SURVEY PRESERVATION AND CONSERVATION OF LOCAL HISTORY

COLLECTIONS IN NIGERIA, A CASE STUDY OF NATIONAL WAR

MUSEUM, UMUAHIA ABIA STATE, 1985-2020

CHINWENDU AMBLESSED UCHEZE

2019/HU/9819

DEPARTMENT OF HISTORY AND STRATEGIC STUDIES, FACULTY OF

HUMANITIES, ALEX EKWUEME FEDERAL UNIVERSITY, NDUFU-ALIKE

OCTOBER, 2023
 TITLE PAGE

SURVEY PRESERVATION AND CONSERVATION OF LOCAL HISTORY

COLLECTIONS IN NIGERIA, A CASE STUDY OF NATIONAL WAR
MUSEUM, UMUAHIA ABIA STATE 1985-2020

CHINWENDU AMBLESSED UCHEZE

2019/HU/9819

A BA LONG ESSAY SUBMITTED TO THE DEPARTMENT OF HISTORY

AND STRATEGIC STUDIES, ALEX EKWEUEME FEDERAL UNIVERSITY,
NDUFU-ALIKE, EBONYI STATE, IN PARTIAL FULFILMENT OF THE
REQUIREMENTS FOR THE AWARD OF BACHELOR OF ARTS DEGREE IN
HISTORY AND STRATEGIC STUDIES.

OCTOBER, 2023
 CERTIFICATION PAGE

I, Chinwendu Amblessed Ucheze, with registration number 2019/hu/9819 hereby

certify that I wrote this Long Essay entitled “Survey Preservation And
Conservation of Local History Collections in Nigeria, Case Study of National War
Museum, Umuahia Abia State 1985-2020”. And that it is an original work which
has not been presented to any other university for the award of any other degree or
certificate.

-------------------------- --------------------------- -------------------------

Candidate’s Name Signature Date
 APPROVAL PAGE

This long essay has been approved by:

1. Mr. Michael Nwokorie ------------------ ----------------

(Supervisor) Signature Date

2. Dr Arua Omaka Oko ------------------ ----------------

(Head of Department) Signature Date

3 (External Examiner) ----------------- ----------------

Signature Date
 ACKNOWLEGDEMENTS
‘
I thank the Almighty God for preserving my life and providing me with wisdom,
strength and good health as well as endurance to handle this project. My sincere
gratitude goes to Mr. Michael Nwokorie, my project supervisor, your guidance was
invaluable. I am also grateful to all the lecturers in history department; our able
HOD Dr .O. A. Omaka , project coordinator Ms. Angela Odo , Prof. R. C. Ejeaga,
Dr. Nnenna Enwo-Irem, Mrs. Ada Mbalisi, Mr. U. U. Nmaju, Mr. Chigozie
Udensi, Prof. D.I Ajaegbo, Dr. O. C. Eze, Dr. Bright Nwamuo, Dr. Lucky
Ugbudian, Dr. Uchenna Ani, Dr. K. J. Ani, Mr. Patrick Onwuma, Dr. C. G.
Chidume, Dr. Jude Eke, Mr. Timothy Anyanwu, Mr. Ambrose Echara, Dr. U.
Osisioma, Dr. C. Agbo, Mr. Vincent Anyika, Mrs. Ifeoma Nwaoma, for their
dedication and collaborative effort through out.
I also want to thank my mum Mrs. Chinwendu Ihuoma Okoro, my big brother John
success Ifeanyi and friends, for their unwavering support and motivation. Together,
your collective contributions have been the driving force behind this project’s
success, and for that I am profoundly thankful.
 ABSTRACT

This work aims at identifying the preservation and conservation of local history
collections in Nigeria, a case study of National War museum, umuahia Abia state.
In the process of carrying out this research the work also identifies constrains and
methods adopted, and also proffer solutions to the effective procedures for
preservation and conservation of local history collection in the museum under
study. In the study it was observed that fumigation and the use of air conditioners
go a long way to prolong the life span of artifacts.
Based on findings there is need for computer applications and provision of standby
generating set as to support the ICT in the preservation and conservation of local
history collections for efficient management, above all it is noted that there is
cordial relationship among the component units that constitute the establishment.
The work also identifies the effect of the covid 19 pandemic and case of insecurity
in Nigeria, the global covid 19 pandemic resulted in national lockdowns and the
closure of museums to visitors, the pandemic had considerable negative impact on
individual, community, and society wellbeing and changed museum practice
specifically through increased online presence, plus the role of digital technology
in both improving wellbeing and reducing wellbeing inequality cannot be over
emphasized.
The study also revealed why it is possible for the establishment to preserve its
artifact successfully, that a separate unit is designated to observe the preservation
culture and back up fully with adequate security networking.
Names such as curator, is the head of the museum management while conservator
is a person in charge with the skills of preserving and conserving artifacts. This
work is divided into five (5) chapters, chapter one is the introduction of the work
while chapter two is the museums concept and operations, security of collections
and empirical review is in chapter three, chapter four deals with the effect of covid
19 and insecurity issues in Nigeria on the activities of the museum. Finally chapter
five presents the conclusion.
TABLE OF CONTENTS
Title Page
Certification Page
Approval page
Acknowledgements
Table of Content

CHAPTER ONE
Background of the Study
Statement of the Problem
Purpose of the Study
Significance of the study
Scope of the Study
Methodology and sources of Data
Conceptual clarification
Review of related literature
End notes

CHAPTER TWO
The Museum Concept and Aims
The Operation of Museums
End notes

CHAPTER THREE
The Security of Collections
Empirical Review
End notes

CHAPTER FOUR
Covid 19 and insecurity issues
The impact of museum digital resources
End notes

CHAPTER FIVE
Summary
Conclusion
Recommendation
Endnotes
Bibliography
 CHAPTER ONE
INTRODUCTION

BACKGROUND TO THE STUDY

A museum is a building in which objects of historical, scientific, artistic, or

cultural interest are stored and exhibited. 1 The establishment of museum is
significant in any developing
Nation like Nigeria, where historical record provides a link between
the past, present and most certainly the future.
The importance attached to any museum object derives its value
in cultural and historical context which may span over areas such
as Religion, Education, Politics, Economy and warfare.2 It is most
Unfortunate however, that most Nigerians up to this time have
not yet realized the importance of museums to the society. To
such people museums are associated with artifacts and
monuments which are regarded as old and useless objects meant
for incarceration. This type of impression attached to this
important agency (museum) has so much affected the society such that
most of the objects which would have been very useful in general
enlightenment and education of the public suffer from deterioration.

STATEMENT OF THE PROBLEM

Museum collections represent great varieties in nature and in form, but one thing
that is common to them all is that the materials they are made of are subject to
natural ageing and decay. This work seeks to identify the problem of natural
deteriorating factors which act upon objects continuously.
And it further explains the precautions taken by curators or conservators to prevent
objects/artifacts from further damage and slow down deterioration process.
However, it also placed interest in noticeable human factors such as lack of
technology and digitalization which needed more improvement during/after the
period of covid 19, also the lack of skillful manpower and inadequate security that
may lead to the destruction and deterioration of museum artifacts.
 PURPOSE OF THE STUDY

The purpose of this work is to survey the preservation and

Conservation of local history collections in Nigeria making
reference to the National War Museum in Umuahia. The project is
also aimed at examining some of the problems that affect museum operations, so
that it can play its proper role and also to enable the public understand what that
role is.
This study will among other things, examine the reason for siting the museum at
Umuahia, the extent which covid-19 and insecurity issues in the country affected
the growth and management of the museum.
To elucidate the various processes involved in the collections of
the objects and how they are stored in the museum, to identify the person charge
with the care of preservation and conservation of museum objects. To examine the
major problems militating against the effective use of the museum.

SIGNIFICANCE OF THE STUDY

The study aimed at identifying the various methods used in

Preserving, museum artifacts from deterioration.
The knowledge of the factors that causes damages to museum
Objects are also identified. Suggestions on curative measures are given concerning
the preservation of museum objects, as well as promoting effective use of the
museum.
Finally, the study tends to broadened the mind of the public
about the place of museum in a society and the documentation of
this work for present and future use.
 SCOPE OF THE STUDY

This work covers the period 1985-2020.The choice of 1985 is justified because that
was when National War Museum was established in umuahia. While the choice of
2020 as terminal date is to recognize when the museum operations became
digitalized as a result of the covid-19 pandemic forcing the government to impose
a lockdown policy on the people and businesses. The work assesses the various
preservation and conservation processes that takes place in a museum, it covers
the collection of details, preservation techniques, impact assessment, analyzing
historical context, and providing recommendations for enhancing preservation
strategies.

METHODOLOGY AND SOURCES OF DATA

In order to ensure adequate coverage of materials for this work, the work employs
qualitative research approach. Personal interviews and observations were used to
compile this work. In addition useful information was gotten from journals,
reports, publications and other useful text. Consequently, the research derives its
data from both primary and secondary sources. The primary sources as mentioned
are oral information; the secondary sources are drawn from published materials.
All these methods complement each other and served to a great extent in providing
a wide scope of information available for this work.

CONCEPUTAL CLARIFICATION

The importance attached to any museum object derives its value from cultural and
historical context which may span over areas such as religion, education, politics,
economy and warfare. It is pertinent to note those museums are categorizes
according to the type of their collections, locations and their purpose.

According to type of object in their collections;

ART MUSEUM: It collects the elites artistic products of human society, painting,
drawings, photographs, statues, furniture, jewelry, textiles, metal ware and craft
products.

HISTORY MUSEUM: It is concerned with history. All objects made or used by

human beings are potential interest to the history museum.

ENCYCLOPEDIC OR GENERAL MUSEUM: It deals with several or all fields

instead of just art, or history or geology etc.

ARCHAEOLOGICAL MUSEUM: It collects and exhibit historical and cultural

remains recovered from the earth.

SCIENCE MUSEUM: There are two major kinds of science museum:

a. Science/industry museums
b. National history museums.

ETHNOGRAPHY MUSEUM: It collects and displays cultural materials

associated with social institutions, clothing and implements of old for example,
Museum of posters, toys, textile etc.
According to the location and ownership:
These museums are usually of general types.
University Museums: It is attached to the history, science or other departments of
the universities and owned and managed by the university authority. Others types
are, Art council museum, Local government museums, State museum, Federal
museum, Open air museum. The National war museum umuahia, falls into this
category as its rich exhibits the history of Biafra war in Nigeria.

According to their purpose;

Children museum: These are museums intended exclusively for young children,
with everything in their scale down to fit their physical size and mental capacity.
There also Museum for the blind, Museums of freedom-fighting.
Therefore, following the general perception of the public about the state of
museum as highlighted above, need arises about the awareness and development of
museum and their corresponding preservation and conservation processes.

ANTIQUITY: An object or remains of an ancient times and

Culture.
ARTIFACT: Simple man-made object that provides evidence of
an ancient culture or a work of art.
CONSERVATION: The scientific intervention in the museum
objectives for the purpose of arresting deterioration and
extending their life span.
CURATOR: A person who is in charge of the museum
management.
PRESERVATION: The control of deterioration factors and action
to prevent, stop or retard deterioration.
RELIC: The material evidence of something which ceased to exist
or surviving from a past age.
 REVIEW OF RELATED LITERATURE:

The focus is to critically examine relevant literatures and furthermore to recognize

the efforts of scholars who had previously contributed immensely to similar work.
This part intends to deepen the understanding of the study and close the perceived
gaps.
Hadzic Osman, a scholar defined Culture as "knowledge, belief, art, morals,
customs and any other capabilities and habits acquired by man as a member of
society. Culture is socially acquired and is passed from one generation to the next,
it is inherited and this makes it our heritage. The diversity of culture and heritage is
an irreplaceable source of spiritual and intellectual richen for all civilizations. 1
Preservation is the specific actions taking to prolong the useful life of individual
objects or entire collections within a particular institution. From a broader
perspective Bamidele Alegbeleye states that preservation includes all the
managerial and financial considerations including storage and accommodation
provisions, staffing levels policies, techniques and methods involved in preserving
Museum and archival materials and the information contained in them. 2 On the
other hand, Veronica vinas a writer submits that conservation is the operation
which is intended to prolong the life of an object by forestalling damage or
remedying deterioration, she also stated in her work that preservation
encompasses every facet of Museum life. Preservation is a preventive medicine,
the concern of everyone who walks into or works in a Museum. 3 James Matthew in
his work “the museum, its history and tasks in education” stresses that preservation
has been described as any action that effectively extends the life of a living or non-
living collection, the individual items or entities including in a collection or
structure, building or site by reducing the likelihood or speed of deterioration. It
further explained that preservation actions include: planning, conservation
treatment, prevention action to improve environment or otherwise reduce the risk
of damage or loss.4
From the definitions so far, it has been observed that preservation practices is to
Museum materials as what air is to human being. Without preservation practice in
the Museum, Museum materials will be useless and waste of information. In the
same view, Bamidele Alegbeleye explained that damages attributed to
environmental factor include those caused by insects, sunlight, mould and
water. He further explained that the damage caused to the Museum materials is
associated with the physical environment in which the materials are kept as well as
the house keeping practices provided. He also argues the Museums are prone to
disaster like fire, flooding, vandalism, civil unrest, earthquakes, volcanic eruptions,
wars, lightening, rodents and pests.5
Furthermore, Adeniran, Ogunsanya a Nigerian lawyer and politician in his paper
“Theory of preservation” describes preservation as processes that involve
stabilization of the environment under which the Museum materials are kept. He
maintained that the basic responsibility of the staff or the institution is the
preservation of the materials in their custody. The then said that this implies that
the materials should survive not only for years or centuries but for all time.6
Alhassan, Junior, defined preservation in terms of restoration or treating them
against attack or book-worms, termites, beetles, cockroaches etc. In spite of this,
and also strongly believe that digital technology has the potential to redefine
preservation reformatting but until the concern associated with maintaining long-
term accessibility to material stored in digital image form can be resolved, many
Museums and archives loath to initiate digital projects beyond the pilot phase. 7
However, digital preservation can also be seen as the managed activities necessary
for the long term maintenance of a unit of information stored in a computer which
is sufficient to produce a suitable facsimile of the original document and for the
continued accessibility of the document contents through time and changing
technology. Furthermore, digital technology offers unprecedented opportunities for
access and use since it could facilitate the expansion of scholarship by providing
timely, distributed access to a variety of sources from variety of locations and with
the advent of high performance computing and high speed networks, the use of
digital technologies enable information to be created, manipulated, disseminated,
located and stored with increasing ease. Basically digital preservation involves the
retention of both the information object and its meaning. In the same view it is also
observed that Museums serve to preserve for those who follow us, our thoughts,
intellectuals and artistic creations and man’s historic records. 8
It’s also Germane to note that preservation as strategies and actions necessary to
prove access to the accumulated human record as far into the future as possible,
because preservation connotes far more than keeping a material in its original form
or being familiar with all reformatting technologies available. Meaning
accessibility: when a user needs it, he gets it. Hence, this further explains that the
whole process of security, shelving, shelf-reading and circulation are actually
preservation technique which aids preservation from abuses like mutilation,
defacing and/or stealing of materials are preservation tenets and all these things are
done to ensure longevity of the lifespan of Museum materials.9

Conservation on the other hand, may literarily be seen as synonymous in meaning

with such terms as preservation, and restoration. It can be seen as the management,
protection, and wise use of natural resources. It went ahead to explain that
conservation is important for two basic reasons. Firstly, to meet demands for
natural resources and to maintain the quality of life. Conservation is management
and protection of the earth’s natural resources to assure adequate supplies for
future generations. It aims to provide an environment free from pollution of air,
water, land, and to protect the welfare of plants, animals and humans. As such,
conservation is a means of protecting what one have at hand to see that it doesn’t
get lost or damaged and to last for a very period of time.10
Beside these facts above, Wikipedia defines conservation as the treatment and
repair of individual items to slow decay or restore them to useable state. It further
explains that conservation includes proper diagnosis of the decayed materials,
timely curative treatment and appropriate prevention from further decay.
Similar to this, the International Federation of Museum Associations (IFLA) in
conference held at the National Museum at Austria Vienna, defined conservation
to denote those specific policies involved in protecting Museum practices and
archival resources from deterioration, damage and decay. He further explained that
conservation focuses more on precise techniques perfected by the technical staff in
the struggle against the degradation of collections.11
conservation program. In spite of all these it is important to point out that the term
conservation is however believed to be wider in scope, highly technical and is
concerned with such complicated issues as. • The chemistry of materials • the
monitoring of environmental system and • the design of the document structure.
 End Notes
1. Hadzic, Osman, “Tourism and digitization of cultural heritage” Accessed On

8th may, 2009, p.2-6, 2004.

2. Bamidele, Alegbelaye, “Conservation of the Bibliographic Resources of

Nigeria”, Nigerian Libraries, Vol12, P.11-18, 1985.

3. Veronica, vinas, “Traditional restoration techniques”, Paris: UNESCO,

1988.

4. James, Matthew, “The Museum: its History and its tasks in Education.”

London Oxford University Press, p.13, 1949.

5. Bamidele, Alegbelaye, “Conservation of the Bibliographic Resources of

Nigeria”, Nigerian Libraries, Vol12, P.11-18, 1985.

6. Adeniran, Ogunsanya, “Theory of preservation”, Paper presented at a

workshop on record management organized by Nigerian library association,

Kaduna state chapter in collaboration with department of library and

information science, Ahmadu Bello University Zaria at national library of

Nigeria-Kaduna, 1998.

a. Alhassan, Junior “Preservation in libraries, principles, strategies and

practices for libraries” London, 1993.

7. Wikipedia “Preservation of local histories”, Retrieved 10th May, 2021 from.

http://en.wikipedia. Org/wiki/preservation. http://www.talasonline.com/,

2021.

8. Wikipedia “Preservation of local histories”, Retrieved 10th May, 2021 from.

http://en.wikipedia. Org/wiki/preservation. http://www.talasonline.com/,

2021.

9. Bamidele, Alegbelaye, “Conservation of the Bibliographic Resources of

Nigeria”, Nigerian Libraries, Vol12, P.14-20, 1985.

10. Wikipedia “Preservation of local histories”, Retrieved 10th May, 2021

from. http://en.wikipedia. Org/wiki/preservation, 2021.

 CHAPTER 2

GEO-HISTORICAL SURVEY

THE NATIONAL WAR MUSEUM UMUAHIA

The national war museum is located at Ebite Amafor in Umuahia, the capital city
of Abia State. The idea of the establishment of a museum of the history of warfare
which would enable Nigerians to appreciate and understand the course and content
of the war more fully was suggested in 1971 by Dr. Eyo Ekpo, the Director of
Antiquities. Although, the idea was acceptable to the military government, the
suggestion was not acted upon because the country has not quite settled down after
the war. Although, too, the government decided to collect materials connected with
the war and carryout photographic documentation on field equipment and evidence
for future use, no real effort was embarked upon until 1977 when the Army
Council finally approved the establishment of National War Museum at Umuahia. 2
The purpose of the National War Museum was to collect vital documents and
objects that were related to Nigerian civil war and to serve as a centre for
information on Nigeria warfare through ages as a research centre for military
science.
The decision to establish a National War Museum at Umuahia mooted by the then
Chief of Army Staff. General Theophilus Yakubu Danjuma (Rtd) after his visit to
Yugoslavia and USSR in 1976. While in these countries, he was shown war
monuments and related, and he marveled at the attention and importance attached
to them and their preservation in museum. On his return to Nigeria, at the second
meeting of the Army Council in 1977, he mooted the idea of the establishment of
war museum in his reference letter No (NA/COAS/58) of 13 April 1978 to the then
Head of the Military. government; genera T.Y. Danjuma stated, “my view is that
although the idea of setting up a National War Museum came from the Army, the
museum itself will not be an Army or even Armed Forces institution, but a
National. In other words the National War Museum will be a sub-unit of the
Department of Antiquities. However, the Army will assist the department in the
procurement and collection of items of interest to the museum. This suggestion
was accepted by the, then Head of State and commander of the Armed Forces of
Nigeria.
In pursuance of its decision to establish the war museum, the Army set up an
advisory committee comprising officers from the Nigerian Army, the Nigerian
Navy, the Nigerian Air force and the National Commission for museums and
monument to assist in the development, operation, maintenance and the research
activities of the museum. On September 16th, 1982, the committee had its first
meeting at Umuahia under the chairmanship of major General Sanni Abacha.
When he was moved to the command at the 2nd division, he handed over the
chairmanship to the then Lt. Col. J.N. Shagayo in January 1984. During the first
meeting of the committee under Lt. Col. J.N. Shagayo, it was decided that the
museum should be launched on January 15th 1985.
With the official launching of the museum in January 1985 by the then Chief
Supreme Headquarters Major General Tunde Idiagbon (Rtd), individuals and
groups, immediately responded to the call and contributed to the growth which
culminated in the formal commissioning on Thursday 14th September, 1989.
Today, the museum has an area of 3,778 hectares of land.
It maintains a research library which as at the time of this writing, has been fully
developed, it houses exhibition galleries, stories, curatorial centers, audiovisual
units and a multipurpose wall.
The National War museum now houses the indoor aspects of the voice of Biafra. It
is a lovely place to visit, a place laden with curious items. Beyond the concrete
entrance the visitor descends a staircase in three flights. The steps are lighted with
white fluorescent tubes. And inside this area are mounted along both walls
photographs that tell the story of the war. There is one demonstration celebrating
the end of the war. They carry a placard which reads “Obituary Biafra is dead”.
Then another of the day of surrender showing Obasanjo and Effiong, the two
soldiers who ended the war.2
There are also pictures of the victims of the war like a killed Biafra mercenary. On
the staircase that lead to the second entrance, on both sides are mounted
photographs of major actors on both sides, Ojukwu facing Gowon with all the
major members of their respective teams coming after them. Further upon this
staircase are portraits of the victims and predators of the January 1966 coup. Then
the visitors enter the building which houses the offices of the museum built so that
coming out of the bunker, you emerge inside it.2
 MUSEUM CONCEPTS AND AIMS

Concept of Cultural Heritage

The UNESCO Universal Declaration on Cultural Diversity states that "culture
should be regarded as the set of distinctive spiritual, material, intellectual and
emotional features of society or social group, and that it encompasses, in addition
to art and literature, lifestyles, ways of living together, value systems, traditions
and beliefs".1 Heritage is "that which comes or belong to one by reason of birth. 2
Cultural heritage is "movable and immovable objects of artistic, architectural,
historical, archaeological, ethnographic, paleontological and geological importance
and includes information or data relative to cultural heritage pertaining to a
country.3
This includes archaeological, geological sites and deposits, landscapes, groups of
building as well as scientific collections, collections of art objects, manuscripts,
books, published material, archives, audiovisual material and reproductions of any
of 'the preceding, or collections of historical value, as well as intangible cultural
assets comprising arts, traditions, customs and skills employed in the performing
arts, applied arts and in crafts and other intangible assets which have a historical,
artistic or ethnographic value. Cultural heritage therefore consists of tangible and
intangible aspects of a particular culture "that are inherited from past generations,
maintained in the present and bestowed for the benefit of future generations". 3

Importance of Cultural Heritage

The acts, ideas, and artifacts which are handed down to us from one generation to
another through oral, behavioral and material traditions are of great value. Their
value is based on the fact that without cultural heritage we have no history and
without history we will be accorded little respect in the present or in the future in
the comity of nations. Supporting this view, the " thoughts, ideas and discoveries
of great men, the eye witness 'account of great events and the prose and poetry of
civilization and what has been rightly described as our intellectual capital are
priceless treasure that must be passed on from generation to generation". The truth
is that all of us as "human beings act with the past on our backs; we act carrying
the past with us. We can only think in the present and for the future, so far as we
have adjusted and circumspect view of what we have been and of what we have
done as, human beings".4 Furthermore, the tangible and intangible cultural
heritage symbolizes our past; they are gold gems which must be safe guarded
jealously. For many of us they are a source of emotional and aesthetic experiences
and our children can benefit from their preservation.2

Preventive Conservation
Preventive conservation emphasizes actions to prevent damage to and minimize
deterioration of a museum object. Such actions include; Monitoring and recording
levels of environmental agents (e.g., light, relative humidity, temperature, and air
pollution) • Inspecting and recording the condition of objects • Controlling
environmental agents • Establishing an Integrated Pest Management (IPM)
program in all spaces housing museum collections • Practicing proper handling,
storage, exhibit, housekeeping, and packing and shipping techniques •
Incorporating needed information and procedures regarding the museum collection
in emergence management plans.5
Preventive conservation is best implemented by the development of a park-specific
plan that identifies tasks, establishes schedules and costs, and coordinates staff
responsibilities in carrying out an ongoing program for the care and maintenance
of the museum collection. An effective preventive conservation program will
minimize the need for costly conservation treatment.

Conservation Treatment
Conservation treatment is the work of preserving the physical and/or the aesthetic
condition of a museum object. The two broad categories of interventive treatments
are as follows: • Stabilization is a treatment action that is taken to increase the
stability or durability of an object when preventive conservation measures fail to
decrease the rate of deterioration to an acceptable level, or when an object has
deteriorated to the point where it is in danger of being completely lost. •
Restoration is a treatment action that is taken in an attempt to bring an object as
close as possible to its original appearance, or to its appearance at a particular time
period, by removing accretions and subsequent additions, and/or by replacing
missing elements. Interventive treatments must be fully documented and
performed according to the Code of Ethics and the Standards of Practice of the
American Institute for Conservation of Historic and Artistic Works. According to
professional ethics and NPS Management Policies, any restoration treatment must
be fully documented, and conducted without fraudulent intent.5

THE OPERATION OF MUSEUMS

Those Responsible for Museum Preservation and Conservation

Conservation of museum objects is a shared role between the curator and the
conservator. Mutual understanding and respect for each other's role and
responsibilities to the collection are important. The curator is skilled in the
management, preservation, and use of the museum collection. Often, the curator is
a discipline or material culture specialist e.g. archeology, history, biology, fine arts,
Civil War weapons, 19th-century furniture. The conservator is skilled in the
theoretical and practical aspects of preventive conservation and of performing
examination and conservation treatments of museum objects.5
Most conservators specialize in specific classes of materials (e.g., paintings,
furniture, paper, textiles, metals, ceramics and glass, photographs, archeological or
ethnographic objects, or natural history specimens).

Curator and Conservator Roles in Preserving Museum Collections

Preventive Conservation
Curator Conservator
• Monitors and assesses the • Assesses the condition of objects;
condition of objects
• Monitors and evaluates the • Alerts staff to signs and causes of
museum environment deterioration
• Practices proper methods and • Provides technical guidance on
techniques for storing, exhibiting, museum environment, storage,
handling, packing, and shipping of exhibits, handling, packing, and
objects shipping
• Develops and carries out an • Assists in development of
ongoing housekeeping/maintenance housekeeping/ maintenance
 program for collection spaces programs and in preparation of
emergency management plans
• Prepares an emergency
management plan for the museum
collection
Conservation Treatment
• Documents history, significance, • Examines and documents
value, and proposed use of each conditions and problems of objects
object to be treated
• Develops and monitors contracts • Prepares treatment proposals for
for conservation services curatorial review and approval
• Assesses, in consultation with • Performs suitable treatments
conservator, the suitability of
written treatment proposals and
authorizes treatments
• Monitors the progress of • Documents treatments performed
treatment for each object
• Ensures continuing care for • Recommends methods for the
treated objects future maintenance and care of
treated objects

HAZARDS TO MUSEUM ARTIFACTS

The basic principle of preservation of historic memorabilia is DO NO HARM. The

following hazards are recognized as some of the most dangerous to historic
memorabilia.

LIGHT
Too much light speeds deterioration of photographs, textiles and printed or
handwritten paper, furniture, etc. Historic objects should be protected from
excessive light levels, and especially from sunlight and florescent light, which
contain high amounts of ultraviolet radiation which is the most harmful form of
light. Place furniture, antique quilts and other memorabilia out of direct sunlight
and/or florescent light.

TEMPERATURE
Too high or too low a temperature (or rapid temperature swings) can damage
rubber, wood, metal, etc. Store or display historic memorabilia in spaces that have
climate control systems (heating and air conditioning). Do not store in sheds, attics
and basements.

HUMIDITY
Humidity that is too high encourages pests and mold growth on paper, textiles and
parchment, and promotes rust on metal. Humidity that is too low can cause objects
to become brittle. Organic objects in particular absorb and release moisture
depending on the relative humidity of their environment and need a stable
humidity. Store historic memorabilia in an area that has a steady, constant
humidity also store them historic away from heating and air conditioning vents.

PESTS
Different types of historic materials attract different types of pests. Roaches and
silverfish are attracted to paper and books. Moths are attracted to protein fibers
such as silk and wool. Termites are attracted to wood. Conduct regular inspections
of historic objects that attract pests.

HUMAN BEINGS
Human beings are one of the greatest threats to historic objects, not only due to
surface compounds, such as oil, sweat and make-up that we carry on our skin, but
also because we continue to use historic objects. These oils and other surface
substances are transferred to the object during handling. Wear cotton or nylon
gloves when handling historic paper, textiles, photographs, and wooden and metal
objects. Many objects are damaged because people handle them in inappropriate
ways, such as trying on clothing, taking items to show-and-tell at school or even
using them for their original purposes. All of these uses put undue strain on the
objects and put them at risk for loss or damage.

CHEMICAL REACTION & AIR POLLUTANTS

Certain types of materials, such as metal and marble, react to chemicals present in
the air. This is a particular concern for outdoor objects such as marble statuary,
iron architectural elements, etc. Chemicals such as formaldehyde and acidic gases
from wooden compounds can also harm historic objects.

INHERENT VICE
Some objects that are composed of incompatible materials, such as wood and
leather or wood and paint, have built-in deterioration risks. Conduct regular
inspections of these objects for any changes in condition.

BASIC PRESERVATION TECHNIQUES FOR TEXTILES

Textiles or objects made from woven fibers are among the most common types of
artifacts found in museums or within a family. Most families have a treasured
textile such as a wedding dress or tablecloth that has been handed down through
the generations. Until the 20th century, textiles were made from natural sources,
such as cotton or linen plants or sheep or silkworms. In the 20th century, synthetic
or laboratory textiles have been developed such as rayon, nylon and acetate.
Textiles and the dyes used to color them are very vulnerable to damage from light,
acids and pests.
 Store textiles in climate-controlled spaces, not in attics or basements.
 Store or display textiles away from bright light, especially sunlight and
florescent light that contains high amounts of UV radiation.
 Store textiles in acid-free boxes designed for this purpose. Do not store
heirloom textiles in a wooden dresser drawer or an ordinary cardboard box.
 If possible, store textiles in a flat position, without folds. Gravity acts with the
weight of the textile to alter the original shape and condition of the piece.
 If displaying a quilt, tapestry, flag or other hanging textile, make certain the
textile is supported by a piece of backing fabric. Do not let the textile hang by
its own weight for an extended period of time.
 Remove staples or pins from textiles as they may rust and stain the textile.
 If storing a garment or flat textile in a box, make certain that there are no hard
creases or folds. Pad any folds or creases with acid free paper. Stuff arms of
jackets and the body of jackets or bodices so the fibers are supported.
 Wear clean cotton or nylon gloves when handling heirloom textiles.
 If moving an heirloom textile or garment from one location to another,
support the textile by having a stiff support under it or by having it housed in
an acid-free box. Do not let the textile bear its own weight while being
transported.
 If you must store a garment on a hanger, pad the hanger so that there is a
natural shoulder shape across the top of the upper garment and if storing
trousers, pad the trouser bar.
 Large, flat textiles, such as quilts or rugs, may be rolled around an acid free
cardboard tube for storage. Store rolled textiles horizontally and off of the
floor.
 Do not store heirloom textiles in sealed plastic bags.
 Protect textiles from dust with unbleached muslin bags or muslin fabric dust
covers or by storing in an acid-free box with a lid.
 Do not wash heirloom textiles in the washing machine or give them to a
commercial dry cleaner to clean by tumbling.
BASIC PRESERVATION TECHNIQUES FOR PAPER
Most paper in the last 300 years has been made from either linen or cotton rags or
wood pulp. Rag paper has a low acid content and is much more stable than pulp
paper. Wood-pulp paper, the kind used for newspapers, is usually very high in acid
and deteriorates rapidly.
 Store documents in a climate-controlled environment, not in attics or
basements. Paper is subject to mold growth.
 Store documents flat without folds or creases. Folded paper fibers are
weakened at the point of the fold and will deteriorate more quickly at that part
of the page.
 Paper is sensitive to attack by pests such as silverfish and roaches. Inspect old
documents regularly to check for insect infestation.
 Store rag paper and pulp paper separately — acid migrates from the more
acidic surface to the less acidic surface (for example, separate the newspaper
clipping about your wedding from the wedding invitations).
 Display paper away from sunlight or florescent light. Light will cause the
surface coatings, such as ink, to fade and (if the paper has a high acid content)
will hasten the deterioration of the paper.
 Display documents, postcards and currency using only archival quality mats,
backing boards, etc. Specify to the frame shop that the materials are to be
archival quality and acid free.
 If possible, do not display paper against the outside wall of a building.
Exterior walls experience more fluctuations in temperature and humidity than
interior walls do.
 If storing documents, store them in acid-free folders, boxes or chemically
inert plastic sleeves.
 If there is no alternative to using a wooden bookcase for storing paper or
books, place the paper or books in acid-free boxes or folders and/or place an
acid-free paper barrier between the books and wooden shelf.
 Consult a conservator if you need to de-acidify documents.
 Do not use rubber bands, staples, straight pins or paper clips when storing
heirloom documents.
 To minimize the risk of water damage, do not store boxes of documents or
framed paper items on the floor.
BASIC PRESERVATION OF PHOTOGRAPHS

Photographs provide us with a special form of historical documentation. They

provide a graphic representation of the past not found in other media. Photographs
are physically and chemically complex and require special care to preserve. Photos
are especially susceptible to deterioration from chemicals left over from
processing, careless handling and fading from light, especially sunlight and
florescent light. Take time now to preserve your images for future generations.
Each photograph is a unique window into the past that cannot be replaced.
 Photographs should be stored in a cool, dry location. High temperatures and
humidity are damaging to photos.
 Avoid displaying photographs in bright light or direct sunlight.
 Store and frame photographs in acid-free inert materials.
 Never touch the surface of a photograph; hold them by the edges or use clean
cotton gloves.
 Do not use tape, paper clips, rubber bands or Post-it notes on your
photographs; they can all cause damage.
 Do not use ball-point pen or felt-tip markers to write on photos. Label them
on the back with a soft pencil. You may wish to number them and write out
longer descriptions separately. Another alternative is to photocopy the
photograph and write your information on the photocopy. Never write on the
front of a photograph.
 Do not store your photos in self-adhesive albums. Use acid-free storage
material or inert plastic sheets. Take care to preserve your negatives also. Use
acid-free or inert plastic sleeves to store them.
 Color photographs are not as stable as black and white. Consider having your
color images professionally copied in black and white; you may lose the
color, but you’ll preserve the image.
 If you wish to display your photographs, you may want to consider having
them copied and displaying the copies. That way your originals will be
protected from fading or other possible damage.
 When mounting photographs, be sure to use acid-free materials. Photographs
should be attached to the backing board with Mylar corners rather than being
glued or taped down. An acid-free mat should be used to keep the glass from
touching the photograph.
 If you are displaying original prints, consider rotating one photograph with
another to limit the amount of fading.
BASIC PRESERVATION OF METAL ARTIFACTS

All metal except gold is susceptible to oxidation or corrosion. Prevention of

corrosion or oxidation is the primary goal in caring for metal artifacts. Most
corrosion is caused by moisture, although certain chemicals can also play a role.
The oils and acids that occur naturally on skin can be very damaging to metal
artifacts. One of the simplest ways to help preserve your artifacts is to store them
in a relatively dry environment. Typically, metal artifacts should be stored in living
areas, which are much dryer then sheds garages or basements. Attics are generally
too hot for most artifacts.
General Rules
 If you are unsure what to do, seek professional guidance.
 Do not attempt to clean or polish metal artifacts without seeking professional
advice.
 Do not handle metal artifacts with bare hands; gloves should be used.
 Generally speaking, commercially available dip-type tarnish removers should
be avoided.
 The use of spray-on lacquer or similar coatings is seldom advisable.
 Although some oxidation or corrosion may be damaging to an artifact, they
may also add to the value. Restoring an artifact to its original condition is not
always the prudent course of action.

IRON AND STEEL

This is one of the most common metals and is commonly found in firearms,
bayonets and swords. Steel and iron, especially those having a bright polish, are
very susceptible to rust. The fine polish of a sword blade can easily be permanently
marred by touching the blade with bare hands. Always handle metal artifacts with
clean cotton gloves. Steel artifacts may be preserved by keeping them oiled with
light oil. Additionally, the metal parts may be protected with a coating of wax,
such as SC Johnson Paste Wax. Care should be taken to coat all areas; consult a
gunsmith to help with disassemble of weapons.
PAINTED METAL ARTIFACTS
Painted metal artifacts require limited special precautions. Generally the paint will
protect the artifact. The painted surface should be protected from being scratched.
Care should be taken during storage or display to protect these items from being
scratched or chipped.

COPPER, BRASS, SILVER

These metals are relatively stable. Their oxidation provides a stable coating that
protects the metal. These metals generally should not be cleaned or polished
without consulting a professional. Silver items that have been polished can be
stored in Pacific Silver Cloth to reduce tarnishing.

BASIC PRESERVATION OF LEATHER ARTIFACTS

Leather is a difficult item to preserve; care should be taken to store in medium

humidity and moderate temperature. Generally speaking, storing it inside your
home is suitable.
 Avoid displaying leather items in direct sunlight or bright light. If the leather
is dirty or moldy, clean it with damp cotton cloths.
 Do not use saddle soap or leather conditioners.
 If the item feels overly dry or stiff do not use petroleum products (or anything
that does not list its ingredients) on your leather. Anything that is put on
leather is there to stay, beware of creating problems.
 Most leather will stiffen over time; this is generally not a problem, as historic
items should not be used. Take time while the leather is pliable, to support the
item in a displayable manner. For example, lightly stuff the toes of shoes or
boots to help them maintain their shape, use acid-free tissue; boot tops can be
supported with acid-free tubes made from file folders. Do up all the laces and
buckles.
 Likewise, leather cases should be stuffed to hold their shape. If you are
opening and closing a case, do not continue to fasten buckles every time, this
will certainly lead to breakage.
 The above information does not apply to suede or kid leather; consult a
professional for preservation of items made from these types of leather.
BASIC PRESERVATION OF WOOD ARTIFACTS

Wood is a relatively stable material to preserve. Wooden artifacts can be

maintained for years, provided that some basic care and attention is given to their
preservation.
 Store wooden items in your home where they are protected from extremes of
temperature and humidity.
 Avoid direct sunlight or bright light, which will fade finishes.
 Avoid all temptations to over-clean or refinish wood items.
 The use of linseed oil or other oil-based products on wood items is not
required.
 If wood items are handled, a protective coating of wax, such as SC Johnson
Paste Wax may be applied.
 When oiling firearms, take care not to get oil on the grips or stock.
 End Notes

1. Stephanie, Alma “The Museum: its History and its tasks in Education.

London” Oxford University Press, p.13, 1949.

2. Oparaku Joseph, C45, Local Tour guide, National war museum, umuahia, 8 th

January, 2023.

3. Australian Museum, “What is cultural heritage? “ Retrieved on 10 th may,

2009 from http://www.Dreamtime.net.au/indigenous culture, 2004.

4. Bamidele, Alegbeleye, “Preservation for posterity.” A paper delivered at a

seminar at Nigerian Institute of Advanced Legal Studies, University of

Lagos, organized by National Library of Nigeria and UNESCO, on the 4 th

and 5th of June 2002.

5. Ayagwa Famous, C37, Museum worker, umuahia, 5th January, 2023.

 CHAPTER THREE

SECURITY APPROACHES USED IN THE MUSEUM

Protective Measures:
Only well coordinated overall prevention can achieve an adequate level of
protection which makes the risk of loss, damage, destruction of valuables or
obstruction to business calculable. When implementing the protection concept,
administration, exhibition and storage sectors, security control room and perhaps
workshops need to be distinguished. Optimum protection of a museum can be
achieved by taking into account different protection levels. The entire outside area
of the building needs to be included in the risk analysis. This also applies to the
entire public area which is not necessarily the museum’s responsibility and
includes access roads, car parks etc.
The outer shell of the building or perimeter needs to provide mechanical protection
but also requires electronic surveillance. It would make sense to detect or report an
intrusion at the moment that, or immediately after, the first mechanical barrier has
been overcome. This should be followed by a second stronger mechanical barrier.
In order to ensure effective intervention in the case of a burglary, the intruder
alarm system (IAS) should be connected to an alarm receiving centre (ARC) or the
police. The combination of mechanical and electronic safeguards achieves a high
level of protection that also ensures an early activation of alarms. Inside, an access
control system (ACS) is able to monitor access to various sectors of the museum.
ACS lent themselves to the control of those parts of the building to which only
museum staff or a limited number of employees should have access. Protecting
selected exhibits poses a particular challenge.

It is also important to find customized solutions for particularly valuable objects.

The selection of protection measures to be implemented needs to be agreed on a
case by case basis. Exhibits that require special protection, which may include
originals as well as pieces that are exhibited as replica, in particular those that are
not separately insured against theft, should be monitored around the clock by video
surveillance system (VSS) regardless of IAS surveillance. It is necessary to
ascertain whether there is an immediate risk to museum staff in addition to the
risks to which exhibits are exposed. For instance, hold-up alarms could be installed
in the foyer near the ticket booths which makes it possible for employees working
in the ticket booth to call for help in case of danger. Despite extensive technical
safeguards, additional surveillance of assets by security personnel will be required
during opening hours.

Installation of VSS is important, although this does not necessarily contribute to

reducing the number of security guards required. The protection concept should
always be agreed with the insurer and in some countries with the authorities as
well, also the planner of the exhibition at an early stage, which makes it possible to
take into account expert knowledge and loss experience in time. As the case may
be, it helps to avoid necessary and costly security upgrades. The protection and
surveillance measures suitable for museums and showrooms are summarized and
explained below. Mechanical safeguards should constitute the protection basis;
they should be supplemented by electronic, organizational and personal
surveillance measures.1

Mechanical safeguards
Mechanical safeguards can be installed to protect the building on one hand, and the
collection’s items on the other. Mechanical safeguards must not be neglected, even
when buildings or objects are protected by electronic surveillance. Mechanical
safeguards and electronic security technology complement one another. Replacing
mechanical safeguards with intruder alarm technology is not acceptable judging by
the experience of burglary insurers and the police. Mechanical measures are the
basic prerequisite for a viable protection concept as they effectively prevent
potential perpetrators from easily entering the building or a protected area and
gaining access to items from the museum’s collection. Moreover, they make casual
or opportunist theft more difficult. An experienced security commissioner should
be entrusted with the concept and maintenance of both mechanical and electronic
security technology; he will also provide direct advice to the museum’s
management.

Walls
If walls are not sufficiently robust, a perpetrator can easily break through them.
Attention must be paid to exhibition areas which are designed as individual
protected zones; they need to have solid walls (as well as a solid ceiling and floor).
It is possible that a perpetrator will try to enter through the ceiling (from the roof
outside or through false ceilings inside) or through rooms on the lower floors.
There is a difference between walls of light construction without any special
resistance to opening, walls of solid construction, e.g. concrete walls of 200 mm or
more thickness. Walls of light construction are generally not suitable as outer walls
or as partitioning for rooms that house valuable artifacts and collectors’ items.
Plaster, plugging and insulation do not enhance resistance.

Doors
Tested and approved burglar-resistant doors featuring at least class RC2, 3 or 4
according EN 1627 should be installed. The main characteristics of a tested and
approved burglar-resistant door shall include: Stable design of door leaf, High-
quality braces, possibly reinforced by lateral protection particularly for the braces
outside. Sophisticated locking system (in general multipoint locks) Burglar-
resistant door plate, Lock cylinder, protected against unlocking techniques, e.g.
drilling and pulling, and resistant against picking and other manipulation methods
Competent installation of the entire assembly anchored to the wall with brickwork
in line with OEM specifications should be made. If no burglar-resistant doors are
installed then additional locks and braces/lateral enforcements should be fitted to
the existing doors to increase the protection level. When upgrading a door or
specifying a new one, it is vital to see to it that the old design and the new security
elements are compatible. The security upgrades must not obstruct escape and
evacuation routes or render them ineffective. This must be taken into consideration
during the planning stage.

Double doors/security gates

In most cases, doors in historical buildings need to be preserved and must not be
changed. In these cases, a double door (burglar-resistant door behind the original
door which cannot be protected at reasonable expense or for reasons of
conservation of historical buildings) might be a possible solution provided the
building’s structure allows for its installation. This kind of protection is also
suitable for other types of doors such as e.g. air locks to the storage, gates to
underground car parks or escape staircases etc. If someone tries to break in, an
alarm triggered by the outer door would provide the optimum protection level. The
inner door should serve as a burglar-resistant mechanical barrier. All solutions with
intruder alarm systems need to see to that safe setting.
Windows/Facade
Windows without burglar-resistant features can easily be overcome with simple
tools in a matter of seconds. This is why tested and approved burglar-resistant
windows of at least class RC2 (EN 1627) should be installed. This also applies to
glazed areas of the roof, north lights, lantern lights etc. When planning the
safeguards, special attention must be paid to smoke and heat exhaust ventilation
systems (SHEVs) or other ventilation openings. To some extent, these openings
must comply with specified technical requirements while at the same time, be
incorporated into the surveillance measures of the intruder alarm system. The main
features of a tested and approved burglar resistant window include; Stable
construction of leaf and frame of the window, Attack resistant glazing,
Sophisticated fastening of glazing to leaf, Wraparound burglar-resistant ironwork
in combination with a lockable handle, Competent installation of the entire
assembly and anchoring in brickwork, which should be in line with OEM
specifications.
If burglar resistant windows cannot be installed, the protection level of the
windows needs to be enhanced by additional locks, for instance, or replacement of
security furniture or, if possible, security glazing. In general, historical windows
cannot be secured. If such windows cannot be replaced for design or conservation
reasons, the following safeguards might provide a solution; Iron bars, Counter sash
windows, inserting reinforced glazing (penetration for removal of objects and
resistance to break-in).

Counter sash windows

Counter sash windows have a long tradition. In most cases, a single historical
window can be aided by a second one. This generally complements conservation
requirements since the historical structure remains unchanged.
Mechanical protection
If the type of exhibit allows for it, mechanical safeguards should not be ignored,
even when electronic surveillance is also used for the exhibit’s protection. Quick
removal of objects would at least be deterred in areas with public access. Figures,
sculptures, paintings and other exposed exhibits should be effectively anchored in
their positions. Since in many cases, use of particular mechanical safeguard, can
damage an artifact, they should only be deployed in close consultation with
competent conservators. It is necessary to consider whether the risk of the
destruction of an object that is mechanically protected during its removal or
attempted removal is greater than the risk of removal when protected only by
electronic surveillance. Mechanical safeguards and electronic surveillance should
be harmonized in such a way that any forceful attack is electronically captured at
an early stage and the mechanical component becomes operational afterwards.

Protecting freestanding items

Freestanding items should be secured at multiple points, if possible. If possible,
safeguards should not be detectable, and their fastenings should be concealed.
However, it is necessary to ensure that effective protection against dismantling of
safeguards is still provided. In case of screw connections for instance, screws or
lock mechanisms with a special mechanical code that can only be unscrewed with
matching tools could be installed. In individual cases, e.g. when an exhibit is in a
wall recess, it might make sense to protect it with security glazing or bars. Where
many smaller objects need to be protected, a solution might be to partition the
room, or at least part of the room, with glazing or bars.

Protecting paintings
Paintings should be secured in such a way that special tools have to be used to
remove them. Hanging systems that protect paintings from quick removal and
make it easier for museum operators to secure them have been proven to be
effective. See example a T-pin that is attached to the wall is inserted into a profile
that can be mounted onto a picture frame. Adjustment options and a simple
security device for hanging are also integrated. To protect valuable pictures and
paintings from vandalism, they should be protected by special non-reflective front
panels.
Security of display cases
Display cases are mainly used for safe presentation of exposed small/valuable
exhibits. Note: Aside from burglary protection, showcases may also provide
protection against adverse environmental impacts (humidity, UV radiation, air-
borne pollutants, temperature fluctuations etc.). However, they are only provided
by selected vendors, and it may not be possible to integrate them into every
exhibition concept due to their design. Experience shows that customized
showcases need to meet the following requirements to confer minimum protection;
Glass should be resistant to breaking Surfaces without glazing, e.g. cover, bottom,
sides also need to have an attack resistant design. The width of the frame design
into which the glazing or any other filling can be inserted should be at least 20 mm
Weak points need to be secured against bending apart so that it is not possible to
fish out small exhibits If possible, unframed showcases should be avoided. Where
they are nevertheless used, the glass panes should be glued together with high-
strength glue (simple silicon gluing is not suitable), Locks (and bolts) need to
feature the same burglar-resistant design to make it difficult to reach for the
exhibits, Locking cylinders should be secured against manipulation e.g. picking
and feature protection against drilling and "pulling", Precautions are needed
against dislodging or toppling over by screwing down to solid parts of the building,
Fixtures should only be accessible from inside. Alternatively, fixtures that are
concealed or can only be dismantled with special tools can be installed, In the case
of valuable exhibits, electronic surveillance of the showcase should be considered
(with the detector inside to detect opening, and reaching-in). It has to be taken into
account that even with fulfillment of these requirements; the showcase will
certainly not be comparable to the security level of a safe, but will only slow down
the burglar. Thus additional security measures may have to be applied. Where
visitors should have the ability to view particular exhibition rooms and/or areas
which they cannot enter (e.g. living quarters with original furniture), glass
partitions provide an option.

Electronic surveillance
Intruder alarm systems (IAS) should be designed in such a way that
intrusions/attempted intrusions are detected and notified as early as possible. In
this context, mechanical safeguards and surveillance by an IAS, taking into
account the expected intervention time, need to be harmonized in such a way that
upon an alarm, intervention forces are able to arrive at the scene even before the
perpetrator has managed to overcome the safeguards.
The interaction of electronic and mechanical safeguards needs to be fine-tuned to
rule out the possibility of false alarms as far as possible. In order to ensure the
maximum level of functional reliability and monitoring effectiveness, installed
intruder alarm systems should be certified. The intruder alarm systems that are
suitable for museums feature different classes. In order to tailor the IAS to the risks
at hand, classes are divided into e.g. class 3 or class 4.
Intruder alarm systems of class 3 provide medium protection against attempted
penetration in an activated and deactivated state. Intruder alarm systems of class 4
provide enhanced protection against penetration in an activated and deactivated
state. Class 4 alarm systems also monitor safety-related functions. Intruder alarms
of class 3 are suitable for those areas of a museum that are less exposed, e.g. office
and administration areas. To protect exhibition areas or individual exhibits, a class
4 IAS is generally suitable. Depending on the type of exhibited items.
Furthermore, the installation of hold-up alarms will convert an IAS to an intruder
and hold-up alarm system; hold-up alarms are purely for the purpose of personal
protection, and are permanently activated, regardless of whether the IAS itself is
activated. Intruder alarm systems
(IAS) and hold-up alarm systems (HUAS) can be combined with one another or
designed as stand-alone systems. Moreover, internal alarms and emergency calls,
for instance, may be generated to notify a security control room or activate a video
surveillance system (VSS). Planning, installation and maintenance of a certified
intruder or hold-up alarm system has to be carried out by a certified installer
according to national guidelines, which is documented for the installation. A
certificate of installation of the IAS must be issued according to national
requirements. Intruder alarm technology, installers and security companies need to
be tested and certified. In the case of a connection to the police or an alarm
receiving centre, the installer also has to fulfill national requirements. In addition,
control equipment for instance, a timer might be installed which only allows for
IAS deactivation at specified and set times. This makes it possible for instance, to
monitor, in case of an alarm, certain rooms or contacts during the day without
activating an external warning device or remote signal. This is a suitable option for
all items monitored for removal and for doors in the course of escape and
evacuation routes. Internal alarms may be forwarded to the in house security
control room or immediately notify museum or security guards
End Notes
1. CFPA-E Guidelines “security guidelines for museums” p.5-10, 2012.

2. Godwin Gbole, C34, Museum worker, Umuahia, 8th January, 2023.

 CHAPTER FOUR
COVID 19 AND INSECURITY ISSUES
From December 2019, the corona virus (covid-19) spread across the globe forcing
national governments to impose extraordinary measures, lockdowns, and
restrictions in an attempt to reduce infections and fatalities. The covid 19
pandemic had profound global impact that was felt across all industries, including
the heritage sector. Reports indicated that this crisis negatively impacted the
cultural and creative sector more intensely than any other industry except aviation.
Research by ICOM (Inputs, Controls, Outputs and Mechanism) and UNESCO
( United Nations Educational, Scientific and Cultural Organization) highlighted
that covid-19’s impact on the sector was not a solely European phenomenon, as
museums “all over the world” and “on all continents” have been affected. 1
It has had diverse and complex impact on the heritage sector from cancelled
exhibitions to plummeting visitor numbers, and dramatically decreased revenues,
donations, and memberships. Notwithstanding, insecurity issues too has had its fair
share in reducing the effectiveness of museums and its activities. 2 A tour guide,
Tolu Adesola who has been in the business for about 13years, restricted her
movements to some parts of the country to protect herself and client tourist from
kidnappers and terrorists due to country’s level of insecurity “when the citizens are
scared of travelling, are foreigners the ones that will want to go states in the north
or other parts of the country for sightseeing? Lagos is still safe like Abuja, but
many other states are being avoided cause of the fear of been kidnapped for
ransoms or killed.3 The government has much to do by providing security and
infrastructure to make the country safe and grow the tourism industry”. Another
tour operator Mr.Terseer Adamu, said “it didn’t just start, reduction in museum
visitations and operation didn’t just start. It started around the time book haram
started. It got worse with covid-19 pandemic. He further said that the recent years
had not been encouraging, most museums have basically been operating between
15 to 20 percent and that due to insecurity, visits of foreigners had reduced greatly.4
In a report, about 3,478 were killed and 2,256 abducted across the country between
December 2021 and June 15, 2022 and these victims were killed and abducted by
non-state actors such as terrorists, gunmen, robbers, cultist and security operatives
among others. Almost every part of Nigeria has had its fair share of reported
attacks.5 Most of these problems are occasioned by Boko haram in the North East,
banditry in the North West, farmers/herders crisis in the North central, insurrection
in the south east, oil bunkering and militancy in the south-south and sundry crimes
in the south west.
A poll on May 27, 2022 by the NOI polls (Net Operating Income) limited, a
country specific polling service in West Africa, which conducts periodic opinion
polls and studies on various socio-economic and political issues, reveals that the
security situation in Nigeria was arguably the worst after civil war. Also most
museum’s in Nigeria lack modern security gadgets such as cameras, alarms,
detectors in their as well as skilled security personnel. Most people still see
museum as a place where idols are kept and therefore should not be visited because
of their religion and belief.6
The Nigerian National war museum, located in umuahia, Abia state has also been
affected by insecurity in the south-East region, the museum which has collection of
warships, military aircrafts, armoured tank, bombs produced locally by Biafra
during the civil war, used to be tourist destination for holidaymakers, students
including graduands of the Nigerian Defence Academy, but patronage has
dropped. The museum curator Mrs. Evelyn Osuagwu, said that patronage had
reduced, noting that the situation was affecting business. “Like the Nigerian
Defence Academy, when the graduands are passing out, they used to visit the war
museum. But now they no longer come to the place, they stopped because of the
insecurity in the region. Certainly patronage is low compared to the past. Also due
to insecurity, people are afraid to go out and it has affected our operations
seriously. The fear as you know the museum preserves the war relics of Biafra and
that of Nigeria, then the issue of the indigenous people of Biafra, people attach
negative perception to the place.7 A public statement was also made on the
museums social media page on 11th December, 2020, it stated that regarding the
recent announcement related to the covid-19 virus pandemic, the museum would
temporarily close its doors to avoid any unpleasant situations for the time being,
they also apologized for the disruption of travel and visitation plans for visitors,
they encouraged the general public to follow them up on their social media
accounts and webpage for more information, also advising them to stay safe.
In the quest to identify the symptoms and embark on the restitution of the inherent
value of museum activities particularly in terms of education and tourism,
stakeholders called for digitalization of Nigerian museums, as private galleries
have begun to do so. But even in that case there is need for proper funding in the
museum sector to achieve this.

THE IMPACT OF MUSEUM DIGITAL RESOURCES

First of the definition of digital museum is, was simply the website of a physical
museum. A concept of a museum “without walls” had however been introduced as
early as 1953 by Malraux, who imagined it being an environment for the
presentation of mainly photography and art.8 The utilization of digital technology
to share, promote or engage with museums is not a new concept; from the late
1990s digitalization has generated new ways for the public to engage with
museums, although it has been criticized by some as facilitating superficial
entertainment and inauthentic experiences and perceptions of heritage compared to
physical engagement.9 Despite the potential reservations regarding the value and
impact of digital engagement, digital investments were a significant part of the
museum’s activities during Covid-19 pandemic. Museums utilized a variety of
digital technology during this period including, virtual tour, which were promoted
in the media globally as an alternative to physical visits and engagement, some
other resources includes; online lectures, talks, Q&A’s such as; why models work,
the first peoples edition hosted online by Melbourne museum Australia and the
future of art exhibitions in the public spaces by Dr. Bhau Daji Lad museum india,
also online 360 tours for example; the blitzed exhibition at nuneation Museum
0

&Art gallery UK , interactive live discussions with museum professionals such as

the national Air and Space Museum’s live chat YouTube series, online exhibitions
such as lisburn and the second world war by the irish linen centre, videos for
example the cocktail with a curator series at the frick USA, also collection of
database, increased social media presence and interactions including series such as
the Getty Museum challenge, and educational resources, classes, and activities.
Digitalization is a current and contemporary improvement providing the online
sector with information for easy access and new opportunities; the ICT has to
improve in this aspect efficiently as it is inevitable. The museum sector’s shift to
digitalization has the potential to support museums to reach more diverse
audiences and those who have never previously visited the museum, while
supporting existing audience engagements, interviews conducted during the covid -
19 pandemic with museum professionals revealed that the pandemic highlighted
ways in which digital technologies could be used to overcome the threshold
anxieties of entering the physical museum to connect, widen reach and increase
attendance numbers.10 Therefore, digital methods of engagements should be
fostered and developed as an additional and alternative choice rather than a
replacement to physical engagement; it’s also pertinent to note that digital
resources have a measurable and significant impact on people’s personal
wellbeing.

End Notes
1. ICOM’s, “Museum professionals and covid-19” was last modified may 27,
2020.
2. UNESCO “museums around the world in the face of covid-19”, Paris,
France 2020.
3. The audience agency, “covid-19 cultural participation monitor” Accessed 17
February. 2021.
4. The audience agency, “covid-19 cultural participation monitor” Accessed 17
February. 2021.
5. Charles, Omekwu, “North west farmer herder crisis”, Ibadan Nigeria, 9thAugust, p.5-8,

2003.

6. The audience agency, “covid-19 cultural participation monitor” accessed 17

Feb, 2021.
7. Evelyn Osuagwu, C52, Curator of National War museum Umuahia, 5th
January, 2023.
8. Ballas, Johnson, “Delivery of information through sound” Belmont,
California, edited by Thomson wadsworth, 1994.
9. Agostino, lampis, “itialian state museums during covid 19 crisis “museum
management and curatorship” 2020.
10. Okoro Ihuoma, 51, Civil servant, Umuahia, Abia state, 20 December, 2023.

CHAPTER FIVE
SUMMARY AND CONCLUSION

SUMMARY
In this study, our focus was to survey the preservation and conservation of local
history collections in Nigeria using National War Museum, Umuahia, Abia State as
a case study. The study aided to find out the extent which Covid-19 and insecurity
issues in the country affected the growth and management of the museum, identify
the impact of digital resources on museums, the methods involved in the
preservation of objects in museum, furthermore, it equally identify the person
charge with the care of preservation and conservation of museum objects and
identified the major problems militating against the effective use of the museum.

CONCLUSION

In conclusion, the lack of skilled staff in museums to handle the preservation and
conservation of objects may result to complete deterioration, there is a significant
relationship between the establishment of museum and development of nation.
effective use of museum depends largely on the awareness, promotion and
maintenance culture.
Finally, it is also important to note that the growth and establishment of the
museum is adversely hampered by lack of funds and poor perception of the public
about its role