A historic Kent museum, which previously admitted to being steeped in colonial oppression and racism, has relaunched after “more honestly and sensitively” presenting its unique collections.

The Powell-Cotton Museum in Birchington showcases the legacy of one of the most prolific African and Asian big game hunters and explorers who brought home thousands of specimens from his many expeditions.

Major Percy Powell-Cotton created unique displays of ‘stuffed’ animals, including elephants, apes, giraffes, rhinoceros and lions, as well as a large variety of antelopes, smaller carnivores and other herbivores of all sizes, all presented in stunning dioramas.

But four years ago, trustees publicly admitted the museum needed to address impressions of colonialism and racism in how the collections were presented, as well as having a predominantly white workforce.

The ‘re-imagining’ project began in the wake of the Black Lives Matter movement, with the aim of decolonising the museum’s collections and artefacts.

“We recognise that our collection is steeped in racism and colonial oppression,” trustees admitted in an apologetic self-assessment posted on Facebook in 2020.

“We acknowledge that today we remain a predominantly white workforce that does not reflect our audiences or the communities represented in our collections.

"We recognise these failings and the need for real change. To this end, we have instituted a broad, and in-depth, programme of de-colonising our museum and re-representing its collections."

The interpretation of the exhibits had changed very little since the 1920s when it was first produced, initially in a standalone building as his collection grew.

Notably absent, admitted bosses, were the stories and voices of the African communities from which the objects were acquired.

But the pandemic closure gave the museum the opportunity to address the issues and time to reflect on how better to provide greater information and explanation of the exhibits’ origins.

The exhibits had also become dated and not very visually appealing, with the language used to describe them quite inaccessible.

But funded with a grant from the Arts Council England, the revamp now nearing completion.

“It's been the aim to explain things far more accurately, honestly, fairly and sensitively,” said museum CEO Sarah Corn

“For example, working with international partners from those countries to better understand and use respectful language.

“I don't think the museum believed themselves to be racist and steeped in colonialism in 2020. I think they were just reflecting on past collecting practices that they're now dealing with a legacy of.

“Because of the pandemic and various phasing and the fact that we needed this work doing anyway, it was something even before 2020 the museum was aware that it needed to sensitively re-interpret some of its material cultural connections.

“There was lots of work and research behind the scenes. So we opened to the public, initially just for weekends and bank holidays. And we've been slowly testing out more days and now reintroduced Friday openings this year.”

Powell-Cotton collected thousands of African and Asian artefacts and art during his many cross-continental expeditions.

He was often accompanied by his two daughters who had a special interest in medicinal plants and brought back a huge number of specimens.

The animal species collection, which is one of the most remarkable of its kind in the world, also remains a significant source of scientific research.

Its centrepiece is a lion - which Powell-Cotton shot while being attacked - bringing down a buffalo. The stunning lifelike work, widely appreciated as one of the finest examples of its kind, was created by renowned taxidermist Roland Ward, as were all the re-creations in the exhibits.

Bosses hope the museum’s fresh look and more appealing and inclusive experience will boost visitor numbers, which have slumped from 60,000 pre-pandemic to just 10,000 last year.

For example, they have partnered with local writer and consultant curator Lucy Edematie, who is of Nigerian parentage, and invited a team of community participants of African descent to work with museum staff.

Together, they are exploring the stories surrounding the objects and creating an interpretation that acknowledges and gives a voice to the East African communities of origin.

But Mrs Corn accepts that some people will always be uncomfortable with the sight of animals killed by a big game hunter.

“Percy was a product of his time as was his collection and he wouldn’t have had access to some of the countries he visited had it not been a colonial era,” she explained.

“There were definitely two phases to his life, firstly as a hunter and collector.

“But later, it became important to him to share things more widely and not just for his own personal interest.

“Actually, there’s a lot more we can learn from the dioramas that’s a much broader story than that, not just set solely around Percy but also the people and cultures who helped his expeditions and those involved in taxidermy and designing the settings.”

Now the museum has re-opened for 2025 with a new permanent exhibition, which explores the rich cultures of South Sudan, Kenya, and Uganda and bosses hope to grow the visitor numbers back towards where they were.

They are also gardening, cooking and craft workshops all designed to encourage wellbeing and mental health.

The launch last month included live African singing and drumming music from Falle Nioke, family crafts and curator talks.

And staff are celebrating the museum, Quex House and gardens being nominated in the Muddy Stiletto Regional Awards for best family experience.

Trustees have also tried to keep ticket prices as low as possible, which includes entry to the mansion house and the beautiful gardens, where more work is taking place to enhance its appeal and use.

Entry costs £5 for adults (£4.50 concessions) and £4 for children.

School visits and tours take place from Monday to Thursday.

For more information go to www.powell-cottonmuseum.org