14.2 Decolonizing Curatorial Practices
5 min read•july 29, 2024
Decolonizing curatorial practices challenges colonial legacies in museums. It dismantles power structures, centers , and promotes cultural equity. This shift requires rethinking how we collect, interpret, and display cultural objects.
Museums have long perpetuated colonial ideologies through their collections and displays. Decolonization strategies include centering , repatriating objects, and reimagining interpretation. These efforts aim to create more inclusive, equitable spaces that honor diverse cultural perspectives.
Decolonization in Curatorial Practice
Defining Decolonization in Curatorial Practice
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- critically examines and dismantles colonial legacies and power structures shaping museum collections, exhibitions, and interpretations
- Challenges dominant Western narratives, centers marginalized voices and perspectives, and promotes cultural equity and
- Addresses historical injustices, promotes and inclusivity, and fosters meaningful engagement with communities whose histories and cultures have been misrepresented or excluded in museum contexts
- Requires a fundamental shift in curatorial authority, moving away from traditional top-down approaches and embracing collaborative, community-driven practices prioritizing the agency and self-determination of indigenous and marginalized groups
Importance of Decolonizing Curatorial Practices
- Addresses historical injustices and cultural trauma inflicted upon indigenous and marginalized communities through colonial practices in museums
- Promotes cultural diversity, inclusivity, and equity by centering marginalized voices and perspectives in curatorial decision-making and representation
- Fosters meaningful engagement and collaboration with communities whose histories and cultures have been misrepresented or excluded in museum contexts
- Challenges dominant Western narratives and knowledge systems that have perpetuated cultural misrepresentation, stereotyping, and erasure
- Contributes to the broader goal of social justice by acknowledging and redressing the ongoing impacts of colonialism and structural inequalities in cultural institutions
Colonialism's Impact on Museums
Formation and Development of Museum Collections
- Colonialism profoundly shaped the formation and development of museum collections through appropriation, looting, and unethical acquisition of cultural objects from colonized regions (Benin Bronzes, Maqdala treasures)
- Colonial expeditions and military campaigns often resulted in the mass removal of cultural objects from their original contexts, violating indigenous and ownership rights
- Museum collections were built on the exploitation and dispossession of colonized peoples, reflecting the power imbalances and cultural hierarchies of colonial systems
- The provenance and acquisition histories of many museum objects are deeply entangled with colonial violence, theft, and coercion, raising ethical questions about their continued presence in Western institutions
Colonial Ideologies and Representation in Museums
- Colonial ideologies and power dynamics influenced the classification, interpretation, and display of cultural objects in museums, perpetuating stereotypes, exoticization, and cultural misrepresentation
- The colonial gaze in curatorial practices privileged Western knowledge systems and aesthetic values, marginalizing or erasing indigenous and non-Western perspectives and ways of knowing
- Cultural objects were often decontextualized, presented as curiosities or trophies of colonial conquest, and interpreted through a lens of cultural superiority and otherness
- Indigenous and marginalized communities were denied agency and voice in the representation of their own cultures, histories, and identities in museum contexts
- The silencing of alternative narratives and the reinforcement of colonial hierarchies contributed to the ongoing cultural dispossession and trauma experienced by indigenous and marginalized communities
Strategies for Decolonizing Curatorial Approaches
Centering Indigenous Voices and Agency
- Decolonizing curatorial approaches require a fundamental shift in power dynamics, centering the voices, perspectives, and agency of indigenous and marginalized communities in the curatorial process
- Inclusive practices actively engage and collaborate with source communities in the interpretation, presentation, and stewardship of their through co-curation, community consultations, and incorporation of indigenous knowledge systems and protocols
- Participatory practices emphasize the active involvement of communities in the development of exhibitions, programs, and collections management, fostering a sense of ownership and empowerment (Community Advisory Boards, Indigenous Curatorial Fellowships)
- Building long-term, reciprocal relationships with indigenous and marginalized communities based on trust, respect, and mutual benefit is crucial for sustainable decolonizing practices
Repatriation and Cultural Care
- Decolonizing strategies involve repatriating cultural objects to their communities of origin, recognizing indigenous ownership rights and cultural protocols (, Afo-A-Kom statue)
- Developing culturally sensitive care and conservation practices that respect indigenous knowledge systems, spiritual beliefs, and cultural practices is essential for the ethical stewardship of collections
- Creating spaces for indigenous self-representation and storytelling within the museum allows for the reclamation of cultural narratives and the assertion of cultural sovereignty (First Nations galleries, Maori exhibition spaces)
- Investing in the training, mentorship, and professional development of indigenous and marginalized curators, scholars, and cultural practitioners is crucial for building capacity and ensuring diverse representation in curatorial practices
Language and Interpretation
- Decolonizing curatorial approaches require a critical examination of the language, labels, and narratives used in exhibitions and interpretive materials, challenging colonial terminologies and promoting culturally appropriate and inclusive language
- Collaborating with indigenous and marginalized communities in the development of interpretive content ensures the accuracy, relevance, and cultural sensitivity of the information presented
- Incorporating indigenous languages, oral histories, and traditional knowledge systems in exhibitions and educational programs promotes cultural revitalization and challenges the dominance of Western epistemologies
- Providing multiple perspectives and voices in the interpretation of cultural objects and histories allows for a more nuanced and inclusive understanding of the complexities and diversities of human experiences
Decolonizing Initiatives in Museums
Legislative and Policy Frameworks
- The "Native American Graves Protection and Repatriation Act" (NAGPRA) in the United States mandated the repatriation of Native American cultural objects and human remains, leading to significant shifts in museum practices and relationships with indigenous communities
- The "United Nations Declaration on the Rights of Indigenous Peoples" () affirms the rights of indigenous peoples to maintain, control, protect, and develop their cultural heritage, traditional knowledge, and cultural expressions, providing a framework for decolonizing practices in museums
- Institutional policies and guidelines that prioritize indigenous rights, cultural protocols, and ethical standards in collections management, exhibitions, and are essential for embedding decolonizing principles in museum practices (, )
Institutional Case Studies
- The "Te Papa Tongarewa" museum in New Zealand pioneered a bicultural approach, integrating Māori perspectives, values, and practices into its curatorial and organizational structure, serving as a model for indigenous self-representation and cultural empowerment
- The "Inuit Art Centre" at the Winnipeg Art Gallery in Canada prioritized Inuit-led curatorial practices, centering Inuit voices and knowledge systems in the interpretation and presentation of Inuit art and culture
- The "Museum of Anthropology" at the University of British Columbia implemented collaborative and community-driven approaches to the care and interpretation of its collections, working closely with First Nations communities and following cultural protocols
- The "National Museum of the American Indian" in the United States adopted a decolonizing framework, prioritizing indigenous perspectives, cultural revitalization, and community engagement in its exhibitions and programs
- Analyzing case studies provides valuable lessons and best practices for other museums and cultural institutions seeking to decolonize their curatorial practices and build more equitable and inclusive relationships with indigenous and marginalized communities
Key Terms to Review (26)
Community engagement: Community engagement refers to the process of involving individuals and groups from a community in decision-making and activities that affect their lives. This involvement is essential for fostering meaningful relationships between institutions and the communities they serve, allowing for shared knowledge, resources, and ultimately creating a more inclusive cultural experience.
Cultural diversity: Cultural diversity refers to the variety of cultural groups and differences that exist within a society, including variations in language, religion, customs, and values. It emphasizes the importance of recognizing and appreciating these differences as vital to the social fabric and intellectual enrichment of communities. Acknowledging cultural diversity fosters an inclusive environment that can lead to collaborative understanding and decolonization efforts in various fields.
Cultural heritage: Cultural heritage refers to the legacy of physical artifacts and intangible attributes inherited from past generations, encompassing traditions, practices, and values that define a community's identity. This term is crucial in understanding how societies preserve their history and culture, particularly in discussions around the preservation of sites, objects, and practices that are significant to collective memory and identity.
Cultural imperialism: Cultural imperialism refers to the domination of one culture over others, often manifesting through the spread of ideas, values, and practices from a more powerful culture to less dominant ones. This process can lead to the erosion of local cultures, traditions, and identities, as the dominating culture imposes its own narrative and aesthetics on marginalized communities. It raises critical questions about representation, ownership, and the ethics of cultural exchange.
Cultural Protocols: Cultural protocols refer to the established guidelines and practices that govern the respectful engagement and representation of cultural heritage, traditions, and knowledge, particularly for Indigenous peoples and marginalized communities. These protocols emphasize the importance of honoring cultural ownership, ensuring that individuals or institutions work in collaboration with communities to acknowledge their customs, values, and historical contexts. The aim is to promote ethical practices in curation and presentation, thus contributing to the decolonization of curatorial approaches.
Cultural Restitution: Cultural restitution refers to the process of returning cultural property, artifacts, or human remains to their country of origin or rightful owners. This practice aims to address historical injustices related to colonialism, looting, and cultural appropriation, promoting healing and reconciliation among affected communities. By recognizing the importance of cultural heritage, cultural restitution plays a crucial role in decolonizing curatorial practices.
Decolonial Aesthetics: Decolonial aesthetics refers to a critical framework that seeks to challenge and redefine artistic expressions and cultural representations that have been shaped by colonial histories and power dynamics. This approach emphasizes the importance of reclaiming indigenous perspectives, narratives, and aesthetics, allowing marginalized voices to reshape the conversation around art and culture. By addressing issues of representation, identity, and power, decolonial aesthetics aims to create a more inclusive and equitable artistic landscape.
Decolonization in Curatorial Practice: Decolonization in curatorial practice refers to the efforts to address and dismantle colonial legacies within the exhibition and representation of art and culture. It emphasizes the need to reconsider who tells stories, how narratives are constructed, and the voices that are included in cultural institutions, aiming for more inclusive and equitable practices that recognize indigenous perspectives and contributions.
Decolonize this place: Decolonize this place refers to the ongoing process of undoing the legacies and impacts of colonialism on cultural institutions, practices, and narratives. This term emphasizes the importance of re-evaluating and transforming how art, history, and cultural expressions are curated, ensuring that marginalized voices are heard and included in the representation of their own histories and identities.
Dialogical curating: Dialogical curating is an approach to exhibition-making that emphasizes conversation, collaboration, and interaction between curators, artists, and audiences. This method fosters a shared understanding and co-creation of knowledge, often highlighting marginalized voices and perspectives to challenge traditional narratives in the art world. By encouraging dialogue, this practice aims to create a more inclusive and democratic exhibition experience.
Diversity in Curation: Diversity in curation refers to the practice of including a wide range of perspectives, voices, and cultural backgrounds in the selection and presentation of artworks or exhibitions. This approach aims to challenge traditional narratives and promote inclusivity, reflecting the rich tapestry of human experience. It plays a vital role in reshaping how exhibitions are conceived, making them more representative of different communities and histories.
ICOM Code of Ethics: The ICOM Code of Ethics is a set of guidelines established by the International Council of Museums that outlines the ethical responsibilities and professional conduct expected of museum professionals. This code serves as a framework to guide curators and other museum staff in making ethical decisions, ensuring that they prioritize the integrity of collections, respect cultural heritage, and foster public trust. It relates closely to professional standards, ethical considerations in curatorial practice, and the growing need for decolonizing curatorial methods.
Indigenous curatorial practices: Indigenous curatorial practices refer to methods and approaches in curating that prioritize the perspectives, values, and cultural heritage of Indigenous peoples. These practices often emphasize community involvement, cultural sensitivity, and the need to decolonize exhibition spaces by presenting Indigenous narratives authentically and respectfully. This approach challenges traditional Eurocentric curatorial frameworks and seeks to reclaim agency over the representation of Indigenous histories and identities.
Indigenous voices: Indigenous voices refer to the perspectives, expressions, and cultural narratives that originate from the indigenous peoples of a region. These voices are crucial in conveying their histories, traditions, and contemporary issues, serving as a means for empowerment and self-representation in cultural and artistic practices.
Intersectionality: Intersectionality is a framework for understanding how various social identities, such as race, gender, class, sexuality, and ability, intersect and create overlapping systems of discrimination and privilege. This concept emphasizes that individuals experience multiple, interrelated social categories that shape their unique experiences of oppression or advantage. It encourages a more nuanced approach to issues of inequality and representation.
Marginalized voices: Marginalized voices refer to the perspectives, experiences, and narratives of individuals or groups who have been historically excluded or overlooked in mainstream discourse, often due to their race, gender, sexuality, socioeconomic status, or other identity factors. Recognizing and amplifying these voices is essential in challenging dominant narratives and fostering inclusivity within cultural institutions and practices.
NAGPRA: NAGPRA stands for the Native American Graves Protection and Repatriation Act, a United States federal law enacted in 1990 that addresses the rights of Native American tribes to reclaim their cultural heritage. The law mandates the return of certain Native American cultural items, including human remains, funerary objects, sacred objects, and objects of cultural patrimony, to their respective tribes, fostering a process of decolonization in museum practices and curatorial ethics.
Nato Thompson: Nato Thompson is a prominent figure in the field of contemporary curatorial practice, known for his work that challenges traditional exhibition formats and emphasizes socially engaged art. His approach often revolves around decolonization and the exploration of how art interacts with social and political contexts, making him a key player in discussions around alternative curatorial strategies.
Participatory art: Participatory art is an artistic practice that actively involves the audience or community in the creation or experience of the artwork, fostering a sense of collaboration and engagement. This approach shifts the traditional role of the viewer from passive observer to active participant, allowing for shared experiences and collective dialogue.
Postcolonial theory: Postcolonial theory is an academic framework that examines the effects and ongoing impacts of colonialism on cultures, societies, and identities. It seeks to analyze power dynamics and cultural exchanges that arise in the aftermath of colonial rule, highlighting the voices and perspectives of formerly colonized peoples while critiquing the lingering influences of colonial narratives.
Protocols for Native American Archival Materials: Protocols for Native American Archival Materials are guidelines aimed at ensuring the respectful, ethical, and appropriate handling of Native American cultural materials in archival settings. These protocols emphasize the importance of collaboration with Native communities, cultural sensitivity, and the recognition of Indigenous rights to their heritage and knowledge. They serve as a framework for archivists to engage meaningfully with Native voices and to decolonize practices within archival institutions.
Social justice: Social justice refers to the equitable distribution of resources, opportunities, and privileges within a society, emphasizing fairness, equality, and the protection of human rights. It connects deeply with various aspects of society, including art, culture, and institutional practices, as it pushes for inclusivity and representation for marginalized communities while challenging systemic inequalities.
Tania Bruguera: Tania Bruguera is a Cuban performance artist and activist known for her work that challenges political power and explores themes of identity, migration, and social justice. Her art often involves engaging directly with communities and creating participatory experiences, making her a key figure in contemporary discussions about the role of art in social change and activism.
The Black Curators Forum: The Black Curators Forum is an organization focused on the professional development, representation, and support of Black curators within the art world. This group addresses systemic inequities and promotes decolonizing practices in curatorial roles, emphasizing the importance of diverse perspectives in art and culture. It aims to foster a network that empowers Black curators and challenges dominant narratives in exhibition-making.
Tokenism: Tokenism refers to the practice of making a superficial or symbolic effort to include members of marginalized groups in a way that does not provide genuine representation or equal opportunities. It often manifests in cultural settings where organizations include a few individuals from underrepresented backgrounds to create an illusion of diversity, while failing to address systemic inequities. This practice can lead to the marginalization of authentic voices and experiences, ultimately undermining the goals of inclusion and equity.
Undrip: Undrip refers to the process of actively dismantling and addressing the impacts of colonialism within curatorial practices, promoting a more equitable representation of Indigenous and marginalized cultures. This concept is closely tied to the recognition of historical injustices and the need for museums and galleries to shift power dynamics in the art world by prioritizing the voices and perspectives of underrepresented communities. It is an essential step toward creating inclusive environments that respect and celebrate diverse cultural narratives.