9.2 Critiques of the museum as a site of colonial power and knowledge production
4 min read•Last Updated on August 13, 2024
Museums have long been sites of colonial power, reinforcing Western cultural dominance and marginalizing non-Western cultures. Postcolonial and decolonial theories critique this, calling for the dismantling of colonial structures and centering of indigenous voices in museum spaces.
Critical museology and institutional critique challenge the idea of museums as neutral spaces. These approaches examine how museums construct knowledge, advocating for more reflexive and collaborative practices that address power imbalances and social inequalities in art institutions.
Challenging Museum Neutrality
Postcolonial and Decolonial Critiques
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Kultura i imperijalizam, Edvard V. Said | Hyperborea View original
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Orientalismo: O Oriente como invenção do Ocidente – Edward W. Said - Vida Indigital View original
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Kultura i imperijalizam, Edvard V. Said | Hyperborea View original
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Orientalismo: O Oriente como invenção do Ocidente – Edward W. Said - Vida Indigital View original
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Top images from around the web for Postcolonial and Decolonial Critiques
Kultura i imperijalizam, Edvard V. Said | Hyperborea View original
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Orientalismo: O Oriente como invenção do Ocidente – Edward W. Said - Vida Indigital View original
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Kultura i imperijalizam, Edvard V. Said | Hyperborea View original
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Orientalismo: O Oriente como invenção do Ocidente – Edward W. Said - Vida Indigital View original
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Postcolonial theory critiques museums as sites of colonial power that reinforce Western cultural hegemony and marginalize non-Western cultures
Theorists such as Edward Said, Homi Bhabha, and Gayatri Spivak argue that museums reflect the ideologies and interests of dominant groups rather than being neutral spaces
For example, the display of African art in ethnographic museums has often presented these objects as primitive or exotic, reinforcing colonial stereotypes
Decolonial theory calls for the decolonization of museums and the dismantling of colonial structures of knowledge production
Emphasizes the need for museums to center the voices, experiences, and epistemologies of colonized and indigenous peoples
This may involve repatriating stolen objects, collaborating with source communities, and challenging Western frameworks of art and culture
Critical Museology and Institutional Critique
Critical museology examines how museums construct and disseminate knowledge, shaped by power relations, institutional politics, and curatorial practices
Challenges the notion of the museum as an objective, apolitical space
Advocates for more reflexive, collaborative, and socially engaged approaches to museum work
For instance, the "Mining the Museum" exhibition by Fred Wilson at the Maryland Historical Society in 1992 juxtaposed objects to reveal the museum's complicity in perpetuating racist narratives
Institutional critique is an artistic and curatorial practice that interrogates the power structures, ideologies, and exclusionary mechanisms of art institutions
Artists such as Andrea Fraser and Hans Haacke use their work to expose the biases, silences, and complicities of museums in perpetuating social and cultural inequalities
Fraser's performances often involve adopting the persona of a museum docent or curator to critique the elitism and commercialization of the art world
Marginalized Voices in Museums
Privileging Western Art and Culture
Museums have historically privileged Western art and culture while relegating non-Western art to the status of ethnographic artifacts or curiosities
This hierarchical distinction between "fine art" and "primitive art" reflects the colonial ideology of cultural superiority
Has led to the devaluation and exoticization of indigenous cultural productions
For example, African masks were often displayed in natural history museums alongside animal specimens, denying their artistic and cultural value
The display and interpretation of non-Western art in museums has often been shaped by colonial stereotypes and narratives
Presents colonized peoples as primitive, savage, or inferior
Reinforces racist and ethnocentric attitudes and denies the agency, diversity, and complexity of indigenous cultures
"Into the Heart of Africa" exhibit at the Royal Ontario Museum in 1989 was criticized for perpetuating colonial stereotypes of African peoples as savage and uncivilized
Exclusion and Misrepresentation of Indigenous Voices
The voices and perspectives of colonized and indigenous peoples have often been excluded from the curatorial and interpretive processes of museums
Leads to the misrepresentation or erasure of indigenous knowledge, histories, and cultural meanings
Denies indigenous peoples the right to self-representation and cultural sovereignty
Many museums continue to lack indigenous representation on their staff and boards
Museums have often failed to acknowledge the ongoing impact of colonialism on indigenous communities
Including the legacy of cultural genocide, forced assimilation, and the destruction of traditional ways of life
Lack of historical context and critical engagement with present-day realities perpetuates the myth of the museum as a neutral space
Few exhibitions address issues such as land rights, cultural appropriation, or the impact of extractive industries on indigenous territories
Museums and Colonial Hierarchies
Ethical Implications of Colonial Collections
Museums have often acquired objects through colonial plunder, looting, or unethical means
Such as the theft of sacred or ceremonial objects from indigenous communities
Possession and display of these objects raises ethical questions about cultural ownership, repatriation, and the ongoing impact of colonial violence
The British Museum's retention of the Benin Bronzes, looted by British forces in 1897, remains controversial
The continued display of objects acquired through colonial plunder or unethical means perpetuates the legacy of cultural violence
Undermines the cultural sovereignty of indigenous peoples
Museums must grapple with the ethical implications of their collections and develop policies that prioritize the rights of source communities
Some museums, such as the Pitt Rivers Museum in Oxford, have begun to repatriate objects and work with indigenous communities to determine their future care
Political Implications of Museum Representations
The representation of colonized and indigenous peoples in museums has political implications for how these communities are perceived and treated in contemporary society
Stereotypical or dehumanizing representations can reinforce racist attitudes
Contribute to ongoing forms of discrimination and marginalization
The "Savage Beauty" exhibition of Māori tattoo art at the Museum of New Zealand Te Papa Tongarewa in 2008 was criticized for exoticizing and commodifying indigenous culture
The exclusion of indigenous voices from museum narratives and decision-making processes perpetuates colonial hierarchies
Denies indigenous peoples the right to self-determination and cultural autonomy
Museums must work to decolonize their practices and create space for indigenous agency, knowledge, and leadership
The National Museum of the American Indian in Washington, D.C. is one of the few museums governed by indigenous peoples and dedicated to presenting Native American cultures on their own terms