along with many other Bournemouth vehicles. Interestingly it is labelled as a mobile museum, although we don’t know if it contained any exhibits. As always, if you can offer any information about this, please get in touch.

Image via Michael Wadman on Flickr, where you can also read a short but detailed history of the collection.

Categories
Museum Snapshots

Buxton Transport Museum

Buxton Transport Museum - outside view

The Buxton Transport Museum was relatively short-lived, open for only three years. It was established in 1980 by Peter Clark, a vintage car enthusiast. The site is now occupied by Buxton Mineral Water company.

Buxton Transport Museum - badge

Images and information via Badge Collectors Circle and Derbyshire Through Time by Margaret Buxton on Google Books.

Categories
Museum Snapshots

Dinting Railway Centre

The Dinting Railway Centre was open between 1968 and 1990. The brick engine shed was built between 1888 and 1898 for the Manchester, Sheffield and Lincolnshire Railway. The centre was run by the Bahamas Locomotive Society, who are based at  Ingrow on the Keighley & Worth Valley Railway. An old badge marks the connection between Dinting and the Society.

bahamas locomotive society dinting badge featuring scots guardsman locomotive

The photo above of the locomotive Scots Guardsman, taken by Hugh Llewelyn, is dated April 1980, and another photo shows a different locomotive, the LNER 60532 Blue Peter, at Dinting in 1983.

lner 532 blue peter at dinting in 1983

Photos by Hugh Llewelyn and via Badge Collectors Circle and rmweb.

Update: this post was updated in April 2022 with a new image at the top and some small changes to the text.

Categories
Museum Snapshots

Torbay Aircraft Museum

Cover of a jigsaw of Torbay Aircraft Museum

What is the connection between the 1960s pop music TV show Ready, Steady, Go! and a long-lost aircraft museum in Devon?

The answer is Keith Fordyce, an ex-RAF serviceman who co-presented the show from 1963, and famously asked the Beatles if they thought they had a future. In 1971 he began restoring old aircraft, and later established the museum in Torbay. Amongst other aircraft the collection included replicas of the Spitfire and Hurricane. The museum closed in the late 1980s and the collection was dispersed.

Categories
Museum Snapshots

Museum of British Transport

The Museum of British Transport opened in an old bus garage in Clapham, south London, in the 1960s. Standing in the forecourt was a replica of Rocket, the pioneering locomotive designed by Robert Stephenson. The museum housed objects and vehicles relating to London’s roads, railways and the Tube. The collection had been started in the 1920s by the London General Omnibus Company, which decided to preserve two Victorian horse buses and an early motorbus.

In 1969 the museum was losing £30,000 a year and threatened with closure. It moved to Syon Park in 1973 as the London Transport Collection. The collection was eventually divided between the National Railway Museum in York and London’s Transport Museum, which opened in 1980 in a Victorian flower market building in Covent Garden.

Image taken in 1966 and © National Railway Museum and SSPL, from National Railway Museum. There are more photos of the museum in 1965 on Flickr.