Decolonizing Museums

Emerging Movement: A significant initiative towards decolonizing museums has arisen in the US, Europe, and Australia in recent years.
Debate on Definitions:
- The Washington Post: Defines decolonizing as “a process that institutions undergo to expand the perspectives they portray beyond those of the dominant cultural group, particularly white colonizers.”
- Abbe Museum, Maine: Describes decolonizing as “at a minimum, sharing authority for the documentation and interpretation of Native culture.”

Tackling Colonial Legacies: Museums are actively working to reflect the diversity and voices in their collections.
- Many collections are historically rooted in colonialism, established from wealthy donors linked to imperial legacies.
- Example: Sir Hans Sloane:
- His collections for the British Museum were funded by profits from his wife's slave plantations in Jamaica.
Controversies in Acquisition:
- The manner of acquiring items has sparked debates (e.g., Parthenon Marbles at the British Museum, Zodiac of Dendera in Louvre).
Indigenous Representation:
- Indigenous works are often relegated to ethnographic museums instead of being represented in art museums, signaling a perception of these cultures as static.
- Example: Field Museum of Natural History, Chicago:
- Invited Native American artists (Bunky Echo-Hawk, Chris Pappan) to showcase their work in Native galleries to re-contextualize collections that haven't changed since 1950.
- Planned renovation of Native North American Hall with input from a diverse advisory committee for 2021.

Re-evaluating Roles of Museums:
- Institutions like the Australian Museum have refined their role from being owners to “custodians” of collections, acknowledging responsibilities to the originating communities.
- The museum is undertaking a 10-year Indigenous Roadmap Project, which includes:
- Engaging indigenous leaders to review collections.
- Chief Jerry Taki contributed insights on arrowheads from Vanuatu collections, enhancing the museum's understanding.
Collaboration with Indigenous Communities:
- The San Diego Museum of Man revised policies to consult indigenous communities regarding the treatment of their human remains collection (5,000 to 8,000 remains).
- Canadian Museum of History: Established a Human Remains Policy in 1991 for community repatriation requests, leading to the return of human remains and artifacts to First Nations.

Critical Perspectives on Decolonization:
- Shaheen Kasmani emphasizes in her talk “How Can We Decolonize Museums” that:
- Decolonization efforts can fail if they replicate colonial behaviors.
- Distinction: Decolonization versus Diversity.
- She defines decolonization as “the upfront challenge of white supremacy, de-centres the Eurocentric view, and dismantles systems of thought that place the straight white man as standard.”
Reevaluation of Decision-Makers:
- Questions to consider include:
- Who creates and decides on exhibitions?
- Are decision-makers informed about their biases and do they have a decolonial mindset?
- Example: The Brooklyn Museum faced criticism for hiring a white curator for an African Art exhibit.

Kasmani points out that high costs limit access for many audiences, highlighting that museums are often perceived as institutions for the privileged.
- Quote from Steve Nelson: “Museums are perceived as being for people of privilege. It starts early.”

The text and language used in exhibitions are critical for understanding.
- Kasmani asserts that exhibition wall panels are a form of political expression.
- The language can validate or invalidate experiences and histories by choosing words carefully.
- Examples of problematic terms:
  - Changing “concentration camp” to “internment camp.”
Language Inclusivity:
- Institutions like the Philadelphia Museum of Art have introduced Spanish-language texts for better engagement with Spanish-speaking guests.
- The Nordnorsk Kunstmuseum used the Sámi language in their 2017 exhibition to connect more deeply with Sámi visitors.

Decolonization also prompts reflection on what items are collected, how they are presented, and which stories are told.
- Kasmani recalls a limitation in collecting for an exhibition about the Opium War that affected the narrative perspective.
- Museums often lack items from marginalized viewpoints (e.g., the Chinese experience of the Opium War).

In 2017, Nordnorsk Kunstmuseum transformed into Sámi Dáiddamusea in two months as part of a performance initiative:
- Featured an entirely different collection.
- Implemented Sámi language for signage and texts.
- Worked closely with the Sámi community to build trust.
Results of the project showcased the impact of completely reimagining museum operations and engaging local communities.
Future Directions: The museum continues to review institutional policies, mission statements, and staff diversity to align more closely with decolonial principles.

Abbe Museum outlines how the principles of decolonization influence both visible and hidden elements of their operation:
- Visitors experience exemplified through inclusive storytelling in exhibits.
- Staff training aimed at instilling decolonization values at all levels, shaping decisions around what is exhibited and sold.
- Emphasis on consultative, inclusive decision-making that involves Native perspectives.
- Commitment to sustainable practices that respect indigenous values regarding the earth's resources.

The decolonization effort will face challenges and progress amid difficult discussions about the nature and audience of museums.
- Innovations from various institutions inspire others seeking change.
- Open dialogue remains vital for all community members to engage in meaningful conversations about power and authority within cultural institutions.
- Olga Viso's quote emphasizes the need for museums to become learning communities, moving away from a view of activists as adversaries.