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Emotions As Factors of Social and Cultural Change in Museological Discourses

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Emotions As Factors of Social and Cultural Change in Museological Discourses 1/31/2019 merge - Έγγραφα Google Emotions as Factors of Social and Cultural Change in Museological Discourses A Caryatid, Black Pete, and the Display of Rape Culture as Emotional Topoi Submitted to the Graduate School of Humanities at the University of Amsterdam in partial fullment of the requirements for the degree Master of Arts in Heritage Studies: Museum Studies Supervisor: Mw. Dr. M.H.E. Hoijtink Second Reader: Mr. Dr. DJ Elshout Iliana Tatsi 11735236 Submitted on 31st January 2019 https://docs.google.com/document/d/1D70vDtk-XtOLTEY28BVFEBgxKxzs5y3K0HAgaguz7Xc/edit 1/10 1/31/2019 merge - Έγγραφα Google https://docs.google.com/document/d/1D70vDtk-XtOLTEY28BVFEBgxKxzs5y3K0HAgaguz7Xc/edit 2/10 1/31/2019 merge - Έγγραφα Google For Zak https://docs.google.com/document/d/1D70vDtk-XtOLTEY28BVFEBgxKxzs5y3K0HAgaguz7Xc/edit 3/10 1/31/2019 merge - Έγγραφα Google https://docs.google.com/document/d/1D70vDtk-XtOLTEY28BVFEBgxKxzs5y3K0HAgaguz7Xc/edit 4/10 1/31/2019 merge - Έγγραφα Google Table of contents Preface Acknowledgements Introduction 1 1. Chapter I | The Parthenon Marbles 10 1.1. Emotions in Archeology 10 1.2. The Elgin Marbles: Discourses of Return 15 1.3. The Caryatid(s) 28 1.4. Research Method 30 1.5. Discussion 31 2. Chapter II | T he Tradition of Black Pete 40 2.1. Perception of Slavery in Contemporary Netherlands 40 2.2. The Figure of Black Pete 43 2.3. Afterlives of Slavery 48 3. Chapter III | Exhibiting Rape Culture 62 3.1. What Were you Wearing 62 3.2. What Were you Wearing Crosses Borders 65 3.3. What Were you Wearing Goes Public 72 3.4. What Were you Wearing as Activism 74 Epilogue 80 Bibliography 83 Appendix 104 https://docs.google.com/document/d/1D70vDtk-XtOLTEY28BVFEBgxKxzs5y3K0HAgaguz7Xc/edit 5/10 1/31/2019 merge - Έγγραφα Google https://docs.google.com/document/d/1D70vDtk-XtOLTEY28BVFEBgxKxzs5y3K0HAgaguz7Xc/edit 6/10 1/31/2019 merge - Έγγραφα Google Preface The basis for this research, as well as the passion for exploring emotions in heritage, stemmed from my time as a research intern at Imagine IC. During my internship, I had the opportunity to become acquainted with many aspects of Dutch culture and history, that were previously unbeknownst to me. I came to realize how the the concept of “we make our own heritage” can function in an utterly participatory and inclusive manner. This thesis is intended as an exploration of emotions and aect in museological discourses, focusing especially on groups that are traditionally overlooked. The tradition of Black Pete combined with the outt choices of assaulted people, along with a Caryatid, might sound as the introduction to a Tom Robbins novel, but for me they are small universes ripe in emotions; emotions that when analysed, could not only produce valuable insights for how museums and institutions should display heritage, but also highlight the sense of responsibility that accompanies that mission. https://docs.google.com/document/d/1D70vDtk-XtOLTEY28BVFEBgxKxzs5y3K0HAgaguz7Xc/edit 7/10 1/31/2019 merge - Έγγραφα Google https://docs.google.com/document/d/1D70vDtk-XtOLTEY28BVFEBgxKxzs5y3K0HAgaguz7Xc/edit 8/10 1/31/2019 merge - Έγγραφα Google Acknowledgements I would like to thank my supervisor Dr. Mirjam Hoijtink for supervising this thesis and my second reader Dr. Dos Elshout, for their valuable guidance. Also, all of my colleagues at Imagine IC, for their helpful insights and support. This thesis could not have been written without all the knowledge that my professors provided me with, the support and friendship of my classmates, my family’s and my boyfriends’ unwavering love and understanding. I am immensely grateful to you all. https://docs.google.com/document/d/1D70vDtk-XtOLTEY28BVFEBgxKxzs5y3K0HAgaguz7Xc/edit 9/10 1/31/2019 merge - Έγγραφα Google https://docs.google.com/document/d/1D70vDtk-XtOLTEY28BVFEBgxKxzs5y3K0HAgaguz7Xc/edit 10/10 1/31/2019 FINAL THESIS YAS - Έγγραφα Google Introduction A turning point for Dutch society came when the Rijksmuseum acquired the gun used in the assassination of the populist politician, Pim Fortuyn (Pieters, 2017), who became widely known for his anti-Islam opinions. His assassination elicited feelings of outrage across the country, and triggered the collective emotion, with people's (supporters or not) most frequent concern being that his loss rendered them voiceless, since he always "said what [they] thought" (Margry, 2011, p. 328). By acquiring the gun, the Rijksmuseum, implicitly armed the "lasting importance of the [nationalistic] movement and of Fortuyn's legacy" (Margy, 2011, p. 334).1 This outburst of "strong emotions", that can be even capable of producing violent behaviours (Burke, 2008, p. 110), has been also extended to the Black Pete discourse, with the appearance of nationalistic tendencies within the Dutch society. In particular, some people also exhibit strong emotions for the Black Pete discourse, because they feel that they have been overly tolerant so far; to the point that they are in risk of losing a part of their national myth and narrative; their traditions (Wekker, 2016, pp. 149-150). In like manner, for the Greek government and society, the quests for the repatriation of the Parthenon marbles, usually "personied" by the Caryatid(s), have been associated with a banal sense of nationalism, originated by Melina Merkouri in the 80's, having as a central axe the notion of returning to one's roots (Papatheodorou, 2014). This notion of romantic populism is able to trigger people's emotions and sensitivities, while simultaneously concealing political and mercenary incentives, by constantly reminding people of the glorious past and triggering the national imagination by posing the question of what would have been. The case of the Parthenon marbles is not the only instance of emotional debates, regarding the repatriation of artifacts. The President of France, Emmanuel Macron issued a statement in 2018, asking for the return of many African objects removed during France’s colonial period, currently on display in various French museums. This plea caused a ripple of reactions in society and relaunched a new round of heated debates and discourses regarding the repatriation of looted artifacts. This debate is not only limited to France, but it also extends to other former colonial powers, such as the United Kingdom. However, the British Museum, currently housing a huge amount of colonial artifacts, is still resistant to the idea, legitimising their denial on the basis of their function, as a world 1 According to De Witte (2013), "even ordinary objects may be elevated to the level of the extraordinary and achieve a new sublime or sacred quality" (p. 276). 1 https://docs.google.com/document/d/10DIKjuJat0XmeggfO4T3fhb8JpAdau_DmM0umOJbKRY/edit# 1/111 1/31/2019 FINAL THESIS YAS - Έγγραφα Google museum, even though many African countries have been pushing for the restitution of their own heritage. Maybe the most famous case are the Benin bronzes, decorative metal plaques removed by British troops from the palace of Benin in Nigeria in 1897, and currently on display at the British Museum, in London (Maclean, 2018). Heritage is an accumulation of things that people feel that are meaningful -thus denoting them as such- and want to preserve for the future. This means that heritage is ultimately, self-made; also it never applies to a single object or concept, but rather to an assortment of elements, either tangible or intangible. Consequently, since heritage is made to what it is by people, it is only natural that emotions are a signicant part of it, with people experiencing a wide range of emotions in the presence of a heritage item (Dibbits & Willemsen, 2017). The instances described above are enmeshed within hegemonic narratives, strongly connected with the idea of the nation and consequently, nationalism. However, amongst other debates, emotions in museums can also be relevant in discourses that strive to disrupt power structures, incorporating feminist theories. "What Were You Wearing?" is a clothes installation that was created at the University of Arkansas in 2014 -a rather urban context-, aiming to dissolve the myths around rape culture and victim blaming. Feminism has been gaining momentum over the last decade, with more and more museums and galleries, exhibiting feminist art and artists. A contemporary example would be the Naked exhibition in the Kranenburgh Museum, in the Netherlands. Interestingly enough, the exhibition is not on display in one of the major cities of the country, but in Bergen, a smaller, wealthy area in the North. The exhibition mostly deals with the image of the female naked body as the emotional topos of controversy and censorship, since the naked image of the body is often judged by society, considered to be vulgar. It should be noted that the display could raise more awareness and instigate public social debates or even acts of activism, if it was exhibited in a more urban setting. This thesis aims to critically explore the role that emotion and aect currently play in the heritage eld, as well as the social dimensions of feelings that might emerge when discussing a particular heritage item or a piece of intangible heritage. How can emotions in cultural landscapes, cultivate empathy and aid with the establishment of multiform connections between dierent people, with possibly diverse opinions? Also, it will be investigated to what extent emotions in the heritage eld, aect opinion making and instigate social change and activism in the cultural sphere. Hence, the research question: To what extent do museological discourses as a 2 https://docs.google.com/document/d/10DIKjuJat0XmeggfO4T3fhb8JpAdau_DmM0umOJbKRY/edit# 2/111 1/31/2019 FINAL THESIS YAS - Έγγραφα Google result of societal and historical discussions, contribute to social and cultural changes in the 21st century, when perceived from an emotional perspective? Firstly, the research will focus in the range of emotions and their implications, that the Parthenon marbles from Athens, with a focus on the Caryatid, currently located at the British Museum in London, still impose upon Greek and British people.
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