Faced with the termination of its lease, Gairloch Museum in the Highlands secured £1.8m in funding to move to a new site and has become a thriving community hub

Advocacy vital to securing a better deal for Scotland's museums

Geraldine Kendall Adams, Issue 120/01, 03.01.2019
As a decade of local authority cuts exposes a slow-burning crisis for museums in Scotland, there is a growing feeling that the sector needs to better articulate the positive impact it has on communities and the tourism industry
Last October, the Falconer Museum in Forres, northern Scotland, closed its doors for what could be the last time. The 149-year-old institution is part of Moray Council’s museum service, which will lose its entire £80,000 local authority grant from April.

Some of the museum’s objects are of national and international significance: natural history and botanic specimens collected by the naturalist Hugh Falconer, who was a contemporary of Charles Darwin; and letters between the industrialist Alexander Falconer and a who’s who of prominent figures from the Victorian era. If a third-party operator cannot be found, these collections will be mothballed for the foreseeable future.

The plight of Moray’s museum service has set alarm bells ringing for cultural heritage institutions across Scotland that rely on the nation’s 32 local authorities for funding.

On the surface, many such institutions are doing well: there are major museum capital projects under way in Paisley and Perth, not to mention the recent reopening of the £34.6m Aberdeen Art Gallery – and Glasgow City Council has invested heavily in the £66m redevelopment of the Burrell Collection.

But museum professionals are warning of a slow-burning crisis that has played out largely under the radar so far, with several other museum services in difficulty, operating with skeleton staff and minimal resources.

“There’s at least one other local authority that doesn’t really have a museum service any more because it got rid of the post. We have no idea who’s running it and if it’s still alive,” says one museum professional. It is difficult to map out a national picture because the smaller local authority museums do not have a body that speaks for them as a collective voice, she adds.

Increasing pressure

But there is no doubt that many are under increasing pressure. The Angus Alive culture and leisure trust recently introduced a three-day week for the winter season at its museums, in response to cost pressures. The trust has already lost several museum staff after demoting a large part of its professional workforce. Several other museum services have recently undergone or are planning restructures, including those in south and east Ayrshire and Dumfries & Galloway.

And capital projects can sometimes mask deeper issues with revenue: one institution that recently undertook a National Lottery-funded renovation is currently unable to open full time and has cut its learning and engagement team.

There is a general feeling among museum professionals in Scotland that the cuts of the past 10 years are finally coming home to roost. According to Scottish government figures, there was a real-terms decrease of 24% in council spending on “culture and related services” between 2010-11 and 2017-18.

For museums in Scotland, the severity and pace of these spending reductions has been slightly slower than it has been for their counterparts south of the border: local authority-funded museums in Scotland have lost about 3% of their public funding every year on average, according to the head of one council-run trust, speaking anonymously due to ongoing budget negotiations. But the cumulative impact of those cuts is now becoming apparent – and there are more still on the horizon.

“We’ve got to the end of the invisible cuts,” says the professional. “The next stage of the cuts has the potential to be much more disruptive. Many services are at the point where they will have to make drastic changes.”

Lack of alternative funding

One of the key problems in Scotland is that there are fewer alternative sources of public funding to fall back on. Although England has sadly seen its fair share of museums closing, the sector has been somewhat cushioned by the level of support that remains available from Arts Council England (ACE), which spends £41.5m annually on its stable of 72 museum National Portfolio Organisations, in addition to substantial National Lottery project grants, training grants, Accreditation support and the Museum Development Network.

In contrast, the total grants awarded by Museums Galleries Scotland (MGS) across all of its schemes came to £1.74m in 2017-18. This means that ACE spends almost five times as much per Accredited museum in England as MGS spends in Scotland. Additionally, ACE provides core funding, while MGS’s grants are project based.

The struggles that many museums face may come as something of a surprise in the context of Scotland’s booming tourism industry, which has outperformed the rest of the UK for the past seven years. About 45% of those tourists are drawn specifically by the country’s museum offer – a positive statistic, but one that means some museums are a victim of their own success, with wear and tear taking an increasing toll.

Many museum professionals believe that, while the Scottish government makes the right noises about the sector’s value, the financial contribution museums make to the economy is not reflected in how they are funded.

Last year, Edinburgh approved plans to introduce a £2-a-day tourist tax, which is likely to be introduced in April, in response to the strain that tourists place on its free attractions – other local authorities will doubtlessly be watching how this works with interest.

A tourist tax may be one solution, but it won’t work everywhere. So what can be done to address the looming funding crisis facing local authority-funded museums? Among some professionals, there is a growing consensus that even if public funding does rise again, the sector must take its future into its own hands and become more self-sustaining.

Bigger priorities

“There’s a finite amount of money and culture isn’t at the top of the councils’ priorities,” says Kathleen Boal, the engagement manager for National Trust for Scotland and a former chair of the Highland Museum Forum, who believes museum professionals need to start thinking with a different mindset. “The government is not going to come in and save us,” she says. “We have to be enterprising. We need to be charities, but to behave in a business-like manner.”

This will require strong leadership, says Boal. “We need to think about income generation in a creative and strategic way. It’s about seeing opportunities, joining the dots, making connections with outside agencies – and not being afraid to generate income.”

The sector also needs to get better at speaking with a collective voice and advocating its value to councils and other stakeholders, she believes. “We have to be clear about what we’ve got and articulate our impact,” says Boal. “We have to be the people who stand up and shout.”

Some museums have already started doing this successfully. Gairloch Museum in the Highlands is one example of an institution that pulled itself back from the brink: faced with funding cuts and the termination of its lease, the community-led museum secured £1.8m in funding to move to a derelict military bunker. It is now a buzzing community hub.

Rural museums such as Gairloch are leading the way, says Boal. The Highland Museum Forum recently transformed into Museums and Heritage Highlands (MHH), a more formal membership charity that will advocate for the region’s museums, and foster partnerships and collaborations with local businesses, tourist operators and other stakeholders.

The move came in response to a proposed 100% cut in the small but crucial core funding that Highlands museums receive from the council-run trust, Highlife Highland. “They finally decided that instead of waiting for cuts to arrive and weeping, they were going to be forward thinking and dynamic,” says Boal.

Helen Avenell, the charity’s development manager, says. “The heritage sector in the Highlands faces particular challenges and opportunities, and the creation of MHH is a response to the growing need for us to work collaboratively with additional support.”

Although there is increasing awareness that the sector needs to be more entrepreneurial and self-sufficient, public support will still play a crucial role in its future.

The Scottish government is about to launch its 10-year cultural strategy, which was delayed by the December general election, and some councils are putting culture at the heart of their strategies for the economy, place-making and health and wellbeing. There have been calls by some museum professionals for a wide-ranging review of non-national museums, similar to the Mendoza Review in England, that could identify areas of weakness and channel investment to where it is needed most.

Ultimately, a combination of individual creativity and entrepreneurialism, backed by government support and strategy, is needed to enable the sector to thrive in the long term.

Additional research by Alistair Brown

How are museum stakeholders addressing the issue?

Alistair Brown, policy manager, Museums Association

“We are working closely with our Scottish stakeholders group, with Museums Galleries Scotland (MGS) and with the Scottish government to promote a better deal for Scottish museums. One of the key things that we are expecting soon is the Scottish Culture Strategy, which should set out the Scottish government’s ambition for museums in the next decade.”

Lucy Casot, chief executive, Museums Galleries Scotland

“Advocating for the wide-reaching impact that museums and galleries have on our communities continues to be vital during these challenging times. MGS is meeting with local authority and arm’s-length external organisation museum services early this year, so that our advocacy and development work reflects their current circumstances. We will continue to support museums, to make the most powerful case possible to those making budget decisions. Our support for museums and galleries is available at any stage, and I urge any organisation that is experiencing difficulties to get in touch.”


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13.01.2020, 09:45
Hi Jason
Thanks very much for sharing your insight on this. I included the comparison about different levels of funding because it was highlighted to me by several people I spoke to within the museum sector in Scotland - it wasn't meant to come across as a criticism of how MGS does things, or to pit MGS and ACE against each other in the way they operate - just to highlight the levels of resource that are available in each nation, and why that puts Scottish museums in a slightly different situation to those in England. I also just wanted to note that this article is an objective news piece written independently of the MA policy team and it reflects a wide range of views - MA policy would always be to work with and assist MGS and other stakeholders in whatever way it can.
Thanks again for taking the time to comment,
09.01.2020, 20:40
Having spent a good chunk of the 2010s living in Scotland and working in the museum sector there (including working for MGS) I feel I should point out your comparison between MGS and ACE at the start of this article is a bit disingenuous.

ACE is a broad cultural development body, long established in supporting the arts to which museums (and libraries) are new comers to its portfolio who really are just tagging along to the support it offers. Most of its staff still don't get museums and never will.
MGS is a museum development body, in many ways the only "national" museum development agency left in the UK. Museums are its focus.
Yes, ACE does ofer "core funding" but that sort of support is available to such a small number of museums, in certain specialised circumstances, that for approx 95% of English Accredited museums it's not an option even in their dreams. To use that as a comparison to MGS and the grants it offers is unfair.
MGS has in the past, when its funding allowed, has offered training grants and it does give Accreditation support and provides Museum Development advice. Ok, there isn't an MD network in Scotland in the same way as there is in England but if you've lived in Scotland outside the Central Belt you'll understand the complications in offering such a support network (as an ex-MDO in England, I can fully understand the physical problems in offering such a programme in Scotland); in addition the concept of LA-employed curators offering MD support to independent museums still lingers in some parts of Scotland (even if it is in reality impossible).
I would also offer this comparison on the level of grant support. In my time in Scotland I noticed that if a museum had an idea for a project their first port of call was MGS for a grant (in particular their small grant programme). I returned to England in 2018 to become an MDO again for a bit, I have to say in comparison getting museums to even consider applying to ACE for a grant has been a struggle...and comparing the application processes I can see why! ACE might have more money but MGS is more user-friendly. I would point out that until recently (and maybe it still does) MGS had a small grants programme for non-Accredited museums...unlike ACE or the MD providers in England

As to advocacy, MGS do an excellent job on this, even if it may not be clear to to the wider sector. They have staff who are effectively dedicated to advocacy, both to ScotsGov and the LAs, in a way I have never seen in England and they do a damn good job of it too. I can only hope the MA plans to assist MGS in this work rather than pretend it can do it better.