9.3 Strategies for decolonizing museums and art institutions in the contemporary context
5 min read•august 13, 2024
Museums and art institutions are grappling with their colonial pasts. They're trying new strategies like returning artifacts, collaborating with indigenous communities, and changing how they operate. These efforts aim to make museums more inclusive and representative of diverse voices and experiences.
Decolonizing isn't easy though. Museums face challenges like deep-rooted biases, limited resources, and internal conflicts. But by reimagining their roles, museums can become spaces for dialogue, justice, and . It's an ongoing process of reflection and action.
Decolonizing Museums and Art Institutions
Repatriation and Collaborative Curation
Top images from around the web for Repatriation and Collaborative Curation
Curating Ododo Wa/Our Stories - Active History View original
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Q&A: The Indigenous design perspective | Pursuit by The University of Melbourne View original
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File:Afrikaabteilung in Ethnological Museum Berlin 29.JPG - Wikimedia Commons View original
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Curating Ododo Wa/Our Stories - Active History View original
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Q&A: The Indigenous design perspective | Pursuit by The University of Melbourne View original
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Top images from around the web for Repatriation and Collaborative Curation
Curating Ododo Wa/Our Stories - Active History View original
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Q&A: The Indigenous design perspective | Pursuit by The University of Melbourne View original
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File:Afrikaabteilung in Ethnological Museum Berlin 29.JPG - Wikimedia Commons View original
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Curating Ododo Wa/Our Stories - Active History View original
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Q&A: The Indigenous design perspective | Pursuit by The University of Melbourne View original
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- Repatriation involves the return of cultural artifacts and human remains to their communities of origin, acknowledging the historical theft and unethical acquisition of these items during the colonial era
- engages indigenous and colonized communities in the process of designing and presenting exhibitions, ensuring their perspectives and narratives are centered and accurately represented
- Examples of repatriation include the return of the Benin Bronzes to Nigeria and the return of Maori ancestral remains to New Zealand
- Collaborative curation projects such as the "Our Lives: Contemporary Life and Identities" exhibition at the National Museum of the American Indian showcase the power of centering indigenous voices and experiences
Institutional Transformation and Community Engagement
- Hiring practices that prioritize diversity and inclusion, particularly in leadership and curatorial positions, can help shift institutional power dynamics and decision-making processes to be more equitable and representative
- Educational programming and public engagement initiatives that critically examine colonial histories and their ongoing impacts can foster dialogue, awareness, and accountability within museum and art institution spaces
- Developing long-term, reciprocal relationships with colonized and indigenous communities based on trust, respect, and shared authority can transform how museums and art institutions operate and serve their audiences
- The Montreal Museum of Fine Arts has implemented a comprehensive diversity and inclusion plan that includes hiring diverse staff, engaging with local communities, and presenting exhibitions that reflect the city's cultural diversity
- The Detroit Institute of Arts has established a Community Advisory Council to guide its programming, exhibitions, and outreach efforts in collaboration with the diverse communities it serves
Challenges of Decolonization in Museums
Entrenched Colonial Ideologies and Limited Resources
- Deeply entrenched colonial ideologies, practices, and biases within museum and art institution cultures can resist and undermine decolonizing efforts, requiring sustained commitment and systemic change
- Limited financial resources and competing priorities can hinder the implementation and sustainability of decolonizing initiatives, especially when they challenge traditional funding models and donor expectations
- Many museums struggle to confront their colonial origins and the ways in which their collections and exhibitions have perpetuated harmful narratives and stereotypes about colonized and indigenous peoples
- Decolonizing efforts often require significant investments in staff training, community outreach, and exhibition redesign, which can be difficult to secure in the face of budget constraints and competing institutional priorities
Internal Tensions and Ethical Complexities
- Disagreements and power struggles among staff, leadership, and stakeholders regarding the pace, scope, and direction of decolonizing efforts can create internal tensions and obstacles to progress
- Balancing the need for meaningful community engagement and collaboration with the practical constraints of institutional timelines, budgets, and capacities can be a difficult negotiation
- Navigating the complex legal and ethical dimensions of repatriation, particularly when multiple communities claim ownership or when objects have unclear or disputed provenance, can complicate decolonizing processes
- Overcoming the persistent lack of diversity and representation within museum and art institution workforces, especially in positions of power and influence, remains an ongoing challenge to enacting decolonial change
- The controversy surrounding the planned repatriation of the Maori warrior Toi moko from the American Museum of Natural History highlights the legal and ethical complexities of returning human remains to indigenous communities
- The Guggenheim Museum's 2019 exhibition "Basquiat's 'Defacement': The Untold Story" faced criticism for its lack of engagement with the Afro-Caribbean community and its framing of the artist's work through a primarily white curatorial lens
Reimagining Museums for Dialogue and Justice
Curatorial and Artistic Interventions
- Curators have the power to shape narratives, select voices, and frame conversations through their exhibition-making and collection development choices, and can use this influence to challenge colonial paradigms and center marginalized perspectives
- Artists, particularly those from colonized and indigenous communities, can create works that subvert, critique, and reimagine colonial histories and representations, as well as propose alternative visions for museums and art institutions
- The "Hearts of Our People: Native Women Artists" exhibition at the Minneapolis Institute of Art, curated by a team of Native women scholars and artists, centered indigenous women's voices and challenged stereotypical representations of Native art and culture
- Fred Wilson's "Mining the Museum" installation at the Maryland Historical Society juxtaposed objects from the museum's collection to reveal the hidden histories of slavery and racism in American culture
Activism, Community Agency, and Collaboration
- Activists and grassroots organizers can apply pressure from outside institutions to demand accountability, transparency, and change, as well as build solidarity networks and movements to amplify decolonizing efforts
- Communities that have been historically excluded, exploited, or misrepresented by museums and art institutions can assert their agency and authority in shaping how their cultures are collected, interpreted, and displayed
- Collaborations and partnerships among curators, artists, activists, and communities can generate innovative, experimental, and transformative approaches to decolonizing museums and art institutions and creating more equitable and inclusive spaces
- Decolonizing museums and art institutions requires an ongoing, iterative process of critical reflection, dialogue, and action that is responsive to the evolving needs and priorities of the communities they serve
- The "Take Back the Bronx" campaign, led by Bronx-based activists and artists, successfully pressured the Bronx Museum of the Arts to cancel a controversial exhibition and engage in a community-driven process of institutional reform
- The "Healing Gardens" project at the Penn Museum, developed in collaboration with the Lenape Nation of Pennsylvania, created a space for indigenous healing practices and cultural programming within the museum's grounds
Key Terms to Review (18)
Collaborative curation: Collaborative curation is the process where diverse stakeholders, including artists, communities, and cultural institutions, work together to create, select, and present exhibitions or collections. This approach emphasizes shared authority and inclusive participation, which is particularly relevant in efforts to decolonize museums and art institutions, aiming to challenge traditional narratives and power structures that have historically marginalized certain voices.
Collaborative Exhibitions: Collaborative exhibitions are art displays that involve multiple artists, communities, or institutions working together to curate and present artworks, often reflecting diverse perspectives and shared narratives. These exhibitions can serve as a strategy for decolonizing museums and art institutions by promoting inclusivity, challenging traditional hierarchies, and fostering dialogue between different cultural contexts.
Community engagement: Community engagement is the process of building relationships and partnerships between organizations, such as museums and art institutions, and the communities they serve. It focuses on collaboration, participation, and the inclusion of diverse voices in decision-making and programming. By actively involving community members, institutions can work towards dismantling colonial narratives and creating spaces that reflect the histories, cultures, and needs of the communities they represent.
Cultural equity: Cultural equity refers to the fair and just access, representation, and participation of all cultural groups in the creation, dissemination, and preservation of cultural resources and narratives. This concept emphasizes the need for inclusivity and equal opportunities within cultural institutions, ensuring that diverse voices and perspectives are valued and recognized.
Cultural Sensitivity: Cultural sensitivity refers to the awareness and understanding of cultural differences and the importance of respecting these differences in interactions and representations. This concept plays a crucial role in the effort to decolonize museums and art institutions, emphasizing the need to recognize and validate the perspectives, histories, and contributions of diverse cultures in a way that is meaningful and respectful.
Decolonial Aesthetics: Decolonial aesthetics refers to the critical examination and reimagining of artistic practices and visual culture that arise in response to the historical and ongoing impacts of colonialism. This approach seeks to challenge Eurocentric perspectives, reclaim marginalized voices, and promote the representation of diverse cultural identities through art.
Decolonize this place: Decolonize this place refers to the process of dismantling colonial structures, ideologies, and practices to create a more equitable society that recognizes and restores the rights, identities, and cultures of indigenous peoples and other marginalized communities. This concept challenges existing power dynamics in art and visual culture, emphasizing the importance of representation, equity, and social justice in the aftermath of colonialism.
Diversity audits: Diversity audits are systematic evaluations that assess the representation and inclusion of diverse groups within an organization, particularly in relation to policies, practices, and cultural frameworks. These audits help identify gaps in diversity and inclusion efforts, providing insights to foster a more equitable environment, especially in institutions like museums and art galleries striving for decolonization and greater community engagement.
Ethical stewardship: Ethical stewardship refers to the responsible management and care for cultural heritage, particularly in the context of institutions that hold and display art and artifacts. It emphasizes accountability, respect for cultural communities, and the importance of collaborative decision-making in preserving and interpreting cultural materials. This concept is especially relevant in addressing historical injustices and seeking to rectify the power dynamics inherent in the museum sector.
Indigenous representation: Indigenous representation refers to the inclusion, portrayal, and recognition of Indigenous peoples, cultures, and perspectives in various forms of media, including art, literature, and institutional narratives. This concept emphasizes the importance of authentic and respectful depictions of Indigenous communities, challenging stereotypes and promoting a deeper understanding of their histories and contemporary issues.
Nikole Hannah-Jones: Nikole Hannah-Jones is an American investigative journalist known for her work on civil rights and racial issues, particularly in relation to education and housing. Her notable project, 'The 1619 Project,' aims to reframe the history of the United States by placing the consequences of slavery and contributions of Black Americans at the center of the national narrative. This work is significant in discussions about decolonizing museums and art institutions, as it challenges traditional narratives and promotes a more inclusive representation of history.
Participatory art: Participatory art is an artistic practice that actively involves the audience in the creative process, fostering collaboration and interaction between artists and participants. This approach not only blurs the lines between creator and observer but also emphasizes social engagement, encouraging individuals to contribute their perspectives and experiences. By doing so, participatory art can serve as a tool for dialogue and reflection on cultural, social, and political issues, making it relevant in efforts to decolonize museums and art institutions.
Postcolonial theory: Postcolonial theory is an intellectual framework that examines the effects and ongoing impacts of colonialism on cultures, societies, and identities after the colonial period. It addresses issues of power dynamics, representation, and the ways in which colonial histories shape contemporary experiences, especially in art and visual culture.
Public programming: Public programming refers to a series of events, activities, and initiatives organized by museums and art institutions to engage the public, enhance accessibility, and foster community participation. This concept is central to rethinking how institutions connect with diverse audiences, particularly in the context of decolonizing practices that aim to dismantle traditional hierarchies and inclusivity barriers.
Repatriation of artifacts: Repatriation of artifacts refers to the process of returning cultural property, particularly artworks and historical objects, to their country of origin or to the communities from which they were taken. This process is often rooted in addressing historical injustices and recognizing the rights of indigenous and colonized peoples over their cultural heritage.
Revised collection policies: Revised collection policies refer to updated guidelines and strategies that museums and art institutions use to manage their collections, particularly in response to historical injustices related to colonialism and cultural appropriation. These policies aim to address the ethical implications of collecting practices, ensuring more equitable representation and stewardship of cultural artifacts. By revising their collection policies, institutions acknowledge past wrongs and strive to create a more inclusive and culturally sensitive approach to curating and displaying art.
Tania bruguera: Tania Bruguera is a Cuban contemporary artist known for her politically engaged work that often addresses issues of power, colonialism, and social justice. Her practice focuses on the intersection of art and activism, using performance and installation to challenge dominant narratives and advocate for marginalized voices in society.
The british museum's restitution debate: The British Museum's restitution debate revolves around the ongoing discussions about whether artifacts and artworks housed in the museum, primarily obtained during colonial times, should be returned to their countries of origin. This debate highlights issues of cultural heritage, ownership, and the moral implications of colonialism. It connects to broader conversations on how museums can decolonize their collections and practices to address historical injustices and promote inclusivity.