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Introducción. Descolonizar la museología o “reformular la museología”
... Los objetos emblemáticos para la construcción identitaria deseada, ya fuera estatal o nacional, se alojaban en museos o se consagraban a monumentos que constituían visiblemente la esencia de aquella identidad. De este modo, el museo contribuyó al proyecto moderno/colonial, consolidando las dinámicas de poder de la academia y de la cultura, formulando e impulsando una colonialidad del saber y del poder (Bergeron y Rivet, 2021), colonizando el imaginario de los visitantes y, por tanto, imponiendo "una imagen mistificada de sus patrones de producción de conocimientos y significaciones" (Quijano, 1992: 12). De esta manera, el museo, más allá de ser una institución que salvaguardaba los vestigios del pasado, se erigió como tecnología del saber ilustrado, legitimando hegemonías políticas e ideológicas y contribuyendo a la retroalimentación del proyecto de la modernidad/ colonialidad. ...
Social and cultural anthropology, other related disciplines, some colonizing territories and museography face the challenge of decolonization. Several European museums have reviewed their colonialities and have proposed museographic changes to decolonize their spaces. We want to analyze the colonial and/or decolonial narratives of three Catalan museums and find the key points to formulate decolonizing proposals. To do this, we did an ethnographic fieldwork, visiting collectively the three selected museums, located in different places of the territory. We prepared a collaborative field notebook, which we analyzed with categories of decolonial studies. Thus, we detected a historical continuity in Catalan colonialism and the narratives of the museums, which exalt key aspects of the colonizing process of the modern mentality (progress, advance, technology), while omitting and forgetting the colonization of the being, imposed by the colonial matrix. This diagnosis leads us to suggest the need to rethink the narratives, avoiding the forgetfulness that perpetuate the modern/colonial discourses.
This article sets out to globalize Māori museology through mana taonga, a concept that is historically grounded and articulated in contemporary museum practice. Mana taonga can be used to reconceptualize issues of engagement, knowledge, and virtuality by exploring ways in which the mutual, asymmetrical relations underpinning global, scientific entanglements of the past can be transformed into reciprocal, symmetrical forms of cross-cultural curatorship and anthropology in the present. In doing so, the Cook/Forster Collection held at the Georg-August-Universität Göttingen, Germany, is being (re)approached from a Māori perspective. This collection embodies the first material evidence of the remarkable encounter between Pacific and European people in the 1700s and materializes the moment when two worlds of meaning became entangled and mutually constitutive with continuing significance for Pacific people and European understandings. Reconnecting both sides of the encounter through research on the history of the collection, its contemporary legacy, and Māori engagements with Western anthropology and museology allows us to correct lopsided (re)interpretations of indigenous cultures in exhibitionary projects and one-sided accounts of museums and indigenous people that dominate the literature.
Recent re-conceptualizations of the ‘public sphere’ facilitated a much needed shift in thinking about identity politics ‘from a substance … to a movement’ (Weibel and Latour, 2007). This laid the foundation for dissolving the ‘emanatist vision’ (Bourdieu, 1990) of self-explanatory and perpetual systems and structures towards the interrogation of actions and performances that simultaneously constitute and are affected by such wider socio-political realities. Most academic contributions, however, remain on a normative or theoretical level without offering empirical insights.
This article introduces Mana Taonga as an Indigenous Māori concept of cultural politics embedded in current museum practice at the Museum of New Zealand Te Papa Tongarewa (Te Papa). It creates a dialogue between Indigenous Māori practice and Western theory leading to a refined understanding of performative democracy within a museum as forum, or public sphere. The authors argue that a specific museum offers a particular place, space and empirical reality to interrogate seemingly universal concepts such as ‘culture’ and ‘politics’ by blending theoretical notions with an awareness of institutional contexts and practices.
The ways in which Aboriginal people and museums work together have changed drastically in recent decades. This historic process of decolonization, including distinctive attempts to institutionalize multiculturalism, has pushed Canadian museums to pioneer new practices that can accommodate both difference and inclusivity. Ruth Phillips argues that these practices are "indigenous" not only because they originate in Aboriginal activism but because they draw on a distinctively Canadian preference for compromise and tolerance for ambiguity. Phillips dissects seminal exhibitions of Indigenous art to show how changes in display, curatorial voice, and authority stem from broad social, economic, and political forces outside the museum and moves beyond Canadian institutions and practices to discuss historically interrelated developments and exhibitions in the United States, Britain, Australia, and elsewhere. Drawing on forty years of experience as an art historian, curator, exhibition critic, and museum director, she emphasizes the complex and situated nature of the problems that face museums, introducing new perspectives on controversial exhibitions and moments of contestation. A manifesto that calls on us to re-imagine the museum as a place to embrace global interconnectedness, Museum Pieces emphasizes the transformative power of museum controversy and analyses shifting ideas about art, authenticity, and power in the modern museum.
Le musée cannibale. Musée d'ethnographie
- M.-O Gonseth
- J Hainart
- R Kaehr
Gonseth, M.-O., Hainart, J., & Kaehr, R. (2002). Le musée cannibale. Musée
d'ethnographie, Neuchâtel.
The contemporary museum. Shaping museums for the global now
- C Mccarthy
McCarthy, C. (2019). Indigenisation. Reconceptualising museology. En S. Knell
(Dir.), The contemporary museum. Shaping museums for the global now (pp.
37-55). Routledge.
Le musée, une histoire mondiale, tome I : Du trésor au musée
- K Pomian
Pomian, K. (2020). Le musée, une histoire mondiale, tome I : Du trésor au musée.
Gallimard.
Le musée, une histoire mondiale, tome II : L'ancrage européen
- K Pomian
Pomian, K. (2021). Le musée, une histoire mondiale, tome II : L'ancrage européen,
1789-1850. Gallimard.
Du musée ethnographique au musée multiculturel. Chronique d'une transformation globale. La documentation française
- F Van Geert
Van Geert, F. (2020). Du musée ethnographique au musée multiculturel. Chronique
d'une transformation globale. La documentation française.