Are museums turning Britain into a heritage Disneyland?

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The Independent Online
The growth in the number of museums may have led to too many institutions, and too heavy a reliance on Disney-style theme park displays, an audience of leading museum figures was told last night.

Delivering a lecture at the British Museum, Sir Nicholas Goodison, chairman of the National Art Collections Fund, which helps museums and galleries in the UK to buy works of art, pleaded for museums to merge and take a more businesslike attitude to their affairs.

In the annual AW Franks lecture, named after one of the museum's most eminent scholars, Sir Nicholas questioned whether the study of costs and efficiency had been rigorous enough, and said it was "very unlikely" that all the problems of museums were due to inadequate funding.

He asked: "Is there room for further savings through the pooling of service costs between museums either nationally or locally? Is collecting effort being duplicated? Should certain collections be amalgamated or transferred from one museum to another? Here in the capital ... it strikes me that there is room for some rationalisation in the field of works on paper."

He added: "Is there scope for amalgamation, which implies closure, of some museums which cannot operate economically or which cannot achieve their objectives on their own? Commerce is well accustomed to such solutions."

In 1973, there were 950 museums in Britain. By 1988, this figure had risen to 2,500. There is no accurate figure for the number in existence now, but 2,500 is still thought to be a reliable estimate, according to the Museums' Association.

Sir Nicholas also attacked "interpretative, theme-park, play-time displays" in museums obscuring the objects in the collection. "Of course museums provide fun days out for the whole family," he said, "but in doing so, they must not lose sight of their unique characteristic, their collections ... The important thing is developing an appreciation of 'objects' and the difference between the real thing and replicas.

"It is not a role of the museum to ape Madame Tussaud's or Disneyland. The object is at the hub of a museum's purpose ... Works of art are often uncomfortable experiences, often mysterious. They should be allowed to speak for themselves and not be debased."

He added how much he had enjoyed a recent visit to Keats' House in Hampstead, where, he said "everyone imagines the nightingale in the garden and where, thankfully, you are not invited to press a button and hear some interactive machine making warbling noises ... "

The eccentric collections

Britain thrives on independent museums, reflections of their owners' obsessions. Two whacky collections include:

t The Wick Museum, Scotland, has one of the oddest displays, exhibiting jetsam washed up on the beach.

t The Museum of Advertising and Packaging, Gloucester, contains a quarter of a million items from corn flake boxes to advertising labels.

ome of the more realistic ones can be found at:

* The Natural History Museum in London where in the new Earth Galleries, opened last year, visitors can witness a live earthquake, step inside the centre of the earth and walk beneath a volcano.

* The Imperial War Museum in London which gives people the sounds and smells of the Blitz.

* The Jorvik Viking Centre in York where an electronic car ride through a 'time tunnel' on to a Viking street.

* Snibston Discovery Park in Leicestershire which allows children to walk through a tornado.

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