The most controversial museum in the world: Littledean Jail
At the gateway to the beautiful Forest of Dean in England’s picturesque and rolling Gloucestershire countryside sits a fascinating, bizarre, and somewhat disturbing, depository of peculiarities. The museum, Littledean Jail, housed in an 18th-century former house of correction, marketing itself as the UK’s “most infamous and politically incorrect “black museum”'“, is more-than-enough to satiate even the most addicted consumer of morbid curiosity and macabre-ness.
Having been featured on Netflix’s hit 2018 documentary series, Dark Tourist, the museum is undoubtedly controversial, and unquestionably terrifying. The exhibitions are extensive, with most items being sufficiently captured under a general theme of ‘crime-related’. Though, despite a few of the items being typical to crime-focused museums found up-and-down the country (e.g. police paraphernalia, and equipment used for historical means of trial and torture - the ‘Halifax Gibbet’ and ‘wooden stocks’ being common features), the majority of the items relate to some of histories most heinous acts, largely pertaining to well-documented and publicized incidents of murder, rape and genocide. Some of the most notable and shocking items include clothing and items owned by victims of the holocaust; hand-written notes, letters, clothing, artwork and belongings owned (and used) by some of the world’s most notorious murderers and rapists, including those of John Wayne Gacy, Charles Bronson, Fred and Rose West, Ian Brady, Myra Hindley, Linda Calvey, The Kray Twins and Charles Manson; a lamp-shade made of human-skin; and ritual-clothing and belongings owned by members of the KKK.
The vastness of the collection would call-to-mind questions of authenticity in any critical viewer. How can one man acquire such an extensive array of genuine criminal artifacts, from some of histories most disturbing and brutal atrocities? What procedures are in place to authenticate and ensure the credibility of each item? How did the owner come to acquire the supposed costume of John Wayne Gacy (aka. Pogo the Clown), the Illinois serial murderer and rapist, and a signed diploma certificate by Fidel Castro? The questions are impossible to answer, given that the process of authentication seems to be shrouded in secrecy. Of course, questions of authenticity rarely arise when visiting most museums, but the nature of the museum and the extraordinariness of the items on display call for extraordinary transparency in the procedures of authentication. Saying that, even if half the claims are true, it’s certainly a fascinating and unique collection.
However, there are exceptions to the ‘crime-related’ theme. There are exhibits on sleaze, [the alleged] taxidermy of deformed animals that are found randomly-placed among more sinister artefacts on the museum floor, and items relating to the occult and witchcraft. Nonetheless, in each case these items qualify as ‘controversial’, even if at slight odds with the dominant theme. However, there are various inclusions that appear at odds with any broader theme of ‘controversy’. Autographed items from an extensive list of celebrities, film posters, and film memorabilia (including randomly placed models of fictional film characters) are found throughout the museum. A more encapsulating and fitting theme would be one of ‘infamy vs. fame’, or chiefly ‘celebrity’.
Now, as far as I’m aware there have been no protests outside the walls of the museum, with angered protestors calling for the immediate closure of the museum on the grounds that it is ‘offensive’ and ‘upsetting’. Though, if certain “progressive” groups were to catch-wind of its existence and its more menacing exhibits, then this will surely change. Despite one’s advocacy of the right of the curator (and owner) to develop and present exhibits deemed as ‘offensive’ and ‘controversial’, it is not undermining of my advocacy to question why the curator would choose to display certain items in the museum and curate certain exhibits in the way that he has. For example, the exhibition features various disturbing dioramas, including a scene depicting the rape of prisoners by Nazis in a concentration camp bunk-block and a murder scene depicting Nazis hanging prisoners. Of additional concern is that these dioramas are composed of action-men figures. The curator has employed his artistic license, in curating disturbing scenes that straddle the divide between fiction and fact. It’s highly disturbing, and I would question why one would want to curate such an exhibit in the first-place. One directs the same line of criticism toward an exhibit depicting a mannequin draped in full Klansman garb, including a hood and robe, holding a noose that is placed around the neck of a mannequin of a black boy. Undoubtedly offensive. However, one found nothing more disturbing than a room covered with screenshots from videos depicting the murder (notably, the burning and beheading) of individuals by ISIS militants (wholly uncensored, and all-disgusting). Perhaps thought-provoking, but these are in no sense intelligent curations, and are likely employed to be ‘as controversial as possible’. One can only guess what thought went into placing a commemorative plate featuring Martin Luther King amongst the bloody images of ISIS militants beheading victims. Perhaps intended as an informed and intelligent contrast between individuals with contrasting ideologies; a potent and menacing pointing toward the antithetical: good vs. bad, or evil vs. virtue? Unlikely. And if the improbable claim is made that these exhibits have been set up to provoke ‘awareness’ of such atrocities and to educate individuals about the existence of violence and hate, it can be rendered futile and mostly non-effective (who isn’t aware of the awful brutality of the Islamic State or the atrocities of the Nazis?).
In any case, if you’re in the Forest of Dean area and have a few hours to spare, it’s certainly worth the visit, but rest-assured it’s as controversial as the A-boards outside the museum suggest it to be. Be warned.