The Imperial War Museum (IWM) is facing significant criticism after launching a new digital tour focused on LGBTQ+ experiences in conflict, with a prominent military expert accusing the institution of 'reframing history' to give it 'woke appeal'.
Controversial Content and Historical Claims
Created to mark the 25th anniversary of the UK Government lifting its ban on gay people serving in the Armed Forces, the free tour invites visitors to scan QR codes to discover 'personal stories from the LGBTQ+ community' during times of war. However, the content has sparked a fierce debate. More than a third of the exhibits are reported to focus on transgenderism, a proportion that has drawn particular scrutiny.
The tour includes several specific and contentious historical links. One exhibit features a dress made from a mosquito net, worn by Gunner Charles Woodhams for a performance in Changi Prison, a notorious Japanese POW camp in Singapore during the Second World War. The guide suggests such drag shows were 'vital for prisoners’ morale'. Another highlights Enid Mary Barraud, a Land Army worker who preferred the name 'John' and lived with her female partner, presented as a figure who 'challenged gender norms'.
Perhaps the most controversial claim connects wartime medical advances to modern transgender surgery. The tour points to a painting of Queen's Hospital for Facial Injuries in Sidcup, where pioneering plastic surgeon Dr Harold Gillies treated disfigured soldiers. The guide states that techniques developed there were later used by Gillies to perform groundbreaking surgeries on transgender individuals in the late 1940s and early 1950s, thereby 'laying the foundation for the future of transgender medicine'.
Expert Condemnation and Institutional Defence
The tour has been sharply criticised by Professor Anthony Glees, a military expert at the University of Buckingham. He labelled the focus 'greatly disturbing', arguing the museum is 'trivialising true stories of bravery and courage'. 'The story of the notorious Changi jail, scene of appalling brutality... cannot be illustrated with reference to “drag artists”,' he stated. Professor Glees further accused the IWM of rewriting history 'to proselytise or normalise any particular lifestyle' for a 'woke appeal to young Brits'.
In response, an IWM spokesman defended the initiative, stating: 'We are proud to play our part in telling some of the lesser-known stories of lives affected by war and conflict.' The museum emphasised its commitment to 'representing diverse experiences' and improving the 'visibility of LGBTQ+ stories' across its collection. The tour, which runs until April 2026, is available at the IWM's London and Manchester sites, primarily within the First and Second World War galleries.
A Broader Cultural Clash Over Narrative
This dispute highlights an ongoing cultural battle over how national institutions interpret and present history. The IWM's promotional material argues that LGBTQ+ histories are 'often sadly erased' and that the trail aims to 'redirect traditional narratives to reveal a broader spectrum of human experiences'. Critics, however, see it as an ideologically driven distortion that prioritises contemporary identity politics over historical context and respect for the primary horrors of war.
The inclusion of modern stories, such as that of Flight Lieutenant Caroline Paige, the first serving RAF officer to transition gender, alongside historical accounts, further fuels the debate about the tour's purpose. Is it a legitimate effort to uncover hidden histories, or, as critics allege, a project that 'reframes the lessons of history' for modern political ends? The controversy shows no sign of abating as the museum stands by its decision to amplify these narratives.
