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Table of contents
However, as a newcomer to the historical investigation of leprosy, I initially followed the catalogue descriptions and in so doing reproduced a word that many people affected by leprosy and their allies associate with stigmatization and discrimination. I start with this example because it raises at least three issues regarding language use and what terms mean to the people to whom the terms are applied, which are important issues if we take seriously the assertion that words matter.
by Roz Purcell
Activists argued that a disability was not an individual problem to solve, but a social construct that made living with an impairment into a problem. Other words used in the context of disability take me to my second point. If we uncritically reproduce that language, as I did initially in the case mentioned above, people with disabilities will be portrayed as silent, passive sufferers.
Rosemarie Garland-Thomson, a professor of English and. This brings me to a third and last issue: collaboration with people with disabilities. Not to pay lip service to diversity, but to enact the idea that inclusion matters. Sharon L. We tried to help the public understand how both the boy and the feather cape were iconographic devices to show the affluence of Mary Stuart.
By doing so, I perpetuated the long history of ignoring the presence of Black people in Western art. Used to reinforce the status of the White person sitting for the painting, through. Mauritshuis, The Hague. I had a similar problem to Eveline. For a recent exhibition, I was confronted with the choice of how to caption this painting. Eliza Steinbock The representation of gender and sexual diversity should be an important priority for any socially engaged museum today.
This short essay contributes to these attempts by addressing the importance of the terminology museums use to represent gender and sexual diversity. What are the terms that people use to describe their own identities and how have these changed over time? How do these terms differ from those museums have used? What kind of politics of inclusion or exclusion has influenced the emergence of these terms?
And how can museums contribute to ongoing attempts to achieve equality? Should museums adopt such terminology? How best to refer to non-heterosexual identities continues to be an important discussion, as people seek to account for meanings related to specific historical and cultural contexts. In general, lesbianism and gayness tend to be understood as orientations towards people of the same sex, including romantic feelings, sexual desires and erotic acts. In addition to these sexual identifications, other terms have been added through related though distinct political struggles.
Being trans, intersex or asexual are all relatively more common experiences than previously acknowledged, and are today entering public discussions through media and other cultural forums. Culture-specific identities often do not fall under these dominant categories. Museums like the National Museum of World Cultures are important places where such work against structural injustices can be fought. Not only do they have objects and archives related to the Two-Spirit identity described above but they also hold collections that show other forms of gender diversity across the world, for example in Japan and Indonesia.
These can be foregrounded. In other cases of course this is not as simple. For example some derogatory words have been reclaimed and turned into terms of endearment see Peeren in this publication. Their use within these groups is often based on codes of acceptance, long-term relationships or other shared understandings, and their use in this context is experienced as emancipatory or empowering.
Virtually all Amazonian peoples face a similar challenge. The privilege of using such terms is often not extended to those outside the group, especially when there are historical relationships of unequal power, including museums and other institutions. As cultural institutions we should choose the formal, respectful terminology.
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In general, it is good practice to stick to the terms that people would like to be called, and to recognize when terms are intended to be reserved for group members only. At the same time, however, communities are obviously not homogenous masses that always share the same opinion. Ceremonial breast decoration for men Wirahukang. Bone, cotton, feather. Museum Volkenkunde, Leiden. Mechanisms and Tropes of Colonial Narratives In the development of new exhibits it is important to be aware of how colonial narratives work in museum texts in order to avoid reproducing them.
She was one of the initiators of the Decolonize the Museum collective.
Many of the exhibits we visited and analyzed are now in the process of being reworked. Overwhelmingly, the group—mostly Black and other people of color, many of whom queer—described experiencing feelings of discomfort from the moment they walked in.
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They did not feel like their presence was welcomed. Although many participants were open to the idea of having their history and heritage displayed in the museum, most were disappointed in the representations of their culture, those of non-Western peoples in general, and Dutch colonial history. Many of the White participants also felt uncomfortable with the uncritical, exoticizing gaze these exhibits seemed to expect from them. Participants spoke about the exoticization of non-Western peoples, the erasure of cultural differences among formerly colonized peoples, the glorification or minimization of colonialism, the lack of agency in the portrayal of people of color, a lack of attention to decolonial.
The accessibility of the museum was also a point of critique; at the time of our visit, in , some parts of the museum could not be reached by elevator and few exhibits could be experienced by people with a visual disability. The sheer number of objects and information was experienced as overwhelming, both intellectually and emotionally, especially because there was not much context given. Further, many in our group found it unsatisfying to merely take in information, with no way to respond to or interact with exhibits. Taken together, these three concepts shape the exhibits of the colonial museum, normalising the power relations inherent in cultural hegemony.
Challenging these concepts is an essential step in the decolonisation of the museum.
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It was meant to display the wealth of the Dutch colonial empire, it was a research center that aimed to stimulate trade and production in the Dutch colonies, and it was a place to educate and entertain the Dutch public using collections of objects from the colonies. This publication is part of that process. In ethnographic museums, people of color, and especially Indigenous peoples, are often represented as existing in the past. Objects and photographs, and sometimes even their descriptions, originate from colonial times and so a picture is presented of these people as stuck in that time.
In museum exhibits, non-Western peoples are often presented as more spiritual, closer to the natural world, more magical, and primitive. The museum assumes that the visitor does not share a heritage with the cultures on display.
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Visitors are expected to marvel at how different these people are from themselves. This power to know and name is, as Claire Smith describes above, an important basis for power, allowing the colonizer, the Westerner, the museum staff to place themselves above those they claim to know. These representations are often one-dimensional, presenting a group with a complicated history and diversity of culture as monolithic. The exhibits are designed to represent a culture, a people and a history to a White, middle class, heterosexual, Christian or secular Dutch people.
There is no expectation that Dutch people of Asian, African or South American descent, queer people of color, and people who actually identify with the cultures on display might also visit the museum. In ethnographic museums, stories often feature a heroic White man, an Indiana Jones-like protagonist.
He might be an explorer, scientist, artist, photographer or a missionary, someone who bravely went where few other White people had gone before and came back to tell tales of wild, untouched peoples and dangerous natural landscapes. He returns with artifacts: art, objects, photographs, video, audio and perhaps even people. This focus hides the fact that such adventurers often were the vanguard, collecting information and laying the groundwork for a colonial force that would take control of a territory and violently oppress its people.
This hero is an exciting, dangerous and playful figure that museum visitors are taught to. The idea of discovery or exploration of the unknown and the exotic, and the possible danger in such, is a trope often used in the marketing of ethnographic exhibitions. In this regard, the lands of non-Western peoples are often cast as playgrounds for White Westerners. Participants in the Decolonize the Museum intervention drew attention to the language used in the texts of the Dutch East Indies and the Dutch slavery exhibits.