Conversations 2019 Summary of Results

MUSEUM CONVERSATIONS 2019 SUMMARY OF RESULTS

TECHNICAL Report 2017

MULTIDISCIPLINARY RESEARCH CENTRE (MRC)

University of Namibia Private Bag 13301 Windhoek Namibia ( +264 61 206 3052 FAX: +264 61 206 3050 URL.: http://www.unam.edu.na

MULTIDISCIPLINARY RESEARCH CENTRE Improving water quality and sanitation practices in rural areas in Hardap and Omaheke region, Namibia. www.unam.edu.na

Authors: Earl Lewis and Tiffany Claasen

#10707 - UNAM Technical Report 2017 - Single-sided - C_FB 001 - 11/24/2017 - 10:25:17 AM 2 3

SEPTEMBER 18-20 | 2019 WINDHOEK, NAMIBIA

Photographs by Shawn van Eeden / Creative Lab Graphic harvesting by Sonja Niederhumer Layout by Style Graphics CC Edited by Goethe-Institut Namibia www.goethe.de/namibia 4 5

RÜCKBLICK IN RETROSPECT DANIEL STOEVESANDT - INSTITUTSLEITER GOETHE-INSTITUT NAMIBIA DANIEL STOEVESANDT - DIRECTOR GOETHE-INSTITUT NAMIBIA

Die Museumsgespräche waren ein gro- erhalten und weitergeführt – daher müss- All dies zeigt deutlich: Das Museum ist da, Museum Conversations 2019 was a great success, mainly reali- last years, a process has been started that will hopefully reshape ßer Erfolg, der ohne den unermüdlichen ten sie weiterentwickelt werden. es ist weiterhin sehr relevant, da es eine sed by an exceptional group of participants and speakers from all not only museums in Africa but also relations between the North Einsatz einer ganz besonderen Mischung Brücke zwischen der Vergangenheit und over Africa and Europe, who came to Namibia to discuss various and South. von Teilnehmenden und Sprechenden aus Es ist daher höchste Zeit die Museumskon- dem Heute schlägt, eine Vergangenheit die topics around museum work in Africa and strongly engage with verschiedensten Ländern Afrikas und aus zepte in Afrika und die Art des Ausstel- ohne Museen und Archive längst in Verges- each other. We expected heated debates about restitution, emotio- Europa nicht möglich gewesen wäre. Sie lens zu überdenken – genauso wie es viele senheit geraten wäre. Museen – nicht nur in nal moments when it comes to human remains and also controver- kamen nach Namibia um verschiedene Museen derzeit auch in Europa tun. Die Afrika – müssen partizipativer werden, ihre sial concepts on how to curate and work in the future museums of Aspekte der Museumsarbeit in Afrika zu Konferenz hat gezeigt, dass dieser Konti- communities mehr einbeziehen und mehr Africa. diskutieren und gemeinsam künftige Kon- nent gut daran tut, seiner jungen Genera- digitale Angebote schaffen um auch ländli- zepte zu erarbeiten. Wir erwarteten hit- tion zuzuhören, wenn es um die Neuge- che Gebiete mit zu erreichen. Since we started this event series two years ago, I’ve heard many zige Debatten über Restitution, emotionale staltung von Museumsarbeit geht. Museen times that the museums are not African and they are brought here Momente wenn es um menschliche Über- müssen nicht immer in den typischen Wann immer man von Museen in Afrika mainly by colonial powers to demonstrate their strength. Others reste geht aber auch kontroverse Diskus- Gebäuden verortet sein, die wir alle von spricht, berührt man auch die europäische added, although this is very true, museums have become realities sionen über die Arbeit in afrikanischen den ersten Museumsbesuchen in unserer Verantwortung in Afrika, die sich aus der in Africa, they have not been demolished after the country’s inde- Museen und deren Kuration. Kindheit im Kopf haben. Museen finden Kolonialvergangenheit ergibt. Dabei geht pendence but maintained, and therefore need to be redeveloped. im öffentlichen Raum statt, in Form von es vor allem um Restitution von Objekten Seit wir diese Veranstaltungsserie vor etwa öffentlichen Vorführungen, an den Wänden und menschlichen Überresten aus Europa. It is about time to rethink the concept of museums and format of zwei Jahren gestartet haben, habe ich als Graffiti und in vielen anderen Formen Diese Diskussionen sind oft nicht einfach, exhibitions in Africa. Many museums in Europe are doing this at the immer wieder gehört, Museen seien nicht von kultureller Darstellung in Afrika. Kul- wie wir auch in dieser Konferenz erlebt moment. The conference has shown that Africa needs to listen to afrikanisch, sie seien lediglich durch die turelle Repräsentation findet auch in der haben. Aber hier in Windhoek merkte man, its younger generation when it starts redeveloping and reshaping Kolonialherren auf den Kontinent gebracht Musik statt, die Referenzen zum histori- dass wir uns in kleinen Schritten vorwärts its museums. Museums no longer need to be in that typical building worden um die eigene Macht und Über- schen Erbe herstellt und natürlich findet bewegen, meist auch aufeinander zu. Kon- that many of us know from one of the first museum visits in our legenheit zu demonstrieren. Andere wie- es mehr und mehr im digitalen Raum statt. zeptionelle Fragen werden immer mehr childhood. Museums are in the streets through public performan- derum verwiesen darauf, dass obgleich Die junge Generation will ihr kulturelles beantwortet und es gibt erste Restitutions- ces, murals, graffiti and many other forms of cultural expressions of dies stimme, Museen Teil einer afrikani- Erbe nicht länger in Museen eingesperrt projekte von denen man lernen kann. Ganz a contemporary Africa. It also manifests through music that makes schen Wirklichkeit geworden sind, schließ- sehen, sondern in einem modernen Alltag sicher hat in den vergangenen Jahren ein references to heritage and of course, it is more present digitally. lich wurden sie nach Unabhängigkeit der integriert finden. Prozess begonnen, der die Museen in Afrika The younger generation does not want its cultural heritage being Ländern nicht etwa abgerissen, sondern hinterfragt, aber auch, der die Beziehungen locked away in museums; it wants to engage with the past through zwischen Nord und Süd verändern wird. today’s activities.

This all shows: The museum is present and relevant since it creates a bridge between the past and today that – without a museum or an archive – would often not exist. Museums – not only in Africa – have to become more participatory, community-focused and digital.

Wherever we talk about museums, it is to some extent also about Europe’s responsibilities in Africa that derive from its colonial past. It is very often about the return of objects and human remains from collections in Europe or other parts of the world. These are not easy discussions, as we have witnessed during this conference, and despite the difficulties, we often see progress in small steps; there are more specifications in conceptional questions and lessons can be learnt from the first restitution projects. Certainly, over the 6 7

UNSERE VISION EINES MUSEUMS FÜR AFRIKA THE MUSEUM WE WANT FOR AFRIKA BY GOODMAN GWASIRA, UNIVERSITY OF NAMIBIA BY GOODMAN GWASIRA, UNIVERSITY OF NAMIBIA

Das Symposium Museum Conversations, haben eine enorme Auswirkung auf Hier und Jetzt liegt“. Wir können die The Museum Conversations symposium that took place in Windhoek from future. It was therefore delightful to witness the youth das vom 18. - 20. September 2019 in die Authentizität des Prozesses. Das Jugend nicht ausgrenzen und davon 18-20 September 2019 provided a unique platform for discussions and engaging with museum issues and at this rate, it can be Windhoek stattfand, bot eine einzigartige Symposium enthüllte die allgemeine ausgehen, dass ihre Zeit irgendwann in exchanges on current issues regarding the desirable museum format for Africa safely hoped that museums are in good hands. Plattform für Diskussionen und den und oft irreführende Konzeptualisierung der Zukunft kommen wird. So war es in the 21st century. It was a forum for debates and cross-fertilisation of ideas Austausch über aktuelle Fragen zu der Dekolonisierung als den Umgang erfreulich festzustellen, dass sich junge that helped to think of ways of developing better methods and realising The venue of the symposium was in itself an act of einem für Afrika im 21. Jahrhundert mit afrikanischen „Objekten“, die unter Menschen mit der Thematik des Museums better solutions for our challenges in the museum world. Some of the themes decolonising the spaces where such discussions should erstrebenswerten Museumsformat. Es war den Bedingungen kolonialer Gewalt auseinandersetzen. In diesem Sinne kann that were covered in the symposium include decolonisation of the museum, take place. It was not at a university or a museum. ein Diskussionsforum, eine Ideenschmiede, gesammelt und exportiert wurden. Erstens man mit Zuversicht davon ausgehen, dass specifically ethnographic museums in Africa, restitution of African “museum Being in Katutura was an act of taking the museum die dazu beitrug, Wege zu finden, bessere sind dies nicht nur Objekte - sie haben die Museen in guten Händen sind. objects” and new approaches to museology in Africa. Although many issues conversation to the people and acknowledging that no Methoden für unsere Herausforderungen Seelen und, unter anderen Sachverhalten, were discussed around the aforesaid themes, in this reflection I focus on one has monopoly over the discussions. It recognised in der Museumslandschaft zu entwickeln handelt es sich um Vorfahren. Zweitens Der Veranstaltungsort des Symposiums an one of the urgent themes for the Namibian context (and perhaps relevant the importance of marginalised voices and of those und bessere Lösungen umzusetzen. Zu den gibt es auch in unseren Museen einige sich war schon ein Dekolonisierungsakt elsewhere in Africa); decolonisation. who reside in the former black townships. Thus, the auf dem Symposium diskutierten Themen „Objekte“ und die Auseinandersetzung der Räumlichkeiten, in denen solche museum, through the Goethe-Institut was in service of gehörten die Dekolonisierung des Museums, mit der kolonialen Ethnographie sollte Diskussionen stattfinden sollten. Es A recurrent echo in most of the discussions was that decolonising the community. Some community activists who attended insbesondere der ethnographischen Museen sich nicht nur auf exportierte „Objekte“ handelte sich dabei weder um eine ethnographic collections / museums cannot be done in isolation, it has to be the symposium felt respected and appreciated that in Afrika, die Rückgabe afrikanischer konzentrieren, sondern auch auf die in Universität noch um ein Museum. Die done in collaboration with the people who were alienated by colonialism for they could participate at their own “doorstep”. This, in Museumsobjekte und neue Ansätze der unseren lokalen Sammlungen, von denen Zusammenkunft in Katutura war ein it to be emancipatory. It is through inclusive and participatory approaches itself, was one step towards the museum that we want Museologie in Afrika. Trotz zahlreicher manche aus den gleichen Hintergründen Schritt, der Bevölkerung die Gespräche that museums can be relevant in the African context. The process of for Africa. A concept of the museum that engages local Diskussionen zu den oben genannten stammen wie beispielsweise jene in über das Museum näher zu bringen decolonisation is much more complex than removing or re-contextualising communities. Museum Conversations 2019 encouraged Themen konzentriere ich mich in dieser europäischen Museen. Das Argument und anzuerkennen, dass niemand ein exhibits and collections that may be deemed offensive. It entails decolonising us to think differently and confront the general idea Reflexion auf eines der dringlichsten hier ist, wenn wir uns zu stark auf die Monopol über die Diskussionen besitzt. Die methodologies and understanding the circumstances that particular collections of heritage. It challenged heritage academics, activists Themen für den namibischen Kontext (und externe Herausforderung der Rückgabe Bedeutung marginalisierter Stimmen von were assembled. The very spaces where the decolonisation discourse takes and practitioners to start acting and stop theorising the möglicherweise auch für andere Regionen von Kulturgütern an unsere Länder auf Menschen aus den ehemaligen schwarzen place have a huge implication on the genuineness of the process. museum in Africa. Above all, it demonstrated that every Afrikas), die Dekolonisierung. Kosten der internen Herausforderung Townships wurde wahrgenommen. So voice is critical in the “rethinking” of the museum in kolonialer Sammlungen in unseren Museen diente das Museum über das Goethe- The symposium debunked the general and often misleading conceptualisation Africa. Ein wiederholtes Signal in einem konzentrieren, riskieren wir, die Kolonialität Institut der Gemeinschaft. Eine Reihe of decolonisation as denoting the dealing with African “objects” that were Großteil der Diskussionen war, dass in der Darstellung und den Erzählungen, die von Community-Aktivisten unter den collected and exported under circumstances of colonial violence. Firstly, die Dekolonisierung ethnographischer wir um die Objekte herum entwickeln, zu Symposiumsteilnehmenden, fühlten sich these were not just objects, they have souls - in other circumstances they are Sammlungen und Museen nicht isoliert, replizieren. respektiert und schätzten es, dass sie an ancestors. Secondly, there are some “objects” in our museums and confronting sondern in Zusammenarbeit mit vom der Veranstaltung „direkt vor ihrer Haustür“ colonial ethnography should not only focus on “objects” that were exported Kolonialismus entfremdeten Personen Zwei herausragende Aspekte der Konferenz teilnehmen konnten. Das an sich war but also those that we have in our local collections, some of which were from erfolgen muss, um emanzipatorisch zu sein. waren neben der Qualität der Keynotes, schon ein Schritt in Richtung des Museums, the same contexts as those in European museums, for instance. The argument Es sind die integrativen und partizipativen Workshops und Debatten, die Auswahl das wir für Afrika vor Augen haben. Ein here is if we focus too much on the external challenge of restitution of Ansätze, durch die Museen im afrikanischen der Teilnehmer und die gezielte Wahl Museumskonzept, das lokale Gemeinden heritage objects back to our countries at expense of the internal challenge of Kontext eine Relevanz erlangen können. Der des Veranstaltungsortes in Katutura. Die einbezieht. Die Museumsgespräche 2019 colonial collections that are in our museums, we risk replicating coloniality in Prozess der Dekolonisierung ist wesentlich Diskussionen spiegelten die Vielfalt der sind für uns ein Ansporn zum Umdenken representation and the narratives that we develop around the objects. komplexer als die bloße Beseitigung oder Teilnehmenden wider und profitierten und zur Auseinandersetzung mit der Rekontextualisierung von Exponaten und davon. Neben Wissenschaftlern, Grundidee des Erbes. Sie waren ein Two of the most outstanding aspects of the conference - besides the Sammlungen, die als anstößig betrachtet Fachleuten und Kulturerbe-Aktivisten, Aufruf an Wissenschaftler, Aktivisten und quality of keynote speeches, workshops and debates - were the selection werden könnten. Es geht darum, Methoden zählten auch Studierende zu den Experten, Maßnahmen zu ergreifen und of participants and the deliberate choice of venue in Katutura. The zu dekolonisieren und die Umstände Symposiumsteilnehmenden. Um die der Theoretisierung des Museums in Afrika conversations reflected and benefited from participants‘ diversity. In addition zu verstehen, unter denen bestimmte Notwendigkeit der Einbindung der Stimmen ein Ende zu setzen. Vor allem aber wurde to academics, practitioners and heritage activists, the symposium included Sammlungen zusammengestellt wurden. der jungen Generation zu unterstreichen, deutlich, dass jede Stimme entscheidend für students. It is important to include the voices of the youths, as participants Schon die Räumlichkeiten, in denen wurden die Teilnehmenden immer wieder das „Überdenken“ des Museums in Afrika were continuously reminded that the “future is now”. We cannot afford to der Dekolonisationsdiskurs stattfindet, daran erinnert, dass „die Zukunft im ist. marginalise the youth and expect that their time will come some day in the 8 9

KEYNOTE ADDRESS Diese regionalen Museums-Netzwerke - Zur Zeit entstehen große Museumspro- Fortsetzung finden und die Gesellschaft PROF. KLAUS-DIETER LEHMANN, PRÄSIDENT DES GOETHE-INSTITUTS (GERMANY) mit einer eigenständigen Expertise und jekte in Äthiopien, Nigeria, Kongo oder abbilden und diskursfähig machen. unsere Hauptkonferenz sind deshalb sind fertig gestellt, wie in Ruanda, im Von gesellschaftlicher Relevanz ist die gerade jetzt so wichtig, weil die afrika- Tschad oder in Tansania. Einige der gleichberechtigte kulturelle Teilhabe. nische kulturelle Infrastruktur vor einem Museen werden mit der Unterstützung Wendepunkt steht. Das gilt besonders für ausländischer Staaten gegründet, wie Der afrikanische Kontinent muss darauf die Museen. beispielsweise das Zivilisationsmuseum Antworten für sich und im globalen Kon- in Dakar. Auch dort, wo der Museums- text finden, nicht als defensiver Empfän- Der südafrikanische Maler Ernest Mancoba, Museen sind geeignet, diesen kulturel- über ein intensives Netz und arbeitet aktu- - Eine Reihe der bestehenden Museen bau fremd finanziert wird, arbeiten ger sondern als offensiver Ideengeber. 2002 verstorben, sagte in einem Gespräch, len Dialog in und mit der Gesellschaft zu ell in elf Instituten sowie weiteren verschie- in Afrika sind europäische Schöpfun- die Museen beeindruckend unabhän- Afrika hat nicht nur eine Zukunft, es wird „Trotz unserer Wissenschaft, mit allem, ermöglichen, Vergangenheit und Zukunft zu denen Präsenzformen. Für das Goethe-In- gen aus ethnologischer Sicht. Die Kolo- gig. Der intellektuelle Kolonialismus hat sie auch maßgeblich gestalten. Ich sehe in was wir glauben zu wissen, kennen wir die verbinden, als Bildungs- und Lernorte zu stitut ist es ein glücklicher Umstand, mit nialmächte etablierten beispielsweise hier ein Ende gefunden. Das muss die der jetzigen Situation Chancen für einen Zukunft nicht, kennen wir nicht das Morgen. wirken, generationenübergreifend zu ver- diesem Netz so eng mit den afrikanischen zwischen 1825 und 1892 sechs Museen Herangehensweise in der Gegenwart wirkungsvollen Neubeginn in der Muse- Doch Künstler und Poeten, diese Leute, die mitteln und soziale Funktionen zu erfüllen. Kolleginnen und Kollegen, Wissenschaftlern in Südafrika, es folgten in den Jahren sein, die zentrale Stellung der afrika- umsplanung in Afrika, zum einen in der nicht nur mathematisch denken, könnten Ihre Prägung muss jedoch immer spezi- und Künstlern zusammenarbeiten zu kön- 1900 und 1901 zwei Museen in Zim- nischen Experten bei der Erforschung Neugestaltung bestehender Museen, zum uns die Zukunft näher bringen.“ fisch das gesellschaftliche und historische nen. So war es möglich im Vorfeld unserer babwe, je eins in Uganda 1908, in Kenia und Präsentation ihrer eigenen Kultur. anderen in der Neudefinition von Muse- Umfeld berücksichtigen und sie müssen jetzigen Schlusskonferenz „Museumsgesprä- 1909 und Mozambik 1913. Generationen umsstrukturen und –aufgaben. Während Das Nachdenken über die Welt von morgen unabhängig in ihrer inhaltlichen Arbeit sein. che 2019“ an sieben verschiedenen Stand- übergreifend setzen sich Experten, aber - Und weil die Museumsarbeit in afri- das europäische Museum stark durch die ist ein zentraler Teil des Engagements des Nur dann sind sie Teil der Gesellschaft und orten lokale und regionale Treffen zu veran- besonders auch Kuratoren und eine kanischen Ländern aktuell stark durch Aufklärung geprägt war, als ein Tempel Goethe-Instituts für internationale kultu- glaubwürdig. stalten: in Kigali, Windhoek, Ouagadougou, junge Bildungselite inzwischen kritisch die Diskussion um die Rückgabe von der Kunst, auch als ein Mausoleum, kann relle Zusammenarbeit. In Projekten und Ini- Kinshasa, Accra, Dar Es Salaam und Lagos. mit den vorhandenen Sammlungen und Kulturgütern bestimmt wird, müssen das afrikanische Museum ein Kind der tiativen werden global Zukunftsthemen mit Das Goethe-Institut hat schon sehr früh mit Sie standen ganz im Zeichen der Stimmen ihrer Präsentation in ihren Ländern die kolonialen und postkolonialen Fra- Emanzipation sein. Partnern identifiziert und formuliert. seinen Partnern in der Welt große Projekte Afrikas, zunehmend auch im Kontext globa- auseinander. Zurecht! Sie waren Aus- gen zwischen den ehemaligen Kolonial- zu Fragen des Museums der Zukunft und ler Fragen und einem übergreifenden kon- druck der vorherrschenden Ideologie, mächten und den Ursprungsländern der Ein Ort des Dialogs, der Aktion und der Diese Lerngemeinschaften leben von der seiner Rolle in der Gesellschaft durchge- zeptionellen Diskurs über Museumsarbeit die die ungerechten und ungleichen Objekte gemeinsam verhandelt wer- Lebendigkeit, ein Museum ohne Mau- Vielzahl der Perspektiven, von Blick und führt, in Südamerika mit „Museale Episo- in Afrika. Auch wenn es in der Vergangen- Beziehungen in Zeiten des Kolonialis- den. Erklärtes Ziel muss die Dekoloni- ern, das die Straße und ihre Menschen Gegenblick, vom Austausch über Länder- den“, in Südostasien und dem Pazifik mit heit bereits einen Meinungsaustausch über mus wissenschaftlich legitimieren soll- sierung des Denkens sein. Es geht um mit ihren Fragen, ihren Erfahrungen und grenzen und Sprachbarrieren hinweg. Wir „Transitioning Museums in South East Asia“ Ländergrenzen hinweg zu Museumsfragen ten. Sie dienten der europäischen Vor- mehr als um Restitution der Objekte, es ihren Erlebnissen einbezieht – ein sozi- glauben an die Kraft der Kultur, wir wissen und in Indien mit „Museum of the Future“. im Zusammenhang mit Panafrikanismus, herrschaft. Geschichte geschieht nicht, geht um den Verlust des Selbstwertge- aler Raum, der die spezifischen Kultur- aber auch, Kultur ist nicht per se friedens- Afrika gehört in diesen großen Kontext. Négritude und vorkolonialer Realität gab sie wird gemacht. Deshalb geht es um fühls durch die Kolonialherrschaft und techniken aufnimmt und zum Klingen stiftend, sondern sie muss sich öffnen, eine Außerdem organisierte das Institut inter- und auch bilaterale Beziehungen zwischen einen grundlegenden Bedeutungs- deren Folgen bis heute. Es genügt nicht, bringt. So kann das Museum nicht nur ein gegenseitige Wertschätzung besitzen und nationale Konferenzen in Deutschland, afrikanischen und europäischen Museen wandel des Museums in Afrika, der einfach Objekte zurückzugeben, es geht integraler Teil der Gesellschaft werden Verständigung anstreben. die die Rolle der Museen auch im Zusam- aufgebaut wurden, so hat dieses Projekt die Rückgewinnung der afrikanischen um die Menschen. Davon unbenom- sondern zugleich auch befruchtend sein menhang mit der Restitution aufgrund der einen besonderen Ansatz und Ertrag. Durch Geschichte ermöglicht. men: Raubkunst bleibt Raubkunst und für die Debatten in Afrika und darüber Kolonialgeschichte thematisierten. Alle seinen intensiven regionalen Vorlauf konnte muss entsprechend deklariert werden. hinaus. Es lohnt sich den Kanon neu zu Aktivitäten waren geprägt von der erwei- das Thema in seinen Fragekomplexen zum - Eine zweite Gruppe von Museen wurde Argumente gegen berechtigte Rückga- überdenken. terten Perspektive, Vergangenheit nicht einen gut fokussiert und damit konzent- im Zusammenhang mit dem Ende der ben wegen unzulänglicher Ausstattung als abgeschlossenes Kapitel zu behandeln riert für die Schlusskonferenz genutzt wer- Kolonialzeit unmittelbar mit der Unab- der Institutionen sollten eher dazu füh- Das Goethe-Institut bringt sich mit seinen sondern als historische Verpflichtung für den. Zum anderen erlaubt die Vernetzung hängigkeit der Staaten gegründet. ren, die afrikanischen Museen zu stär- Möglichkeiten und seiner Expertise gern die Zukunft. Das betrifft auch die politi- der afrikanischen und europäischen Dis- Dabei spielten häufig nationale Narra- ken als das eurozentrische Weltbild zu in den gemeinsamen Erkenntnis- und schen und ökonomischen Asymmetrien und kussion zu Fragen der Restitution und der tive zur Bildung von Identitäten eine zementieren. Planungsprozess ein, um Entwicklungen Ungerechtigkeiten, die aus der Kolonialzeit Bedeutung des kulturellen Erbes den aktu- Rolle. Sowohl die erste als auch die anzustoßen, Alternativen zu diskutieren fortwirken. ellen Stand der Debatten erstmals zu bün- zweite Kategorie vermitteln ein abge- - Schließlich geht es um die Herausforde- und internationale Beziehungen auf- und deln und damit auch Lösungsvorschläge zu schlossenes Thema und agieren nicht rungen der Globalisierung, der Moder- auszubauen. Zukunftsentwürfe für Afrika müssen in erarbeiten. Insgesamt war die Vorgehens- mit den gesellschaftlichen Entwicklun- nisierung und Digitalisierung. Es geht Afrika entstehen. Mit insgesamt 47 Län- weise geeignet, den Kreis der Teilnehmer gen der heutigen Zeit, sie sind fixiert nicht darum eine riesige Wissensma- - Es kann helfen, geeignete Voraus- dern, mehr als 650 Millionen Einwohnern zu erweitern und damit die Zusammen- auf Vergangenheit. Um die Museen mit schine in Gang zu halten, es muss eine setzungen zu schaffen für Planungs- und mehr als 1.000 Sprachen ist Subsaha- arbeit über Ländergrenzen als Chance zu den Fragen unserer Zeit zu positionie- verständliche Bedienungsanleitung gruppen, die unabhängig den afrika- ra-Afrika eine stark heterogene, zugleich begreifen. ren bedarf es eher eines mobilen, flexi- geben, damit die Museen als Teil der nischen Diskurs zur Museumsplanung aber durch seine Vielfalt auch eine kulturell blen und dialogfähigen Typus. Zivilgesellschaft sich nicht abschließen definieren reiche Region. Das Goethe-Institut verfügt sondern ihre Sammlungen jeweils eine 10 11

KEYNOTE ADDRESS PROF. KLAUS-DIETER LEHMANN, PRESIDENT GOETHE-INSTITUT (GERMANY)

- Es kann strategische Allianzen zwischen Es gibt eine direkte Verbindung zwischen Das Goethe-Institut kann einen Denkraum, The South African painter Ernest Mancoba, In addition, the institute organised interna- could be well focused and thus used for the verschiedenen Disziplinen ermöglichen dem kolonialen Geschehen und den aktuel- einen Diskurs- und Resonanzraum anbieten. who died in 2002, said during a conver- tional conferences in Germany, which also final conference. For another, the networ- len Themen. Deshalb ist und bleibt Restitu- Es ist seit Jahrzehnten im Dialog mit staat- sation, “Despite our science, with ever- addressed the role of museums in connec- king of the African and European discussion - Es kann Weiterbildungsmaßnahmen orga- tion auch bei den hier behandelten struktu- lichen und zivilgesellschaftlichen Kulturak- ything we think we know, we do not know tion with restitution due to colonial history. on questions of restitution and the signifi- nisieren, um einen guten Informationss- rellen Themen eine zentrale Frage. Sie muss teuren und genießt deren Vertrauen. Es the future, we do not know tomorrow. But All of these activities were shaped by the cance of cultural heritage allows the latest tand bei Kuratoren, Planern und Regie- in den zivilgesellschaftlichen und kulturel- kann strukturell unterstützen oder ermögli- artists and poets, these people who do not extended perspective of treating the past state of the debates to be consolidated for rungsstellen herzustellen len Initiativen Antworten finden. Deshalb chen, ohne in die gesellschaftliche Selbst- just think mathematically, could bring us not as a closed chapter, but as an historic the first time so that proposed solutions can gehört für das Goethe-Institut in diesen vergewisserung einzugreifen. Es ist sich closer to the future.” obligation for the future. This also applies also be elaborated. Overall, the approach - Es kann Verbindungen schaffen zwischen Kontext die Förderung der Provenienzfor- bewusst, dass dekolonisierte Beziehun- to the political and economic asymmetries was suitable for expanding the circle of par- künstlerischer Produktion und musealer schung, das Öffnen der Archive, der Aus- gen Grundlage für jede Kooperation sein Thinking about the world of tomorrow is a and injustices that continue to exist from ticipants and thus understanding the coope- Präsentation tausch von Experten, die Anerkennung des müssen. central part of the Goethe-Institut’s commit- the colonial era. ration across borders as an opportunity. Unrechts und eine gemeinsame Verantwor- ment to international cultural cooperation. - Es kann öffentliche Debatten initiieren tung. Es geht um die Dekolonisierung des Die Erfahrungen, die bisher mit den ver- In projects and initiatives, global topics of Future plans for Africa must be created in These regional museum networks with inde- und dabei besonders junge Leute, Schulen Denkens. schiedenen Aktivitäten mit afrikanischen the future are identified and formulated Africa. With 47 countries, more than 650 pendent expertise and our main conference und Regierungsstellen berücksichtigen Partnern gemacht wurden, sind sehr positiv with partners. These learning communities million inhabitants and more than 1,000 are so important right now because African Bisher wurde die Debatte um das koloni- und von gegenseitigem Interesse geprägt, thrive on the multitude of perspectives, on languages, sub-Saharan Africa is a very cultural infrastructure is at a turning point. - Es kann aus der Erfahrung mit der ale Erbe vorwiegend unter Intellektuellen, sei es auf dem Gebiet der Bildung, der views and counterviews, on dialogue across heterogeneous region, but at the same time This is especially true for museums. eigenen Vergangenheit ein Forum zur Politikern und Aktivisten mit europäischem Unterstützung beim Aufbau von kulturel- national borders and language barriers. We it is a culturally rich region due to its diver- gemeinsamen Auseinandersetzung mit Bildungshintergrund geführt. Es kommt ler Infrastruktur oder bei der Aufarbeitung believe in the power of culture, but we also sity. The Goethe-Institut has an intensive A number of the existing museums in Africa dem deutschen Kolonialismus bieten dem Goethe-Institut darauf an, die Stimmen des Kolonialismus. Dies kommt dem neuen know that culture is not peace making as network and is presently working in ele- were created by Europeans from an eth- derer zu hören, deren Erfahrung, Wissen Schwerpunkt Museumsgespräche und Muse- such, but must open up, have mutual appre- ven institutes as well as in other different nological point of view. For example, the - Es kann die derzeit auch in Deutschland und Selbstverständnis in den Ursprungslän- umsplanung unmittelbar zugute. ciation and seek understanding. manifestations. For the Goethe-Institut it’s colonial powers established six museums intensiv geführte Diskussion über die dern geprägt wurden. Dafür Begegnungen, a fortunate circumstance to be able to work in South Africa between 1825 and 1892, künftige Rolle der Museen in der Gesell- Netzwerke und Plattformen zu ermöglichen, Museums are suited for enabling this cultu- so closely in this network with African col- followed by two museums in Zimbabwe in schaft mit der Meinungsbildung in den ist deshalb eine wichtige Initiative. ral dialogue in and with society, for connec- leagues, scientists and artists. For example, 1900 and 1901, one each in Uganda in 1908, afrikanischen Ländern verbinden. ting the past and the future, for acting as we were able to organise local and regio- Kenya in 1909 and Mozambique in 1913. educational and learning places, commu- nal meetings in seven different locations Experts from across generations, but in nicating across generations and fulfilling – in Kigali, Windhoek, Ouagadougou, Kin- particular curators and a young, educated social functions. However, their character shasa, Accra, Dar es Salaam and Lagos – elite are now critically examining existing must always take specific account of their in advance of this final conference of the collections and their presentation in their social and historical environment and they Museum Conversations 2019. They were countries. Rightly so! They were an expres- must be independent in their work. Only dominated by the voices of Africa, also sion of the prevailing ideology intended to then are they part of society and credible. increasingly in the context of global issues scientifically legitimise unjust and unequal and an overarching conceptual discourse relations in times of colonialism. They ser- At a very early stage, the Goethe-Institut on museum work in Africa. Although there ved European hegemony. History doesn’t and its partners around the world carried had already been an exchange of views in happen; it’s made. Therefore, it’s about out major projects on questions about the the past on issues of museums related to a fundamental change of meaning of the museum of the future and its role in soci- Pan-Africanism, Négritude and pre-colonial museum in Africa that facilitates the reco- ety, in South America with the Museum reality, as well as the bilateral relations bet- very of African history. Episodes, in Southeast Asia and the Pacific ween African and European museums, this with Transitioning Museums in Southeast project has a particular approach and yield. A second group of museums was founded Asia and in India with Museum of the For one thing, due to its intensive regional at the end of the colonial era directly on Future. Africa belongs in this big context. forerun, the complex questions of the topic the independence of the states. National 12 13

narratives for the formation of identities The African continent must find answers Germany about the future role of museums often played a role here. Both the first and for itself and in a global context, not as in society with the formation of opinion in KEYNOTE ADDRESS second category convey a closed topic and a defensive recipient but as an offensive African countries. PROF. GEORGE ABUNGU (KENYA) do not react to the social developments of source of ideas. Africa not only has a future, FORMER ASSOCIATE PROFESSOR OF HERITAGE STUDIES (UNIVERSITY OF MAURITIUS) today; they are fixed on the past. In order it will also shape it decisively. In the pre- There is a direct link between colonial DIE FRAGE VON RÜCKGABE UND RÜCKKEHR: EIN INTERESSENAUSTAUSCH to position the museums with the questions sent situation, I see opportunities for an events and current issues. For this rea- of our time, more of a mobile, flexible and effective new start in museum planning son, restitution is and will remain a key dialogue-capable type is needed. in Africa, on the one hand in the redesign issue in the structural themes discussed Die Frage des Erbes und dessen Rückgabe Im Mittelpunkt der früheren Aneignung von wie beispielsweise in Amerika, Australien of existing museums, and on the other in here. It has to find answers in civil society aus europäischen Museen ist in jüngster fremdem Erbe standen Museen - ein westli- und einigen Teilen Afrikas, führte dies zur At present, large-scale museum projects the redefinition of museum structures and and cultural initiatives. For this reason, for Zeit zu einem wichtigen Diskussionsthema ches Konzept, das die Sammlung von Objek- Vernichtung von Bevölkerungen, Völker- are being worked on in Ethiopia, Nigeria tasks. While the European museum was the Goethe-Institut, promoting provenance geworden, zumal es sich auf politischer ten, die als einzigartig gelten, unabhängig mord und zum Diebstahl von Land, natürli- and Congo, or have been completed as in strongly influenced by the Enlightenment, research, opening archives, exchanging Ebene etabliert hat. Obwohl dies kein neues von ihrer Herkunft und oft mit allen Mit- chen- und anderen Kulturerbe-Ressourcen Rwanda, Chad and Tanzania. Some of the as a temple of art, as a mausoleum even, experts, recognising injustice and shared Diskussionsthema ist, hat die Einbeziehung teln, charakterisiert und fördert, um sie im im Allgemeinen. museums, such as the Museum of Black the African museum can be a child of eman- responsibility belong in this context. It’s von keinem geringeren als dem französi- Namen der „Nachwelt“ für immer zu erhal- Civilisations in Dakar, are being founded cipation; a place of dialogue, action and about the decolonisation of thought. schen Präsidenten Emmanuel Macron in der ten. Obwohl sich dieses Konzept über die So sind die Museen, insbesondere die im with the support of foreign countries. Even liveliness, a museum without walls, which Debatte und seine Erklärung, sich zur Rück- ganze Welt verbreitet hat, widerspricht es Westen, und die zur Zeit der Eroberung where museum construction is funded from includes the street and its people with So far, the colonial heritage debate has gabe der in Frage gestellten, afrikanischen gelegentlich den lokalen Gepflogenheiten - und Kolonisierung entstandenen, in ihrer the outside, the museums work impressi- their questions and their experiences – a been conducted primarily among intellectu- Kulturgüter, die in der Kolonialzeit erwor- vor allem in Afrika, wo ein Teil des Erbes Geschichte - der Geschichte des Sammelns vely independently. Intellectual colonialism social space that takes up specific cultural als, politicians and activists with European ben wurden, zu verpflichten, die Debatte zum Verfall bestimmt ist, nach ihrem Dienst ihrer Kollektionen und in ihren Sammlungen has come to an end here. That must be the techniques and brings them to life. Thus, educational backgrounds. The Goethe-Insti- aufgeheizt und beispiellos vorangetrieben. in Tod und im Untergang zu verschwinden. an sich - tief verwurzelt in Kontroversen, approach in the present, the central posi- the museum not only can become an inte- tut wants to hear the voices of those whose Widersprüchen und Auseinandersetzun- tion of African experts in the exploration gral part of society, but at the same time experience, knowledge and self-image have Diese Frage der Wiedergutmachung muss Heute besteht jedoch kein Zweifel mehr gen. Diese Auseinandersetzungen betref- and presentation of their own culture. be fruitful for the debates in Africa and been shaped in the countries of origin. To jedoch aus einer breiteren Perspektive daran, dass es in Museen um Menschen fen natürlich die Beziehungen, einschließ- beyond. It’s worth rethinking the canon. facilitate encounters, networks and plat- betrachtet werden, wobei die globale Dyna- geht, und dass Menschen Erbe schaffen, das lich der Machtverhältnisse zwischen dem And because the museum work in African forms is therefore an important initiative. mik von Vergangenheit und Gegenwart, ein- entweder schon in Museen gelandet ist oder Westen und dem Rest der Welt. Der Westen, countries is currently heavily influenced by With its possibilities and expertise, the schließlich Kolonialismus, Geopolitik und noch in Museen enden wird, doch sowohl der heute über großen Reichtum verfügt - the discussion about the return of cultural Goethe-Institut wants to contribute to the The Goethe-Institut can offer a space for Globalisierung, berücksichtigt werden muss. der Mensch als auch das Erbe sind an sich welcher größtenteils auf die Enteignung von assets, the colonial and postcolonial issues common process of knowledge and plan- thought, a space for discourse and reso- Oben genannte Kriterien prägen und defi- politisch. Das Erbe ist Macht und Museen Ressourcen aus anderen Teilen der Welt between the former colonial powers and ning in order to initiate developments, dis- nance. It has engaged in dialogue with state nieren seit mehreren Jahrhunderten die sind dessen privilegierte Verwalter, aber zurückzuführen ist -, bewahrt in seinen the countries of the objects’ origins must be cuss alternatives and build and expand and civil society cultural actors for deca- menschlichen Beziehungen. Beziehungen, in das Erbe, insbesondere das Kulturerbe, ist Museen auch einige der größten und viel- negotiated together. The decolonisation of international relations. des and enjoys their trust. It can support denen Europa als Zentrum angesehen wird, nicht unbeteiligt oder neutral. fältigsten Sammlungen, darunter auch sol- thought must be the stated goal. It’s about or facilitate structurally without interfering während der Rest der Welt am Rande oder che, die unter Zwang, durch illegalen Handel more than restitution of the objects; it’s It can help to create suitable conditions for with social self-assurance. It’s aware that an der Peripherie agiert, wobei möglicher- Anhand des Erbes können andere unter- oder reine Eroberung erworben wurden. about the loss of self-esteem through colo- planning groups that independently define decolonised relationships must be the basis weise gegenwärtig Nordamerika - und ins- stützt oder gedemütigt werden. Es ist daher nial rule and its consequences to this day. the African discourse on museum planning. for any cooperation. besondere die USA - die Ausnahme bilden. nicht ungewöhnlich, dass viele der Samm- Die aktuelle Diskussion über die Restitution It’s not enough to simply return objects; Dieses Zentrum der globalen Dynamik war lungen aus den kolonisierten Teilen der ist daher tief in diese vergangenen Zusam- it’s about the people. Notwithstanding this, It can facilitate strategic alliances between The experiences we’ve had so far in our auch der Ursprung für Eroberungen und die Welt entweder dazu verwendet wurden, die menhänge von Eroberung und Kolonisa- stolen art is stolen art and must be decla- different disciplines. various activities with African partners are Disposition fremden Erbes. Dies ist umso Unterlegenheit der Kolonisierten abzulei- tion eingebettet, deren Auswirkungen auch red accordingly. Arguments against legiti- very positive and marked by mutual inte- mehr der Grund, warum die Diskussion ten, oder, wenn diese Sammlungen als qua- heute noch spürbar sind. Darüber hinaus mate returns due to inadequate institutio- It can organise training to provide good rest, be it in the field of education, support sowohl politisch als auch wissenschaftlich litativ hochwertig angesehen wurden, zu ist weithin bekannt, dass westliche Museen nal facilities should lead to strengthening information for curators, planners and for the development of cultural infrastruc- geführt werden sollte und warum Macrons zeigen, dass es in anderen Teilen der Welt und einige Institutionen nicht nur kultu- African museums rather than cementing the government agencies. ture or the reappraisal of colonialism. This Intervention überfällig war. vereinzelt Orte gab, an denen große oder relle Materialsammlungen besitzen, sondern Eurocentric view of the world. directly benefits the new focus on museum interessante Dinge gefunden worden sind, auch menschliche Überreste, die illegal aus- It can create connections between artistic talks and museum planning. die mit denen im Westen vergleichbar sind. gegraben, verkauft und nach Europa trans- Finally, it’s about the challenges of globa- production and museum presentation. Beide Gründe galten als Rechtfertigung für portiert wurden. All dies, wird heute noch lisation, modernisation and digitisation. die Eroberung und Herrschaft mit der dar- als „Sammlung“ bezeichnet. It’s not about keeping a huge knowledge It can initiate public debates, especially aus resultierenden Plünderung des fremden machine running; there must be an under- taking into account young people, schools Erbes. Die zugrunde liegende Realität ist, dass standable instruction manual so that the and government agencies. einige Teile der Welt immensen Ungerech- museums as part of civil society do not Abgesehen von ihrer oft behaupteten, aber tigkeiten ausgesetzt waren, darunter die complete themselves but so that their col- From its experience with its own past, it unzutreffenden Absicht, die „Anderen“ „zivi- Ungerechtigkeit von Sklavenhandel, Sklave- lections each find a continuation and depict can provide a forum for a common exami- lisieren“ zu wollen, bestand die koloniale rei und Kolonialismus, die bis heute Narben their society and make it capable of dis- nation of German colonialism. Agenda aus Eroberung, Aneignung von Land im menschlichen Gedächtnis hinterlassen course. Equal cultural participation is of und Ressourcen und der Fremdherrschaft haben. Es sei jedoch darauf hingewiesen, social relevance. It can link the current intense discussion in über bestimmte Völker. In einigen Fällen, dass diese Ungerechtigkeiten nicht regional 14 15

begrenzt waren, sondern fast jeder Kon- (kulturellen und natürlichen) Erbe befassen. Allerdings haben Museen durchaus von Kolonialmächte sind Narben, die durch und ausplündern‘.“ sowohl menschliche Überreste als auch tinent der Welt irgendwann einmal zum Sammlungen aller Art profitiert. Es ist wich- Verleugnung und politisches Geschick nur heilige Gegenstände aufbewahren. Diese Opfer wurde. Die Rückgabe ist daher ein Das UNESCO-Übereinkommen von 1970 tig anzumerken, dass nicht alle Sammlungen schwer zu beseitigen sind. Der Kolonialismus war nicht nur eine Rea- Museen müssen in einer Weise zerstört, globales Phänomen und eine Herausfor- über das Verbot und die Verhinderung der in den Museen weltweit illegal erworben lität, sondern auch bedrückend und böse. dekonstruiert und rekonstruiert werden, derung, die globale Lösungen, sowie eine unerlaubten Einfuhr, Ausfuhr und Weiter- wurden oder das Ergebnis unorthodoxer Wie der große kenianische Gelehrte Ngungi Daher müssen seine bösen Taten unweiger- damit sie einen wahren Paradigmenwechsel gründliche Untersuchung der Auswirkungen gabe von Kulturgütern regelt ausdrücklich und unethischer Praktiken sind. Im Gegen- Wathiong‘o einmal bemerkte, „kamen die lich zu einer Art restaurativer Gerechtigkeit widerspiegeln. der Kolonialisation erfordert, um tragfähige die Rolle des Kulturgutes und die Verant- teil, Millionen von Museumssammlungen Europäer zuerst mit der Bibel und dem führen. Wenn die Rückkehr von „Dingen“, Dekolonisationsmechanismen und -prozesse wortung der Partner/Staaten. Es ist der wurden legal erworben und sind von gro- Kreuz und forderten uns auf, unsere Augen die für ein Volk von Bedeutung sind und Schließlich, so unterschiedlich die einzelnen einzuführen. Auffassung, dass der Austausch von Kul- ßem wissenschaftlichen und anderen Wert. zu schließen. Als wir die Augen wieder öff- dessen Erdenleben bis heute beeinflussen, Fälle auch sein mögen und spezifische Vor- turgütern zwischen den Nationen zu wis- Allerdings verfügt eine große Zahl, insbe- neten, waren das Land und die Freiheit ver- dazu beitragen kann, dann soll es so sein. gehensweisen erfordern, sollte man auch Die Agenda der Dekolonisierung, die mög- senschaftlichen, kulturellen und päda- sondere westlicher Museen, noch über Treu- schwunden. Als wir um die Rückgabe unse- aus einigen guten Beispielen lernen um das licherweise der Restitution vorausgehen gogischen Zwecken das Wissen über die handsammlungen, die durch Eroberungen, res Landes baten, wurde uns gesagt, dass Die Rückgabe ist jedoch nicht die ultimative Rad nicht neu erfinden zu müssen. Dazu sollte, sollte sich nicht nur mit der Frage der menschliche Zivilisation erweitert, das kul- Invasionen, Diebstähle und Plünderungen irdische Güter uns nicht helfen würden, in Antwort auf diese vergangenen Ungerech- gehören unter anderem der Fall zwischen Rückgabe, Rückführung und der Wiedergut- turelle Leben aller Völker bereichert und erworben wurden - einige enthalten immer den Himmel zu kommen. Dies könne nur tigkeiten; sie ist vielmehr als Teil des Deko- den Schweden und kanadischen Ureinwoh- machung befassen, sondern auch mit der den gegenseitigem Respekt und die Wert- noch menschliche Überreste, die in der das Wort Gottes, und wir sollten warten, lonisationsprozesses zu betrachten, der nern, in dem die Kanadier und die Schwe- Frage der Machtverhältnisse, der Sprache schätzung unter den Nationen fördert. Vergangenheit auf unethische und illegale bis wir „irgendwo dort oben“ im Himmel notwendig ist, um Macht und Machtverhält- den über die Rückgabe von Objekten der und des Vokabulars der Beziehungen; und Weise erworben wurden. belohnt würden. Auf das Kreuz folgten dann nisse auszugleichen, einige der vergange- kanadischen Ureinwohner verhandelt haben im Falle von Museen, in denen ein Großteil Die UNESCO ist eine Mitgliedstaatenorga- Waffen.“ nen Ungerechtigkeiten zu beheben und eine und neue Objekte für die Schweden ange- des Erbes und der menschlichen Überreste nisation, deren Mitglieder sich gemeinsam Afrika und Kolonialismus - Der afrikani- neue Beziehung aller Gemeinschaften der fertigt wurden, um die heiligen zu ersetzen. aufbewahrt werden, mit der Dekolonisie- an ihre Zusagen halten sollten. Jedes Mit- sche Kontinent war Opfer von Sklaverei, Kurz, uns wurde gesagt, dass unsere Trom- Welt zu entwickeln, die die Menschenrechte Ein weiteres Beispiel ist der Fall Dänemark/ rung der Praktiken, der Erzählungen, als glied ist jedoch unabhängig und kann in Sklavenhandel und Kolonialismus. Der Skla- meln und Instrumente der Macht, Autorität als grundlegend anerkennen - einschließlich Island/Grönland, in dem Dänemark den bei- auch der Sammlungen in diesen Museen. der Praxis tun, was es will, und trotz dieser venhandel beraubte dem Kontinent einige und Nationalität - unsere Musikinstrumente, der Rechte des Erbes und der Gleichheit - den letzteren Ländern umfangreiche Samm- Übereinkommen bleibt das Problem, dass seiner leistungsfähigsten Menschen und die unsere Vorfahren und die spirituelle für eine neue Weltordnung. lungen zurückgab und es gibt weitere Fälle, Andernfalls gäbe es keinen realistischen Vertragsstaaten illegal erworbenes Frem- hinterließ viele Orte unerschlossen und Welt repräsentieren - teuflische und heid- sogar zwischen einzelnen Museen im Nor- Prozess der Bereinigung vergangener Fehler derbe besitzen. Da solche Konventionen auf brach. Der Kolonialismus mit den damit ver- nische Zeichen sind, die gesammelt und Rückgabe ist nicht nur objektbasiert - Die den und Süden. und keine Wiederherstellung und Normali- internationalem Recht beruhen und Gesetze bundenen Ausbeutungen, Unterwerfungen verbrannt werden sollten. Diese „heidni- Diskussionen über die Wiedergutmachung sierung der Weltbeziehungen. nicht rückwirkend anwendbar sind, sehen und Völkermorden zielte auf die Aneignung schen Symbole“ landeten jedoch als günstig sollten als Katalysator für die Korrektur Positiv ist auch der Ansatz der Bundes- viele Länder keine Verpflichtung, diese ver- von Arbeit, Ressourcen, Erbe und sogar des erworbene Sammlungen in ausländischen vergangener Fehler dienen, wo immer sie regierung, sich in einigen ihrer Museums- Der Ansatz der UNESCO - Einer der Gele- gangenen Ungerechtigkeiten zu korrigieren, menschlichen Geistes ab. Museen. auch begangen wurden. Darüber hinaus sammlungen, insbesondere bei den ver- genheiten für einen Dialog zu diesem da dies als Akzeptanz solcher Ungerech- sollte die Frage der Rückgabe nicht objekt- dächtigen, der Provenienzforschung zu Thema bot die UNESCO, die versuchte, die tigkeiten angesehen würde und als solche Präsident Macron lag also nicht falsch, als Museen im Norden profitierten daher von basiert bleiben, sondern auch das soge- verpflichten und eine Politik der Proveni- Fragen der Rückgabe, Rückkehr und Rück- nicht nur alte Wunden öffnen, sondern die er in Algier, Algerien, sagte, dass der Koloni- den kolonialen Aktionen der erzwungenen nannte Immaterielle umfassen, das sich enzforschung und Restitution, insbesondere führung durch verschiedene Konventionen betroffenen Staaten auch einem Entschädi- alismus ein Verbrechen gegen die Mensch- und „freiwilligen“ Übernahme des Erbes der gelegentlich auf das Gedächtnis und nicht im Hinblick auf menschliche Überreste, zu und Abkommen anzugehen. Es sei darauf gungsprozess aussetzen könnte. So versu- heit sei. Bis 2015 hat die Bundesregierung „Anderen“. Viele große Museen im Norden auf physische Objekte oder den Raum entwickeln. hingewiesen, dass alle diese Terminologien chen Afrika und der Rest der ehemals kolo- den Völkermord an den Herero und Nama in waren nicht nur passive Nutznießer, oft von beschränkt. Andere Formen der Rückgabe zwar einige Unterschiede aufweisen, aber nisierten Welt weiterhin fast erfolglos, ihren Namibia in den Jahren 1904 bis 1908 nicht Militärexpeditionen, sondern planten und sollten auch Land und Eigentum einschlie- Was die Museen im Allgemeinen betrifft, auf die eine oder andere Weise miteinander Fall zu vertreten. anerkannt, und als sie es schließlich taten, führten zusammen mit dem Militär Strafex- ßen, das afrikanischen Ländern weggenom- so muss für eine normale und nüchterne verbunden sind und die Wiederherstellung war es nur vage. peditionen auf der Suche nach Kulturgut men wurde. Betrachtung der Restitutionsdiskussion, dessen bedeuten, was verloren gegangen Museen und Sammlungen - Der Mensch hat durch. die einen annähernd akzeptablen Weg für ist oder sich der rechtmäßige „Eigentümer“ sich von jeher für fremdes Erbe interessiert, Heutzutage gibt es viele ungelöste Fra- In Südafrika muss das Problem der Lan- die Zukunft darstellt, die Diskussion von auf unethische oder illegale Weise angeeig- und die Sammlung des Erbes landete in der gen, darunter der Maji-Maji-Aufstand und Diese wurden im Rahmen des Sammelns denteignung und Zwangsräumung, dass die der Prämisse ausgehen, dass Museen keine net hat. „Wunderkammer“, dem „Kuriositätenkabi- die Niederschlagung in Tansania; die Inva- und der wissenschaftlichen Forschung vor- Menschen nicht nur ihres materiellen, son- neutralen Orte sind und dass insbeson- nett“ oder der „Kriegskiste“ und schließlich sion und Plünderung des Königreichs Benin genommen und haben sich inzwischen als dern auch ihres geistigen Eigentums enteig- dere viele westliche Museen immer noch Selbst die jüngsten Äußerungen verschiede- führte es zur Schaffung moderner Museen. durch britische Truppen im Jahr 1897, reine Plünderungsexpeditionen erwiesen. net hat, im Rahmen der Wiedergutmachung ein umstrittenes Erbe enthalten. So sind sie ner politischer Führungskräfte sowie Stel- Museen, insbesondere in der westlichen wobei die königlichen Bronzen wegge- Mit den Worten eines Michel Leiris in einem angegangen werden. Darüber hinaus sind Orte der Konfrontation und der umstritte- lungnahmen verschiedener Staaten deuten Praxis, sind jedoch keine Neuheit, weil es schafft wurden, die heute in zahlreichen Brief an seine Frau vom 19. September 1931: viele afrikanische Museen ein Produkt des nen Geschichte, einschließlich der histo- darauf hin, dass Erbe oder kulturelles Erbe sie bereits in der griechischen und römi- Museen in Europa und Nordamerika unter- „Wir plündern die Afrikaner unter dem Vor- Kolonialismus, und einige setzen sich auch rischen Ungerechtigkeiten einiger Gesell- Macht bedeuten. Es definiert nicht nur, wer schen Zeit gab. Das Besondere an Museen gebracht sind. Die Ermordung politischer wand, andere zu lehren, sie zu lieben und weiterhin für die gleichen Ziele der Enteig- schaften weltweit. Dies muss behoben wir sind, sondern auch unsere Beziehung zu ist, dass sie durch ihre Sammlungen immer und religiöser Führungskräfte im Namen ihre Kultur kennenzulernen, das heißt, letzt- nung und Einbehaltung des gesamten Erbes werden, damit die menschliche Normalität anderen. Aus diesem Grund hat die UNESCO die nationale Leidenschaft geweckt haben. der Zivilisation und die Überführung einer endlich noch mehr Ethnografen auszubil- auf unbegrenzte Dauer ein. In Afrika gibt Bestand haben kann. so viele Konventionen, die sich mit dem großen Anzahl von Kulturgütern auf die den, die sich ihnen nähern, sie auch ,lieben es zum Beispiel Museen, die noch immer 16 17

KEYNOTE ADDRESS The underlying reality is that some parts heritage (cultural and natural). acquired or are a result of unorthodox and PROF. GEORGE ABUNGU (KENYA) of the world underwent immense injustices unethical practices. To the contrary, millions FORMER ASSOCIATE PROFESSOR OF HERITAGE STUDIES (UNIVERSITY OF MAURITIUS) in human memory, including those through The 1970 UNESCO Convention on means of of museum collections have been acquired THE QUESTION OF RESTITUTION AND RETURN: A DIALOGUE OF INTERESTS slave trade and slavery, as well as coloni- prohibiting and preventing the illicit import, legally and are of great scientific and other alism that have left scars to the present. It export and transfer of ownership of cultural values. However, a large number particu- should however be noted that these inju- property is explicit on the role of cultural larly of western museums still hold in trust The question of heritage and its restitution in the the disposition of others’ heritage. This other’s heritage. stices were not regionally based but nearly property and responsibilities of partners/ collections acquired through conquests, museums of Europe recently became a major topic is more so the reason this discussion every continent of the world has at one states parties. It considers that interch- invasions, theft and looting - with some of discussion, especially when it found its way in should be as much political as it is aca- Thus, apart from its often-stated but time or the other been a victim. Thus, res- ange of cultural property among nations for also still holding human remains acquired the domain of politicians. Although not a new topic demic and the Macron intervention was inaccurate intention of “civilizing” the titution is a global phenomenon and chal- scientific, cultural and educational purpo- unethically and illegally in the past. of discussion, the involvement of none other than therefore overdue. “others” the colonial agenda was one lenge that requires global solutions inclu- ses increases the knowledge of the civiliza- the president of France, Emmanuel Macron, in the of conquest, appropriation of land and ding a thorough revisiting of the impacts of tion of humans, enriches the cultural life of Africa and Colonialism - The continent of debate with his statement committing to the return At the centre of the past appropriation resources and domination of particu- colonization with a view to putting in place all peoples and inspires mutual respect and Africa was a victim of slavery, slave trade of African heritage properties under contestation of others’ heritage were the museums lar people by a foreign power. In some workable decolonization mechanisms and appreciation among nations. and colonialism. Slave trade extracted from after acquiring them during the colonial times, fuel- - a western concept that denotes and cases like America, Australia and some processes. the continent some of the most able-bo- led discussion and provided it with more impetus promotes collection of what is conside- parts of Africa, it led to annihilation of UNESCO is a member state organization died humanity rendering many places unde- than ever before. red unique, irrespective of its source, populations - genocide - and theft of The decolonization agenda that should pos- whose membership should collectively veloped and wastelands. Colonialism with and often by any means necessary that land, natural resources and other heri- sibly precede the one of restitution should adhere to what they commit to. However its attendant acts of exploitation, subjuga- However, this question of restitution must be exa- it then conserves with the view to pre- tage resources in general. not only look at the question of restitution, each member is independent and can do as tion and genocide was about extraction of mined through a wider lens of past and present glo- serve forever in the name of “posterity”. repatriation and return but also the ques- it wishes in reality and despite these con- labour, resources, heritage and even human bal dynamics, including colonialism, geopolitics, and While this concept has spread across Thus museums, especially in the West tion of power relations - the language and ventions, the problem of states parties hol- spirit. globalization. These are the features that have sha- the world, it in itself is at times in cont- and borne at the times of conquests and vocabulary of relations - and for muse- ding illegally acquired heritage of others ped and defined human relations for some hund- radiction to local practices, especially in colonization, therefore are within their ums where most of the heritage and human still persist. More so since such conventions Therefore, when President Macron said in reds of years. Relations in which Europe is consi- Africa where some heritage is made to history - the history of their collections remains are, the decolonization of both the are based on international laws and laws Algiers, Algeria that colonialism was a crime dered to occupy the centre, while the rest of the serve, deteriorate and expire in death and in their collections, deeply embed- practice, narrative and the collections in cannot be applied retroactively, many of against humanity he was not wrong. The world remains on the fringes or the periphery with and extinction. ded with controversies, contradictions museums. the countries do not feel obliged to correct German government did not acknowledge possibly now North America - and notably USA - and contestations. These contestations these past injustices as doing so is consi- the genocide against the Herero and Nama being the exception. This centre of global dyna- Today however, there is no doubt that of course touch on the relations inclu- In the absence of this, no realistic process dered accepting these past injustices and people of Namibia carried out from 1904 mics has also been the source of conquests and museums in themselves are about peo- ding power relations between the West of correction of past mistakes and mending as such, could not only open old wounds to 1908 until 2015; when they did, it can be ple and people create heritage that and the rest of the world. The West that and normalization of world relations would but expose the same states to litigation for said it came in a lukewarm way. have either ended up or end up in is today endowed with great wealth - a take place. compensation. Thus, Africa and indeed the museums; both people and heritage are lot of which arose out of the expropri- rest of the formerly colonized world con- however intrinsically political. Heritage ation of resources from other parts of The UNESCO Approach - One of the tinue to argue their cases with little success. is power and museums are privileged the world - also has some of the largest avenues for dialogue in this discussion has Today, there are many pending matters to be the custodians, yet heritage and and diverse collections in their muse- been UNESCO that has tried through vari- Museums and Collections - Human beings including among others the Maji Maji rebel- particularly cultural heritage are not ums, including some collections acqui- ous conventions and treaties to address the have always had an appetite for others’ lion and it’s crushing in Tanzania; and the innocent or neutral. red under duress, illicit trafficking or issues of restitution, return and repatria- heritage and the collection of the others’ invasion and looting of the Benin King- pure conquests. tion. It should be noted that while all these heritage led to the ‘cabinet of curiosity’ or dom by the British troops in 1897, carting Heritage can be used to promote or terminologies have some points of diffe- ‘war chest’ that ultimately led to the crea- away its royal bronzes that now don many demean others. It is therefore not Therefore, the current discussion on res- rence, they are related in one way or ano- tion of modern museums. However, muse- museums in Europe and North America. The uncommon that many of the collec- titution is deeply embedded in these ther and imply restoration of what has been ums, especially in the Western practice, are killing of political and religious leaders in tions from the colonized parts of the past relationships of conquests and lost or appropriated in unethical or unlaw- not new because they have existed even the name of civilization and the transfer of world were either used to infer “inferi- colonization whose repercussions are ful way to its rightful “owners”. during the Greek and Roman periods. What huge numbers of heritage to colonial pow- ority state” of the colonized or where felt to the present. More so, it is not is unique about museums is that they have ers is a scar difficult to erase with denial these were considered of high quality, lost on many that Western museums It is clear even from the recent exclama- always attracted national passion through and brinkmanship. to show that there were a few places in and some institutions do not only pos- tions by various political leaders as well as the collections of what they hold. other parts of the world where great or sess cultural material collections but responses from various states that heritage As the great Kenyan scholar Ngungi Wathi- interesting things similar to the ones in also human remains that were dug, sold or cultural heritage is power. It does not Museums have however been beneficiaries ong’o once observed, Europeans first came the West could be located. Both reasons and transported to Europe illegally. only define who we are but also our rela- of collections of all kinds by all means. It is with the Bible and the cross, and told us to were justification for conquests and Today, all these are still classified as tionship with others. That is why UNESCO important to note that not all museums of close our eyes. When we opened our eyes, domination, with resultant looting of “collections”. has so many conventions dealing with the world’s collections have been illegally the land and freedom was gone. When we 18 19

asked for our land back, we were told that earthly things would not In South Africa, the issue of land dispossession and forced removal help us go to heaven. Only the word of God and we should wait to that did not only dispossess people of their physical properties but be rewarded in heaven, “somewhere up there”. The gun then follo- also their spirit must be addressed as part of restitution. In addi- wed the cross. tion, many African museums are a product of colonialism and some have continued to promote the very same agendas of dispossession In a nutshell, our drums and instruments of power, authority and and retention of all heritage in perpetuity. Thus, there are muse- nationhood - our musical instruments that had the representation ums in Africa that continue to hold on to human remains as well as of our ancestors and the spirit world - we were told are devilish sacred objects. These museums must be disrupted, deconstructed and signs of heathen to be collected and burnt. However, these and reconstructed in a way that reflects a true paradigm shift. “symbols of heathen” ended up in museums abroad as prized collections. Lastly, as much as each case may be different and require specific ways of dealing with, it may be necessary to also learn from some Museums in the North were therefore beneficiaries from colonial good examples and avoid re-inventing the wheel. These include actions of forced and “voluntary” acquisition of the heritage of ‘the but are not restricted to the Swedish/Native Canadian case where others’. Many great museums of the North were not only passive the Canadians and the Swedes negotiated for the return of Native beneficiaries, often through military expeditions, but also planned Canadian objects and instead made for the Swedes new ones to and executed punitive expeditions together with the military in replace the sacred ones; the Denmark/Iceland/Greenland case is search of cultural goods. another example where Denmark has returned substantial collections to the latter two; and some cases even between individual Carried out in the name of collecting and scientific researching, museums in the North and those in the South. these have now been demonstrated as having been pure looting expeditions. In the words of Michel Leiris in a letter to his wife The German government has also made a positive attempt by com- dated September 19, 1931: “We pilfer from the Africans under the mitting to provenance research in some of its museum collections, pretext of teaching others how to love them and get to know their especially those suspect ones, as well as developing a policy on culture, that is, when all is said and done, to train even more ethno- provenance research and restitution, especially of human remains. graphers, so they can head off to encounter them and ‘love and pilfer’ from them as well”. For a normal and sober reflection on the discussion on restitution that will yield a near acceptable way forward, discussion must start Colonialism was not only a reality but was also oppressive and from the premise that museums are not neutral places and that evil. As such, its evil actions must by necessity lead to some kind many Western museums in particular still hold contested heritage. of restorative justice. If restitution of “things” that matter to a peo- Thus, they are places of contestations and of histories full of cont- ple and influence their life on earth to the present can contribute to roversies, including historical injustices to some societies globally. this, so be it This must be rectified for human normalcy to prevail.

Restitution however is not the final answer to these past injustices; to the contrary it must be considered part of the decolonization process that is so necessary to balance the equation of power and power relations, mend some of the past injustices and develop a new relationship of all communities of the world that recognise human rights as fundamental - including heritage rights and equa- lity - for a new world order.

Restitution is not only object-based - The discussion on restitution should act as a catalyst to correcting past mistakes wherever they have happened. More so, the question of restitution should not remain object-based but go beyond this to include even the so-cal- led intangible that may at times be confined to memory, rather than physical objects or space. Other forms of restitution should also include land and property taken away within the countries of Africa.

Display Cases | Molobye; Matsoso; Mashilo (SA) 20 21

MUSEUM CONVERSATIONS 2019

DAY 1 22 23

LECTURE GROUP WORK NARRATIVE OF COLONIAL HERITAGE IN NAMIBIA CONFRONTING THE MUSEUM THE REITERDENKMAL PORTABLE HAWKERS MUSEUM BY GINA FIGUEIRA, UNIVERSITY OF LEEDS (NAMIBIA) BY DR. ALISON KEARNEY (WITS UNIVERSITY, SOUTH AFRICA)

Gina Figueira critically analysed a statue The role of such buildings and statues in discourse is about the importance of the Alison Kearney shared information on the around the world but was challenged by now in European museums – opposite of erected during the German colonial period having colonial settlers formulate an iden- colonial statues and the fact that any creation, implementation and traveling of customs that do not allow traditional medi- what was done during the colonial era. in honour of the German soldiers who died tity and appease the discomfort of home- challenge to them seems to go largely her project “Portable Hawkers Museum” cine and toxic substances such a rat poi- Debate: how the objects were perceived during Germany’s colonisation of Namibia. sickness cannot be ignored, particularly in unnoticed because the colonial message of that hit the streets of South Africa as a son to enter foreign countries. Alison then as demonised and taken to Europe before The Reiterdenkmal statue was removed in Namibia where the colonial settlers were the statue is so dominant. Worth noting also mobile museum of mundane items regu- opted to create casts and take photos of the covered in toxic chemicals, which hinders 2009 and relocated to make way for the allowed to remain after Independence. is Namibia and the collective consciousness larly purchased at hawkers on the streets. objects to overcome this challenge, which their repatriation. Africans now cannot recently erected Independence Memorial Colonial settlers focus on the permanent of hatred that stems from the nation accep- The objects of the museum were not for brought the aspect of arts and an artist interact and touch objects that were taken Museum. The statue is no longer visible to occupation of land, the removal of indi- ting the violent colonial past that is easily sale and the goal was to disrupt the estab- into the equation, and also highlighted out of context and meaning for display in the public, which prompted its resurrection genous peoples and creation of an ethni- denied by the descendants of the coloniser lished order and highlight how the mun- her ethnicity as a white woman producing Europe – why are festivals and rituals such through a mini version at a restaurant in cally distinct national community. Settler who now regard themselves as Namibians dane objects reflect a lot of the community knowledge; trajectory of artists to engage as in West Africa not also regarded as pre- Swakopmund. This presentation examines colonialists are not contingent to the idea and not Germans. in which they function and their meanings and critique institutions of art through the servation and a museology? When does the narratives around the statues and how of discovery and carry their sovereignty are created – Objects in a museum could be Portable Hawkers Museum. something become community property? these narratives form part of an authorised and lifestyles with them; they transform the regarded as an index to a community and Also, worth noting is how the Hawkers heritage discourse about German colonia- land into their image of themselves. This how it functions. Museums establish and maintain that colo- Museum was allowed inside a museum in lism in Namibia. statue is a representation of that narrative nial gaze that taints the production of Australia but was not allowed just outside and how the soldiers viewed themselves as The audience tend to feel alienated by knowledge - The mobility of the museum the building – disruption of order outside a The following points came across in the the future of what is now Namibia. what is in a museum – despite the mun- and its contents brought to the front a regulated building were not permitted and lecture; history of the German settlers in dane aspect of the objects of the Hawkers question regarding the policies and regula- only allowed inside. Namibia and key milestones at that time; A prominent suggestion from the audi- Museum, the audience’s interaction with the tions of its content – something that applies the cultural process and narrative theory – ence: South Africa went through the “Rho- items were limited and serve as an example to museums across Africa. The mobility also looking at the formation of an identity for des must fall” phase, which through a social of what applies across museums in Africa, highlighted the colonial and out-dated con- the colonial settlers that produced a collec- media campaign and mobilisation on the in which communities’ involvement in the cept of a museum, and how the parody of tive memory and heritage. This object still ground questioned the colonial landscape selection of content and its presentation is museums covers the crimes against huma- stands; is this a question of restitution from and surroundings of the monument depic- Summary: Statues and churches played a promi- highly lacked. The mobile museum travelled nity committed to obtain African objects Namibia to Germany? The replica in Swa- ting Cecil Rhodes at the University of Cape nent role in the German colonial settlers’ formu- kopmund forms a nostalgic colonial object Town. This debate went to Parliament lation of their identity and to this day, represent and therefore exists as a re-presentation of and was stoked by the protest against an the colonial domination of the indigenous peo- colonial domination. The Alte Feste – next increase in university tuition – what about ple. Oppression of the colonial narrative through disapproval of statues goes unnoticed in Nami- to the new museum – was a concentration other colonial statues in South Africa? bia, which reflects the dominance of the colonial camp and headquarters of the Schutztruppe These monuments may have been removed narrative. (German colonial forces). It is important to but the spirit still stands – how does Africa note how this statue was erected in honour deal with this? of German soldiers who died in battle or Summary: The Portable Hawkers Museum of disease, while 50 to 60 thousand Nama Namibia’s plans or protocol in dealing with project highlighted the following: the invol- and Herero people died by force or due to such matters, or the lack thereof, also surfa- vement of artists and communities in museums, and for the institutions to understand fatal conditions in the camps where their ced. The Reiterdenkmal was simply reloca- the importance of defining and understanding skulls were harvested and sold to scientists ted without the State and society through their audience before selecting content are of in Germany. Also, the role of churches such a law defining the process. South Africa is high importance in Africa. The concept of a as the Christuskirche that has Schutztruppe looking into creating a colonial park where museum needs to be redefined for the insti- names inscribed on its walls are symbo- all such statues will be on display for the tution to not establish and maintain the colo- lic of more than Germans seeking heimat public. The red paint on a solider statue nial gaze while covering up the crimes against and also a political statement of colonial in Swakopmund goes widely unnoticed, humanity committed to obtain the many artefacts now in museums. domination. showing how dominant the authorised 24 25

GROUP WORK LECTURE MOBILIZING HISTORICAL OBJECTS FROM NAMIBIA: COLONIAL COLLECTIONS AS ARCHIVAL REMNANTS OF “CONFRONTING COLONIAL PASTS, ENVISIONING CREA- RECLAMATION AND (RE)APPROPRIATION TIVE FUTURES” REIMAGINING THE SOUNDLESS AND SILENCED ISIGUBHU BY NEHOA KAUTONDOKWA (MUSEUMS ASSOCIATION OF NAMIBIA) THROUGH 21ST CENTURY SOUTH AFRICAN POPULAR This lecture revealed that the Ber- complicated. Not only are the objects lin Ethnological Museum in Germany too expensive to repatriate, they ELECTRONIC MUSIC: GQOM has over 1,400 objects from Namibia, would only be in Namibia on-loan for BY AMOGELANG MALEDU (IZIKO MUSEUMS, SOUTH AFRICA) collected between from 1880 – 1919, three years, with a possible extension and mostly during the German colo- to a permanent loan. Once returned, nial era. Collectors included relatives the objects are kept and exhibited at The lecture focused on the colonial archive through its colonial archiving after its alleged use to members of the German colonial the National Museum of Namibia and – as distorted as it is – that has been a in the Bambatha uprising. administration, missionaries, traders not in the communities of origin. In vehicle for profound imagination, espe- and researchers. Although there are fact, some of the objects cannot be cially in envisioning a justifiable future. What the colonial archive has revealed: Imagi- objects collected by members of the returned to the communities, as not However, current investigations of the nation becomes an important strategy. The ‘isi- Schutztruppe who were in Namibia only were they treated with highly assumedly redemptive vicissitudes of (un) gubhu’ seems to have resurfaced through con- between 1904 and 1909, most were poisonous chemicals in Europe, the packing the colonial archive must be met temporary South African Music; imagination of collected before the Nama and Herero collectors did also not document cre- with suspicion. An ethnomusicologist, Per- how the original object sounded. The archiving Genocide. All in all, the Berlin Ethnolo- ators of the objects. With a series of cival Kirby, operating in the colonial period of the drum was presumably without narrative gical Museum has a collection bought wars, most documents regarding these collected and archived a musical artefact: and knowledge of its real sound. Hence, defiance from 52 persons and 7 institutions. objects were also destroyed. There is ‘Isigubu’ (drum). Such collections silenced was born by music and musicians in the towns- also the challenge of selection, given the musical ability of the artefact through hips, where drums are the core of the vibrant Broadly speaking, there is a pro- that the project funding can only colonial museum practices. The lecture loo- and dance/groovy type of music – first Kwaito ject for restitution that involves the afford to safely transport about 20 of ked at the ‘Isigubu’ (allegedly played during and then Gqom. return of about 20 objects to Nami- the 1,400 objects. the Bambatha rebellion in 1906 and found bia through the National Museum of in the University of Cape Town’s Kirby Col- Discussions focused on the return of objects and Namibia, Museums Association of Borrowing or borrowing perma- lection) – to speculate how it may have cultural practices that remerge through music. Namibia and the University of Nami- nently makes no sense: the objects (un)intentionally influenced contemporary The reimagining of the drum’s utility through bia. A team of Namibians travelled to should be defined as in a state of popular electronic music in South Africa cal- ‘Gqom’ is an embodied mythology as a practice Germany for some time to study the being returned to Namibia and not led ‘Gqom’. What the colonial archive has of lived experience and memory. The specula- objects, assist in their curation and loaned. Since some Ovaherero and revealed about this object is scant – ima- tive links can only be drawn with regard to how work towards their return. Nama people are in Botswana, it was gination becomes a very important stra- far apart genres can go or develop. African con- also urged to liaise with the people of tegy of reclaiming agency and history. Since temporary music tends to be boxed by means of Discussions revealed the people’s Botswana before pursuing the matters nobody has found recordings of how the names – branding and product placement – bro- disgruntlement because the process further. Such liaison is welcomed by ‘Isigubu’ from Kirby’s collection sounds, adly speaking, ‘Afrobeats’. Additionally, cura- of restitution is proving difficult and Namibia. imagining its sound through ‘Gqom’ becomes ted objects that can’t be used anymore are still a working methodology of thinking around important. There are relationships that people new ways of curating erasure in museums, can see; connect the historical instrument with Summary: Several resolutions were brought up including that Germany should with the only evidence being its cultural contemporary music. Even though we can’t truly fund the process and apologise to Namibia with no conditions set for the resti- artefact status. know the original sound of the drum today, its tution. Should Germany wish for ‘appropriate’ facilities for these objects, they connection to present music traditions such as should fund them, and what happens thereafter, should not be of Germany’s Introduction to arts has been through popu- ‘Gqom’ cannot be denied. concern. Political assistance in this process should be lobbied and all museums lar culture in South Africa – particular must come up with full disclosure of what is in their storage so that all know development in music that combines traditi- Summary: Museums need to think about new curatorial practices in the presentation of what is where. There is also a need to extend the level of community engage- onal instruments with electronic beats. Iziko their colonial collections, especially musical instruments that are evidently meant to be ment/communications and commitment to re-define what is a museum. presented an ancient and traditional instru- played. The museum convention of Do not touch (for preservation considerations) needs to ment that has somehow re-surfaced to influ- be reconfigured in new contemporaneous ways to think about how the displayed objects ence contemporary music, yet been silenced can have new agency, meaning and speak to their utility: music. 26 27

GROUP WORK NEW MUSEUM APPROACHES ON THE AFRICAN CONTINENT POST-COLONIAL AND RACIST IDEOLOGIES IN MUSEUMS ALEXANDRA HERITAGE CENTRE AND WOMEN’S LIVING AND EXHIBITIONS HERITAGE MONUMENT BY WANDILE KASIBE (UNIVERSITY OF CAPE TOWN, SOUTH AFRICA) BY FRANCES ANDREW (SOUTH AFRICA)

Wandile Kasibe provided a thought-pro- Focal points of post-video discussion: the the museums must play. Curators need to Frances Andrew is part of a team that recording of a piano track from 1942.” voking presentation on how museums are definition of Natural History Museums - decolonise their mind. Museums need to applies multiple disciplines when producing perceived as innocent spaces, while they indigenous peoples, such as the Khoi, wit- collaborate more often, such as through a number of New Museum and exhibition The Women’s Living Heritage Monument: stem from sometimes-violent political hin the glass boxes of display. Why did we the Commonwealth Museums Associations. design projects. She feels strongly about 2,4km² exhibition space showcasing one of projects. advocate for the closure of this museum? Consultation on changes to policies, par- working in a space that can change the the histories of the role that women have Indigenous people are misrepresented and ticularly those from the colonial time, are existing and ‘incorrect’ models that govern- played and still play in South Africa. The Kasibe looked at two frameworks: through the racist lens. How ethical is it to not progressive. Societies must take greater ments are implementing in museums; such history of women is a history of gaps – one display a human cast in a display case – responsibility of objects after their restitu- institutions should bring important voices where all share experiences but differ in Natural History Museums – from about dehumanising. Is that art? The exhibition tion – need to develop policies and proto- together. their own story. The project drew on hund- 1825 - the collection of human skeletons as cements racial stereotypes as the objects cols to follow regarding this. There is a need reds of women artists, performers, choirs, objects for museums. Such displays were on display were in the Animal Kingdom sec- for greater museum forums to facilitate The Alexandra (Alex) Heritage Centre is a authors, academics and poets etc. to tell not limited to Africa and span around the tion of the museum – where are the objects the exchange of ideas. Museums need to small (250m) community history museum. the story of South African women. A large world as extensions of the colonial empires depicting, for instance, the Caucasian peo- disclose their crimes – South Africa’s Truth It was completed 3 years ago after a delay part of the exhibition focuses on the living manifested through museums. ple in the same section? and Reconciliation Committee is an example of 10 years on the building itself, which archive or the ever-unfolding history, and of uncovering the crimes committed and highlights the struggles of the process. this is a space which harnesses social media The Anthropological Museums approach – Some of the points brought forward by perpetuated. Essentially, the space presents a history of platforms, public lectures and dialogues etc. Kasibe showed a video of how a museum the audience in relation to revisiting the Alexandra – although the vision is that it to keep the history current. was “cleansed” spiritually by applying tra- idea of a museum in a post-colonial con- will also portray more than purely history ditional African practices – an intervention text: who will be responsible for cleaning in the near future. Being one of the poorest Highlight: A soundscape has been project. Museum regarded as a crime scene the crime scene? The “crimes” must be urban areas in Johannesburg and located developed, which runs as a backdrop to examined through the investigative lens. disclosed by perpetrators: museum profes- next to one of the richest, the space is in a the entire museum and which draws on Cleansing the space = decolonising it. sionals. Community consultation needs to constant struggle in lending room to a rich the incredibly rich heritage of women in take place for society to decide what roles history of activism. music - women’s voice. It was important for the museum to emphasise women’s voice; Highlights: A booth records community “We needed women to be speaking loudly stories for archive and community access. in this space.” Another important factor This allows stories from the past, present in the design was conversations rather and future to be archived and accessed by than monologues and this runs through all visitors. The aim is to make this a growing aspects of the design. +point of having a living archive that is accessible outside of the museum space via Both projects have the same design princi- an app. pal of innovative and multi-media exhibi- Summary: New Museums – particularly government tions. The community representatives from run projects - in their design and planning need to Curated in association with community Alexandra stated that it was important for be mindful of the difficulties in operational day-to- members active in the development of the exhibition to be aspirational rather than day running. The creation of such spaces also needs music and other musicologists, the 14m-long purely a reflection of Alexandra’s poverty. to embrace community involvement and harness mini music museum in the form of an inter- The WLHM stakeholders required a high-le- the opportunities of technology to future-proof the Summary: Museums must be reimagined and deco- active walk-through juke box, or gum- vel exhibition, which does justice to the spaces and have them remain relevant. The balance lonised, not only through the professionals and how ba-gumba as the people of Alex call it, was important role that women have and do between these two driving factors in new museums they decide to display objects according to ideologies produced. The jukebox contains 25 tracks play in South Africa, and is showcase in a – technology and community involvement - in South of the colonial times, but also through more commu- that represent the breadth, depth and vari- variety of multi-media installations that Africa seems to be a moving target with a lot of lear- nity involvement in the formulation of policies and ety of music that hails from Alexandra’s harness technology, international standards ning as the process unfolds. protocols that define a museum’s role in society. rich history. “We found an original scratchy and so on. 28 29

NEW MUSEUM APPROACHES ON THE AFRICAN CONTINENT NEW MUSEUM APPROACHES ON THE AFRICAN CONTINENT BENIN OPEN CITY MUSEUM: COMMUNITY ENGAGEMENT MEMORIALIZATION AS PLACEMAKING THE PEDAGOGICAL BY DR. KENNEDY EWEKA (NIGERIA) DIMENSIONS BY MANDY SANGER, DISTRICT SIX MUSEUM (SOUTH AFRICA)

The presentations by Dr Kennedy opened with the following sta- Sanger opens with a slide show through cultural capital and economic resources. – complete disruption of not only the space tements; It’s time for African people to tell their story by themsel- which she lays the context and describes something the museum is challenging with but also site-specific performances and ves because most of the time, people have to buy books authored Cape Town’s history during the colonial and its approach of involving the community. mobile exhibitions that travel outside of by non-Africans about places in Africa. Dr Kennedy showed a photo apartheid eras that both imposed laws of The understanding of a museum visitor as the regulated space. All aspects of curating presentation about the Benin city and kingdom. The entire city is racial division and segregation that is still someone seeking a thrill and wanting more need disruption for a real transformation to assumed a museum that instigates and initiates narratives on the visible and felt in a modern South Africa. is not the ethos of this museum, which ins- manifest. discussion on community engagement, as it relates to cultural heri- The apartheid ideology of marginalisation tead encourages visitors to rethink, learn, tage of the people as a living culture existing in an open museum. and exclusion still lives today. Identifying reflect and reimagine their future. Visiting as an educational and learning specia- the museum is not an edutainment experi- His paper is an outcome of field work in Benin City during 2015, list, she views the museum as a space for ence of traumatic histories. 2016, 2017 and is on-going. The Benin Kingdom came to light after understanding a violent past of collusion; the 1887 British punitive expedition. The study directs attention engaging with community members through Innovation to this museum means thinking from the conventional museum buildings or galleries where arte- innovative methodologies for them to tell more deeply and more creatively about facts are housed for public views to the open city that is filled their stories and develop a credible nar- ways of involving a diverse community with evidences of the heritage of the Benin Culture in Edo State. rative; and a source for information in the in the everyday life of museums through Kennedy guided the audience through a slide-slide show to explain heated process of restitution. The museum encouraging and enabling the involvement that the State revamped the original house of the kingdom to which should be an active space for workshops, of community members in the processes he has personal relations. The story of the slides begins with the discussions and the house of objects with of curating, conceptualisation and rese- Oba of Benin, Oba II seated at Aro Ozolua in the modernized place cultural heritage and value to a community. arch. People’s stories are central to the in 2016, and proceeds to a cross section of Benin Chiefs paying archive, from those displaced and margi- homage to the monarch at the palace. Then, the Ekasa Masque dan- The work of a museum from a pedagogical nalised during the Apartheid era and those cers were depicted performing outside the palace. Images then sho- point of view. Cape Town is a city shaped displaced in the present by gentrifica- wed the deserted traditional ground Edaiken of Uselu Palace after by colonialists, apartheid, resistance and tion. The museum embraces difficult dia- the ascension of the Oba Ewuare II to the throne in Benin City. The gentrification. Memorial sites have been logues that are not always easy to involve palace was bubbling with activities during the coronation ceremo- dedicated to millions of people being killed in the museum but contribute to having an nies and the crown Prince Ediaken N’Uselu looks on the traditional or forced into slavery - a hierarchy of suf- archive of multiple narratives when excava- infantry showing the Asaka Nosoeghian Oba. fering. The issue of symbolic or systemic ting through activities such as oral work- Summary: The understanding of museums as a space violence is something the community deals shops that have people’s experiences sha- of learning and where community members collec- with in a deep way and museums have the red collectively. tively share their stories to produce an archive of potential to be the space for processing multiple narratives with regard to a traumatic past is Summary: Dr Kennedy presented the story of Benin City and the such experiences and thinking towards the Museums as spaces of institutionalised cul- exactly what the District Six Museum is an example Kingdom that is rich in history but outside of official buildings future that despite definition of the word, is tural practice and their silencing of objects, of. The institution’s model is different in that profes- such as museums and palaces that very often are regulated by the defined by the actions of today. stories and achievements of the marginali- sionals are forced to work within the community and government and do not tell the story of the African people as they sed is being challenged but theorizing this collect information on past traumatic experiences of know it. His studies and the ongoing process of uncovering such The District Six Museum is an example of process is an unanswered question. The the apartheid era and those of today - gentrification. important sites of heritage highlight the importance of having the professionals applying innovation, which District Six Museum approaches the imple- Involving communities in the conceptualising and people of Africa tell their stories themselves; instead of such ins- involves rethinking the future and under- mentation of this paradigm shift through a curating of a museum is crucial to transform museums titutions relying on books written by people not native to the city. standing it as the result of today’s actions series of learning journeys – some inter- and understand the future as the product of today’s Such buildings, not only because of their historical importance and that can affirm, strengthen and consoli- connected – but always towards contri- actions. A museum is a space for learning, reflecting functions within events for a monarchy, should be seen as the ins- date or disrupt and uproot pathways to buting to a learning community in which and doing research to produce educational events and tigators for discussions on Africa’s history as told by the people of the future. The colonial model of exclu- public reasoning is enhanced. The trans- programmes – not simply entertain and provide visi- the continent, to also bring forward the intricacies of heritage and sion remains hegemonic because of power formations of museum is not as simple as tors with a thrilling experience that they would want its application to the city of today. relations that favour those with access to breaking down the walls and requires a to supersede in another visit. 30 31

MUSEUM CONVERSATIONS 2019 | DAY 1 32 33

MUSEUM CONVERSATIONS 2019

DAY 2 34 35

GROUP WORK GROUP WORK NORTH-SOUTH MUSEUM COOPERATION HUMAN REMAINS RESTITUTION, RE-HUMANISATION BY TERRY NYAMBE (INTERNATIONAL COUNCIL OF MUSEUMS, ZAMBIA) AND THE NEW MUSEUM BY PROF. CIRAJ RASSOOL & SOPHIE SCHASIEPEN (UNIVERSITY OF THE WESTERN CAPE, SOUTH AFRICA)

Terry Nyambe delivered a presentation on heritage, not many African countries know How best can Africa pursue a North-South This presentation and discussion evolved or thought about in a sustainable way. of life and identity – not only about events the planning and intentions of an exchange what are in European museums for instan- dialogue? Are there any best practices to around the restitution of human remains, Example being Germany and Namibia – or human remains – but building the story of programme between museum professionals ces of restitution to take place. Lack of share? What about South to South dialogue exploring avenues and how it can benefit Namibia and South Africa; they belong to human remains - the story of the community. in the Northern and Southern hemisphere understanding how to effectively run insti- as a proposition? The following suggestions Namibia in putting dignity and legitimacy each other forever and simply returning Museums, through labels, very often do little to – Europe and Africa. This is envisaged to tutions like museums makes the restitution surfaced: Museums professionals need to in this process. things for a glorious event is short-sigh- give life and tell the story. Restitution metho- start in April 2020 and is aimed at sharing process even harder. attend forums within Africa to share ideas ted and irrational. dologies approaches need also to be addressed knowledge and skills - not only amongst the regionally. Cross-country boundaries also Interrogate current laws regarding the regarding a lack of community consultation or professionals - but also through universi- Minor impediments: Museums’ main- need to be overcome and diplomacy is restitution of human remains: Euro- Points that surfaced in the group discus- involvement. Africa needs to draft a Restitution ties. Visits between institutions are to occur tenance from a foreign partner is expensive required for this to materialise. Gifts exch- pean law, in particular German law, defi- sions: What work needs to start after the Protocol. for about 4 to 6 weeks and the funding of and there is a need to localise operations, ange between museums and collections nes human remains as objects – dehu- return of human remains? A key issue, this project will be sourced from the Inter- while technology expertise is a require- are also important to promote better rela- manising – not alive and or belonging. with Namibia as an example, is how it is national Council of Museums (ICOM) in Ger- ment not always met by those in positions tions and foster ties. A technological part- Africa needs to evaluate important terms not enough for human remains to simply many and France. The intended outcome of authority. There is also an absence of full ner should be localised for technologically such as restitution, return and re-hu- return and mark victory for a post-co- of this programme is a good example of control over projects in Africa. Capacity and advanced museums and not outsourced in manisation. Reconciliation in Africa is a lonial state, but also of concern is how cooperation between museums for young development are much different between totality. Community involvement and awa- way of masking the internal struggle and the dignity of human remains is resto- museum professionals to increase their the two hemispheres in aspects including reness can be achieved through channels knowledge of past violence in pursuit of red once returned. Africa needs to look capacities, as well as expand their professi- national policies – North has protocols to like museum newsletters. There is also a a ‘rainbow nation’. The use of “repatria- at the complications and how these are onal network. Discussions during this pre- follow while the South does not. There are need to create a guide of where African tions” is also problematic as it is associa- to be addressed; what are the compen- sentation evolved around two elements: also not enough museums professionals to collections are in the North, as this could ted with a nation and masculine nations, sations and how do we think about it? the reasons why this is not already hap- influence policies and powers. It is also dif- make instances of restitution more possible. which collectively covers national What about how colonialism has destro- pening and what can be done to overcome ficult to access professionals in Africa as When contact is made with museums of the agendas and lacks the acknowledgement yed countries? The return of artefacts is challenges. most do not have websites or do not work North, emails play a very important role in of indigenous people. Return – restitution merely symbolic of a larger discussion. Summary: Namibia and other former colonies need to formulate a protocol for restitution – diplo- within the field. Governments are also not establishing communication and good rela- – repatriation – restorations or restora- The returned objects often remain in the macy - and work towards community involvement What are the major impediments that hin- interested in national heritage matters; lack tions; mail etiquette deserves close atten- tive justice – reconciliation – re-huma- realms of museums, failing to engage with for museums to tell the story of communities and der African museums’ cooperation with of political will. “We lack investigative rese- tion. Museums – North and South – can nisation. Africa must be critical of the the broader community about colonia- reflect the ethnic diversity of human remains that those in Europe and beyond: Resources to arch by our professionals.” The colonial past also have joint resources and share cont- terms used in European laws as their lism and dehumanisation, which means need to be de-racialised. Applying European law manage African museums and lack of trust also hinders such mutual exchange, coupled ent of cultural relevance; attract the pub- definitions and implications are insen- the process fails to become a lesson from to Africa has resulted in a parade and the militari- between European and African museums; with the domestic impediment. lic and adversaries such as politicians to sitive and lack of diplomacy: applying history to prevent new forms of dehu- sation of human remains’ restitution, which tends diplomacy is a necessary component. On instigate the creation of policies and apply European law to Africa won’t work. manisation on multiple levels. This pro- to be followed by the artefact of the imperial past being locked away and out of the public domain. top of the lack of understanding cultural diplomacy. cess must become part of de-racialising Other information on human remains is remains. The political tension between also important during the diplomacy pro- Namibia and Germany is also complex to cess of restitution, such as the date and the point of whether the return of these Summary: The importance of dialogue between museum professionals in Africa and between those in cause of death etc. Restitution is not an objects is part of the political issues, need the Northern and Southern hemispheres – as demons- event and there is a need for research to be addressed. To bury or not to bury trated by a project between Zambia and ICOM in and acknowledging the long-term effects the objects that are proof of the impe- France and Germany - has been identified as a solu- of restitution. Government to government rial past? Who is responsible in the long tion to make the operation of museums and restitution restitution and return of human remains run, museum or community? What about more effective. The involvement of influencers and is currently regarded as an event with the museums bound by policies and long powers in the formulation of relevant policies in Africa militarisation and parade of white coats. processes – how can we move on when is also important to the dialogue that shares skills and information on cultural artefacts taken during the colo- This is inadequate as the human remains we are prisoners of those bureaucratic nial era. The localisation of development projects in are on display during the official event of processes? There is a need to libe- Africa must also be applied but through museum pro- return but once the day is over with poli- rate the museology profession from the fessionals in Africa being more technologically savvy tical speeches and processions etc, what past! A second component is reconnec- and able to communicate professionally. then happens is not something disclosed tion through stories and the richness 36 37

LECTURE GROUP WORK TOWARDS AN INTERCONNECTED & COLLABORATIVE REPHRASING MEANING OF OBJECTS MUSEUM IN AFRICA: DISCUSSION OF A CASE STUDY OF A AFTER THEIR RETURN TRIPARTITE MUSEUM CO-OPERATION BY SUSANA SOUZA (INDEPENDENT CURATOR, ANGOLA) BY MOSES KAHURE (IGONGO CULTURAL CENTRE, UG); THOMAS LAELY (ETHNOGRAPHIC MUSEUM AT THE UNIVERSITY OF ZURICH, CH) & AMON MUGUME (UGANDA NATIONAL MUSEUM, UG)

This discussion highlighted the partners- and encourage appreciation of the heritage of intangible cultural heritage that could Susana Souza began by narrating a story artefacts, as they were never consulted on hip between African and European muse- globally. be lost if the community is not engaged in about Dundo Museum, Lunda-Norte in the object’s departure or return in the first ums, and what successes they achieved preserving their history. Angola. The role of public policy toward res- place. from the partnership. Having deliberated The Collective Keynote Address: while dis- titution remains a key question, following the cultural history of museums, speakers cussions on restitution continue, communi- In particular, it was noted that most exhibi- the development of a project that identi- The discussion highlighted that because of noted that the museum of today should be ties should use what they have to preserve tions exclude children because most objects fies artefacts that were stolen from Dundo confinement within artificial borders, such a tool for deconstruction, breaking bounda- the heritage. The outcome of a tri-lateral in museums are locked in glass cases; child- Museum during the civil war. The museum, issues need to be confronted from an African ries, participation and outreach. There is a cooperation on the preservation techniques ren prefer interacting and touching objects. within the Chokwe Community in Eastern - national as opposed to ethnic - perspective. paradigm shift in the understanding of what of milk in Uganda demonstrated fruitful Thus, the interactive aspect of the milk Angola, is the most paradigmatic example of Confrontation from an ethnic grouping might a museum is and what its purposes are. To cooperation between Africa (Uganda) and preservation exhibition was important and the removal of historic and symbolic objects not garner much and should rather be appro- achieve that, there is a need for professio- Europe (Switzerland). This project resulted gave children a chance to interact with the from the country and how these objects lack ached as a national collective. Lastly, muse- nals in the field, governments and societies in the first mobile museum that showcased objects physically. Communication bet- a narrative that defines them as cultural ums are seen as colonial instruments and to re-think a museum and decolonize the the history of milk preservation techniques, ween professionals across the borders was heritage. hardly reveal the real layers within the mea- space for there to be contextual community which was ‘a first’ and generated lots of achieved through digital technology such as nings of objects collected (sold or stolen) and involvement and the exchange of skills bet- interest. The project reached people who Skype and email, despite shortcomings of The said museum was built by a coloniser later returned. The significance of objects to ween professionals – locally and between had never seen a museum before. It also travelling between Switzerland and Uganda. company during the colonial era; established their communities lies deeply in the interac- North and South. exchanged skills amongst professionals All Skype conversations were recorded to relations with German and Portuguese muse- tion with the deeper meaning of the object, and established a channel of communica- keep track. There was also a virtual tour ums in the late 1950’s/early 60’s, from which not merely as an object, but as an integral Ideally, museums should share knowledge, tion that could be used for future talks on through the exhibitions in Uganda, which point colonial narratives were changed. part of their culture. Thus, significance has documentation and collections with muse- restitution. Museum professionals in Africa meant the one in Zurich had literally three Examples include colonies being referred to layers, which can only be detailed by the ums and cultural organisations in the coun- tend to be challenged by the use of tech- exhibitions in one. as provinces of Portugal and that everyone communities themselves, and perhaps not tries and communities of origin – in any nology, managing foreign funded projects, was regarded as Portuguese. The museum the museum. The museum as walls does not context including post-colonial. Professi- lack of pollical interest in the management played an important role in achieving this include the communities in defining objects Summary: An example of the Dundo Museum in Angola was presented. The onals and institutions should explore the of museums and youth apathy in the field. mentality, which lead to important questions in layers such as spiritual and the intangible building originates from the colonial era possibility of developing partnerships with This project addressed these shortfalls and on what the role of the museum was and meaning of other layers around an object. and was constructed by the former colo- institutions and countries where access to challenged the definition of a museum for it who their audience were. nisers (Portugal), who interpolated the information is limited; create awareness to also be seen as an interactive custodian mentality of the natives being defined as “European” before the trade of cultural After 50-60years, with the help of the Ango- artefacts destined for museums in Europe lan Government, about 9 objects (masks) commenced. It is important to note the were returned to this community. These role of a museum in this process. About were not accompanied by any narrative, 60 years later and with assistance of the bringing along with them the enigma of what Angolan government, some of the objects were returned to the Chokwe community, exactly the meaning of these artefacts was/is whom after independence were not invol- to the communities of their origin after their ved in the process of formulating a narra- return. What it means to the community for tive behind the objects for a museum to these objects to be taken from them, stay communicate their cultural significance. Summary: The custodians of the cultures should learn to organize their own All-together, the restitution of objects from and even be traded abroad and eventually heritage and not have someone in another continent do it for them. This Europe to Africa should be approached does not mean collaborations between communities, museums and countries returned with no narrative is perplexing, and from a national and not ethnic perspective are not possible; collaborations are important and could assist in making the brings to question again the role and signi- to establish a collective-national appro- process of restitution easier. The importance of community engagement with ficance of the museum. The Chokwe com- ach for these objects to not be accepted museums is also important for the institution to define itself in a post-colo- munity seems to have a different perspec- silently but with a discourse of their cultural heritage. nial society. tive from the people re-appropriating the 38 39

PANEL PANEL CURATING THE COLONIAL LEGACY CURATING THE COLONIAL LEGACY BY MOLEMO MOILOA (INDEPENDENT PRACTITIONER, SOUTH AFRICA) THE CONCEPTION OF A POSTCOLONIAL MUSEUM BY DR. WINANI THEBELE (BOTSWANA NATIONAL MUSEUM)

This lecture focused on the colonial era lea- the idea of a ‚worker‘. Dr Thebele started by reflecting on nearly one learns: it wants to transform a platform for addressing the issues that affect society. ving behind the European epitome of collec- 30 years of working in a museum and Examples: what do museums say about xenophobia, HIV and youth unemployment? If ting and collections, as well as the concepts Eyadini started as a garden: food gar- asking if the institution she started wor- silent on such matters, then it’s not meeting its mandate. It should strive to put things into of scholarship & curatorship by ‘experts’. den, ornamental, spiritual plants, medici- king for is the same museum that soci- context through new informed narratives built by curators who have moved on from the The colonial era also left behind domina- nal plants…. etc. Several such social projects ety talks about today? Is today’s museum colonial approach to museums that lacks community involvement and applies the colonial ting physical infrastructure. What then could that included young people who come to trans-cultural and has it done away with gaze of an outdated anthropological paradigm. these buildings and ideas do for the people ‘hang’ around the garden were facilitated for colonial issues? While yesterday’s muse- now, to have a legacy today that is in touch the youth to understand hanging around as ums depict collections from colonial times, Discussion: Concern was raised that when new museums materialise, various goals such with the people? being useful somehow within the project: today’s museums should look into re-in- as creating awareness of social issues and other sociological roles could possibly have it working/interacting and keeping busy with tervention and decolonization, such as take over the roles of other institutions better suited to meet the mandate. This was dis- Questioning all of this led to the establish- the gardens. the Freedom Park in South Africa – a ‘new puted. For example, the ministry of health, in cooperation with museums, does exhibitions ment of project Eyadini in Johannesburg. It museum’. on matters such as HIV but if not done in cooperation, the museum could be stepping on deals with gardening and aims to involve How then do museums or custodians thereof the ministry’s turf. The museum must realise that while it has the mandate to preserve the communities. The Black Urban Gardening get it right with museums that have ‘NOT Summary: Such legacies should be identified and The ‘new museum’ needs to be accessible traditions and cultural practices, it should also engage with communities on the dangers was to engage with communities for them DIED’ since museums are considered to have strategies should be sought to decolonize other to the wider public and relevant to the that ancient practices pose, such as sexual rituals and diseases. The new museum and its legacies particularly associated with colonialism. to invest their time in passionate work that died? There is a dynamic between Euro- people. There should be a direct connec- place in society needs to be examined and re-defined. Sociality is one of the major shortcomings of is about leisure, pleasure, communality and pean mediums and African perspectives. tion between the museum and the people modern museums and interactive museums are sociality – contrary to the role of black peo- There needs to be synergy between the two: encouraged to have community involvement. because the museum is about the people during the colonial and apartheid eras inter-activeness between the museum and ple and belong to the people. The ‘peo- when them performing such labour was not the community is encouraged. ple’ include grown-ups, youth, women and for bringing pleasure to the self; challenge men – all members of a community. Diffe- rent concepts are at play to shape the new museum: indigenous communities, healing closure, shared heritage etc. Basically, the new museum is ready to deal with sensitive issues inherited from the colonial era and is about appreciating Africa’s cultural heritage by providing a space where

Summary: There must be a different generation of curators who want to formulate a new perspective of a museum through an informed narrative about problematic matters and the role of a museum in a post-colonial society. The ‘new museum’ should focus on building trust with the communities that connect them to their inheritance. Community involvement in the functioning of museums and the selection of their content needs to be pursued for the concept of a museum to have adapted to the state of a post-colonial society. 40 41

PANEL NEW MUSEUM APPROACHES ON THE AFRICAN CONTINENT CURATING THE COLONIAL LEGACY THE PRESENCE OF THE PAST: JOHANNESBURG HOLOCAUST CRITICAL LANDSCAPE APPROACH: & GENOCIDE CENTRE - A PLACE OF MEMORY, EDUCATION LANDSCAPES BETWEEN NOW AND THEN AND WHERE LESSON FOR HUMANITY CAN BE LEARNT BY DR. NICOLA BRANDT - UNIVERSITY OF OXFORD (NAMIBIA) BY TALI NATES (SOUTH AFRICA)

In her discussion, Brandt draws on the- The coloniser projected her or his idea of And yet today it seems as though more Tali’s presentation explained how the cen- where genocides took place. The elements which the stories are told in a thematic way mes and ideas from her upcoming book ‘landscape’ in both subtle and direct ways, than ever the land itself is not being heard. tre works with refugees, survivors from of the genocide wall have names of children because it is never comfortable telling such Landscapes Between Then and Now, where which to this day continue to have practical This indifference is largely rooted in these Rwanda and Holocaust survivors. The cen- from Europe and Rwanda on it. Since we do stories. When curating, other materials rela- the artist and scholar examines the increa- and psychological consequences on others. colonial-capitalist legacies and attitudes. tre consists of various departments and not see the sense in only using numbers but tive to the genocides were included, such as singly compelling and diverse cross-disci- Fragile biodiversity is affected by expan- platforms to engage with the audience names or put differently, to speak to the clothes and objects from, for instance, the plinary work of photographers and artists The coloniser’s imprint, and value system, sive new infrastructure developments or on various aspects of dealing with such identity and not just numbers. How do we Rwandan genocide. made during the transition from apartheid can still be clearly seen in structures such mines that scour and dig up the land. Roots trauma. The building itself is full of symbo- connect history and now? How to make the to post-apartheid and into the contempo- as architecture, monuments, museum exhi- of grass can no longer penetrate deeply lism; what does Holocaust look like to you? connection with the audience? The exhibi- Education at the centre: “Youth are the rary era. She sheds light on established bits and artefacts, remaining street names enough once the soil has been blown away The centre composed music, displays poe- tion space is displayed with windows and change makers for leadership”. The cent- and emerging concepts related to after- and fences containing vast tracts of com- where trees and shrubs once kept it in try, arts and other audible elements wit- always in the light as opposed to darkness, re’s educational component was executed math landscapes, embodied histories, (un) mercial and private farmland. In places like place due to drought and global warming. hin the building that partially consists of which at times is normalised in museums.” in collaboration with 13 African countries to belonging, spirituality and memorialization. Swakopmund and !Nami#nus/Lüderitz the tangible artefact associated with the sites educate children and adults about genoci- Brandt shows how landscape and iden- land and unmarked graves remain a silent Cross-disciplinary artists and activists, of origin. One of the elements is railway Voices of genocide witnesses: Bystanders/ des, the Holocaust and human rights. Con- tity are mutually constituted, and profiles witness to the colonial legacy. For example, including eco-feminists and queer bodies lines that are incorporated into the buil- perpetrators and other voices are all a fac- tent and teaching materials for secondary this process against the background of the the colonial photographic archives from the challenge the mastery by only a few of ding; from the Holocaust and Armenian and tor of the centre’s content. Stories about schools have been developed and univer- legacy of the acutely racially divisive poli- period of German colonialism offer stark what should be our shared world. They use Herero and Nama genocides. Johannesburg are included as well, with sity students are sent on informative and cies of the apartheid regime that are still contrasts. Notwithstanding the dehuma- a range of strategies and formats to try and collected stories and identified mundane study tours to Poland, Rwanda and Ger- reflected on the land. nizing portrayals, these images also give make visible memories and power structu- Architecture and façade: “We try to ans- objects such as keys that are also regar- many. Courses are also tailored for corpora- visual sovereignty and evidence of the con- res situated in place. Their ideas are com- wer these questions through the centre, ded as artefacts. The centre is also aiming tes and institutions for individuals to under- As proposed by the South African photo- tinued presence on the land of those who municated through aural histories, ritual, with regards to the loss of the potential for relevance and asks questions such as, stand and know how genocides affect their grapher Santu Mofokeng, landscape is not lived here prior to the arrival of the coloni- in music, in places of historical significance that happens after genocide. We have a How does the centre deal with xenopho- workplace. “Through this, we advocate for separated from the self – the landscape is ser. Nevertheless, these colonial photogra- and most of all, in the gaps and spaces children’s memorial section - in the plaza, bia in South Africa? Also featuring are Life African solutions for African issues. With seen, experienced and embodied. In the phic archives primarily reveal the attitudes in-between visual representation. Through [where] we chose a colour brick that is and Death in the Shadow of the Holocaust, our own voices and our own leaders.” context of the urgency of land restitu- and aesthetics of white supremacist patriar- certain interventions, artists have the capa- burnt and of a style that resembles places which are 24 homegrown films through tion, Mofokeng’s description has become chy and how it is mapped onto the land. city to re-map possible new futures both increasingly relevant. The ‘western’ histo- onto place and their own being. rical meaning of land, or ‘landscape’, has The politics around land today is based on little relevance to the demands for land, a deeply visceral identification with pos- but nonetheless has a tenuous, uncom- session and ownership, and the need for a fortable historical connection. The scho- sense of belonging and safety, with a vision lar Renzo Baas describes the mind-sets towards a horizon without boundaries. behind many of the earlier representations After waves of violence and displacement, of landscape: ‘The colonizer – by first pos- links to ancestral lineage, and in turn to sessing the land artistically – can claim the ancestral land, are now beginning to domi- discursive landscape and start to infuse it nate the conversation. with ideals imported from the metropole [colonial power networks in Europe] … .’ Summary: The Johannesburg Holocaust & Genocide Centre deals with urging visitors to reflect on lessons from history and make a connection with their lives today. Contem- Summary: Brandt emphasizes the importance of trying to understand the layered and conflicting nature of memory production (and amnesia) situated in porary issues assist in understanding human place, especially when creating or locating meaning in photographs or cross-disciplinary performance works. Brandt’s central claim is that landscape and rights through memory and a shared reflec- identity are mutually constituted and cannot be separated. She challenges traditional ‘western’ understandings of landscape, and demonstrates how a number tion in the space. of emerging artists in the region of southern Africa are redefining their place in the contemporary landscape through an embodied and critical approach. 42 43

NEW MUSEUM APPROACHES ON THE AFRICAN CONTINENT NEW MUSEUM APPROACHES ON THE AFRICAN CONTINENT ESTABLISHING ORAL HISTORY IN A MUSEUM CONTEXT CONFRONTING A PAST THAT HURTS - ETHNOGRAPHIC COL- BY ABITI A. NELSON (UGANDA MUSEUM) LECTIONS IN THE OWELA MUSEUM BY GOODMAN GWASIRA (UNAM) & NZILA MARINA MUBUSISI (NATIONAL MUSEUM OF NAMIBIA)

Mr. Abiti showed how establishing oral history in a museum This presentation used the San community exhibition – ethnogra- the decolonisation of the methodologies and understanding the cir- could help communities deal with traumatic experiences phic collection - in the national museum as a point of departure in cumstances in which collections were assembled. from the past. This was undertaken by the Uganda National the critical discussion of how indigenous people were and are mis- Museum; a former art college that became an ethnographic represented in museums that perpetuate the colonial gaze and mar- This process of decolonisation extends beyond the objects, some of museum. The artefacts contained there were collected by the ginalization by race as a way of organising of society. which are still in Europe while objects obtained from the same cir- colonial administration trying to find uses for these items. cumstances are in Africa and part of national collections, but also The presentation shows the intended benefits of the post-co- The colonial German administration started the development of without a soul or narrative. Crux of the matter: if Africa focuses too lonial museum that involves communities in the process of museums in Namibia from as early as 1907. The depiction of them- much on the restitution of objects from Europe and overlooks the reconciliation. selves in the Owela Museum totally excluded the indigenous peo- collections that museums on the continent also have on display, ple; created an exclusive space separate from that of the Ger- African museums risk replicating colonialism in representation and Memory of conflict approach: the museum played a vital mans. Museums had the same status quo under the apartheid the narratives developed around the objects. role and assisted in the post-independence process. The dispensation. State stopped the function of the kingdom and exiled the king to England. The entire royal objects were confiscated Techniques used by curators, especially the casting of indigenous and put in the museum but returned later on. In particular peoples such as the San, interpolates the colonial gaze and dehu- and after independence, the silenced drums that were life- manises the San people. This was challenged after independence less in the museum are being redefined and a narrative is when the San communities were consulted to debunk the colonial being developed for them to be understood as a significant representation and the narrative that comes with it. Inclusion of tangible cultural heritage. To develop that narrative, enga- and engaging with communities before they and their cultures are ging with the community from which the objects come from represented in a museum is vital, as this contributes to the decolo- is vital and if not, then museums do the same as the inde- nisation of the museum and the mind – museums and their instal- pendent government to which museums are not a priority. lations should be produced in collaboration with the communities they represent. This is a complex process that requires not only the Refugee camps north of Uganda: Chiefs approached autho- removal of exhibitions that might be regarded offensive but also rities for help to preserve their intangible cultural heritage, which resulted in museums that share information on the process of forgiveness rituals by some tribes; families split during the wars were reunited and rehabilitated. “We work in sites where massacres happened.” Interventions of performances including drummers and an exhibition on the road to reconciliation were established with community museums in cities for people to view the work in areas affected by the civil war – oral history materialised to assist people in processing trauma. Summary: Museums in a post-colonial Africa can perpetuate the colonial gaze and reinforce the racial marginalisation of the colonial and apartheid era, particularly through ethnographic displays such as that of the San community in the Owela Museum. New museums in Africa with com- Summary: Work done by the Uganda National Museum through munity involvement can debunk this. Museums in Africa should not get the collection of oral history and creating presentations from it to caught up in the demands for restitution while objects from the same assist people in dealing with trauma has proven that museums have contexts have remained in African museums, but also without a pro- a very important role in the process of reconciliation by engaging per narrative. Decolonising the museum space is a complex process that with communities. This means persons in the profession need to requires reformulation of the methodologies and understanding the cont- engage in dialogue to reformulate their understanding of a museum exts from which the objects were taken before made part of national col- in a post-colonial Africa lections in Africa and abroad. 44 45

LECTURE SAFEGUARDING OF INTANGIBLE CULTURE AND DISCUS- SING SHARED HERITAGE IN AFRICA; AFRICA AND THE TRANSATLANTIC BY PROF. TIAGO DE OLIVEIRA PINTO (FRANZ-LISZT-UNIVERSITY, GERMANY)

The purpose of this presentation was to show dances, instruments, education and funeral created, exists and evolves should not be the value of intangible cultural goods on music as examples of cultural heritage. overlooked because museums can also play the African context. Point of departure: Prof an important role in the recognition and Tiago noted how the Christ Church in Wind- Demonstrating this is the interaction of preservation of intangible cultural heritage hoek has a pipe organ (tangible artefact) and sound & time. Interaction between the law that could explain the histories and evolu- the tunes it produces are intangible cultural of acoustics and physics: Harmonics regar- tion of societies; shared heritage. artefacts – as are the sounds of the bell rin- ded as a basis for polyphony – the combi- ging. History is made and heritage is lived; nation of melody, harmony and rhythm to Living heritage is based on a school of responsibilities can be shared as the experi- create a sound. Important to understand is thought at which members of society are ence of colonisation and transatlantic slave the cognitive use of time framing; music agents and recipients. Consider a village trade cannot be isolated. Therefore, people occurs in time and is a reflection of the cul- in the Amazon forest: their society is set and communities should share knowledge tural ways at that time. The beats and tem- up with persons having reference to the and not focus only on objects. The role of pos of music in Brazil, in particular Samba, village and interpolate the shared heri- museums, therefore, is to share knowledge can be traced back to Africa, such as in tage of that village. Noted was the 2003 and overcome intellectual colonialism. Angola and the Kachacha pattern that was Unesco Convention for the Safeguarding of most likely brought to Brazil by the slaves the Intangible Cultural Heritage and how Responsibilities of Governments: Brazil was from Africa. Samba and Kachacha are both museum professionals need to bring the presented as an example, where indigenous circular and but have a different timeline meaning to the forefront; you are cultural communities and the environment are not - Kachacha evolved for the new context in bearers. Shared heritage is becoming com- serious topics. For instance, the National Brazil and contributed to the creation of mon and an example of this is culture lan- Museum in Rio De Janeiro was burnt down in Samba. Therefore, the complex landscape guage. The notion of shared heritage is a 2018, while containing an Egyptian collection in which intangible cultural heritage is contested idea/concept. that was a gift from the Portuguese King- dom. Speculation was rife that the fire resulted from neglect by the previous government administrations, meaning these tangible objects of cultural heritage were not regarded as important at all. This has professionals in the field move on to questioning the importance of intangible cultural heritage, which could still exist after such disasters in which 95% of tangible cultural heritage was destroyed – cultural heritage associated with the colonial era but which can still be seen today.

Intangible cultural heritage can be orally transmitted through expressions, performing arts and social practices. About 60% of cultu- Summary: What can society learn from intan- of intangible cultural heritage. Intangible cul- ral heritage is accounted by music and per- gible goods such as cultural heritage? Society tural heritage deserves more recognition of forming arts, which are not easily seen as must look at the concept of a ‘living museum’ importance – politically and socially - as does politically or socially important to preserve. through which it is deemed necessary to reima- the identification of agents responsible for its Africa is moving ahead and in the process gine the role of a museum in the current context preservation. of rectifying treaties on this to recognise of a post-colonial world and the preservation Monkey (2): Intervention-contravention-contradiction | by Farieda Nazier (SA) 46 47

MUSEUM CONVERSATIONS 2019 | DAY 2 48 49

MUSEUM CONVERSATIONS 2019

DAY 3 50 51

GROUP WORK GROUP WORK CULTURAL BANKS AND THE ROLE OF PRIVATE MUSEUMS MUSEUM AS A CONDUIT FOR LANGUAGE PRESERVATION BY FRANCK PACERE (CAPP - BURKINA FASO / SENEGAL) BY CHRISTIAN HARRIS (UNIVERSITY OF NAMIBIA)

Pacere presented examples of three coun- sites were easily sold off to tourists and international banks such as the World Bank Mr Harris delivered a presentation about how museums, specifi- opportunity to learn how languages emerge and how they have tries in which the concept of a cultural bank foreigners, leaving the communities bare or African Development Bank. There have cally a language museum, can contribute to the preservation of evolved/developed over time to promote harmony and social cohe- has been applied – some successful and and clueless of their cultural heritage. been cases in which the cultural banks are African languages. He discussed the process and benefits of preser- sion. A language museum could also contribute to Namibia’s econo- some not. This was followed by motivation burnt down, robbed or are just a failure ving intangible cultural history, which also poses the potential of mic development by directly involving communities in the produc- for the concept and its vision of contribu- A cultural bank has a complex structure because people default or the commu- contributing to a country’s economic development through commu- tion of content and create an institution for tourists to visit. ting to the socio-economic development of but simplified, it includes the bank itself, a nity cannot manage the bank effectively. nity involvement and tourism. communities in Africa. Looking towards the cultural centre/museum that has the items It is also important that the building of the The current challenges facing a potential language museum in future, there is a need to develop policies for on display and a training centre that pro- bank is in matrimony with the environment What is a language museum? Globally, there are 6 language muse- Namibia include lack of interest from organisations expected to such banks’ regulation and how the values of vides skills in different kinds of artisan and community – a high-rise glass building ums of which not one is in Africa. Language museums are needed expose and introduce this concept; lack of funds to implement items are determined. What does the bank relevant to the community. A cultural bank would be obscene and disturb the commu- to value the diversity of Namibian culture. According to UNESCO, bilingualism within a museum; and a negative attitude towards do if a client default? Altogether, culture can accepts items produced or found by per- nity. “We also have to think about discri- language and its intricate relationship with culture makes it indigenous languages. be an engine for community development sons or families and has an elder council mination and how everyone has cultural intangible cultural heritage. Intangible cultural heritage refers to when applied accordingly. to evaluate the object before granting the knowledge of some value – the origin of practices, representation, expressions, knowledge and skills accor- loan according to its market and cultural the object and its cultural value are very ding to conventions; tradition. Museums can preserve and promote The concept of ethnographic museums has value. This is a micro-loan system in which important.” indigenous languages by recording more of each in many ways: been questioned since the 1980’s during the cultural artefact is collateral for a loan written, audio or visual. This also contributes to the development which Alpha Oumar recognised the import- with an interest rate of 2 to 3 per cent to of indigenous languages because it provides Namibians with the ance for Africans to decolonise the discipline make the bank sustainable. There are also and not alienate each other, while creating other councils such as the credit council, something that is in response to their indi- general council and technicians for preser- genous needs and satisfaction for tourists. vation etc. responsible for the regulation of The concept of such a community bank is the bank. It is important to remember that already engrained within most African cultu- the bank belongs to the community and the res – stockvel – and this concept, as a cultu- community is in control of the bank. In the ral bank, could preserve a culture and create end, an object may be returned to its place revenue for a community. It is shocking to of origin. note that in some cases such as Mali, many cultural artefacts found at archaeological Issues of artefact trafficking, money laun- dering and corruption are of concern and highlight the need for policies of regulation. At the moment, the money of a cultural bank comes from either a private dona- tion to a community or village, or from

Summary: The concept of a cultural bank is not foreign to most African countries and their cultures. The concept of having a cultural artefact be collateral for a monetary loan has been applied in countries such as Mali, where it has proven successful. A cultural bank not only finances the initiatives of Summary: Language is a marker of cultural identity, which makes it neces- community members and thus stimulates socio-economic development, it also preserves cultural heri- sary for a government to play its part in preserving all of Namibia’s indi- tage for the community and tourists. Artisan skills are also transferred at a training centre funded by genous languages. Museums can assist in these regards and invest in the the bank. However, the uneven distribution of cultural knowledge and heritage complicates the evalua- production of content regarding indigenous languages and their evolution. tion of objects in terms of market and cultural value; what to do if someone defaults? The dynamics Language museums will not only preserve and promote indigenous langua- behind the selection of councils that govern the bank and the absence of regulatory policies thereof ges, they will also contribute to the economic development of Namibia by need to be addressed before culture can be an engine for community development. promoting tourism and creating jobs. 52 53

LECTURE GROUP WORK USAGE OF DIGITAL MEDIA IN MUSEUMS WHY AFRICAN ART SECTORS NEED ART MUSEUMS BY CHAO TAYIANA (FOUNDER: AFRICAN DIGITAL HERITAGE, KENYA) BY VALERIE KABOV (ZIMBABWE)

Chao outlines a project uncovering comprehensive representations but is outdated methodologies applied at the institutions in Valerie opened the session with a presen- arts fairs resources for members of the Africa has become the emerging artists’ the violence and oppression of the effective. This concept was extended to a post-colonial society. African communities’ lack of tation on the Zimbabwe gallery scene that community and the gallery. space as many works are only produced Kenyan people by the British colonia- produce 3D models of the camps that engagement with the migrated objects and archives preserves local arts against Eurocentric on the continent, which also makes the lists, and how the use of social media today don’t exist physically and were contribute to maintaining their supressed & silenced influences and how the global arts scene is Important to note: Artworks collected by artists and their own context important in in a post-colonial society made the converted into schools or belong to pri- histories. Museums also interpolate the racist repre- distorted. The purpose of such association a museum are done in terms of price and the selection of art. Africa and its diversity information more accessible and pow- vate owners who don’t allow access. sentations because of power dynamics in digital such as the First Floor Gallery Harare and opportunities for the future; how will this should not be overlooked and embraced for erful. Social media also has the poten- spaces and the profession. This has African museums private galleries play an important role in add to the depository of arts? What history arts development to make its contribution tial to make community involvement Kenya has three languages: English, house objects but with a lack of information on the the industry, and highlight the need to have and cultural value does the object have? to the preservation of cultural heritage. in the museums possible by acting as Kiswahili and Silence – people either objects collected during the colonial times. Contrary a strong policy that secures the legacy of All of this evolves around the idea of pre- a platform to their engagement. The want to talk about the colonial past or to these norms, the positive responses to museum Zimbabwe. The gallery is part of a larger serving authenticity. The gallery in Harare importance – potential advantages and simply remain silent. To understand projects on social media shows that the digital world project and built on the basis of sharing and also has educational programmes, welco- dangers – of social media in Africa are this, the challenge of access to infor- and its skills have a lot of potential, and should not engaging with the community. Also active is mes international artists to residency in explored. mation must be discussed. If not in be exclusive; digital technology should be used as a the concept of swopping work and having the country and enables contact with local Europe, where there are many obst- tool to engage with and involve communities in the the goal of collecting the artworks of other artists by using the building as a space for She outlined the colonial oppression acles that delay access to information, process of creating accounts of history and enabling artists. These concepts make contemporary experimenting. experienced by the Kenyan people, fol- it is also incredibly hard to obtain facts the access to information. lowing rise of the Mau Mau Movement locally because most witnesses of the that presented itself as a powerful state camps are either dead, very ill or too of mind and required civilians to take old, or simply refuse to talk about it. an oath of secrecy in favour of over- This challenge has brought the power throwing the colonialists. The British of oral history to the forefront and its Summary: Digital technology has the potential to provide retaliated with the “Pipeline” – a series potential on social media platforms, access to information and create a platform for civilians to engage on the development of museums that represent of camps across Kenya. Suspected civi- where more people can access infor- an account of history; assist societies in dealing with past lians were sent to camps for “rehabili- mation and contribute to discussions trauma; and be the engine for oral history in Africa. All of tation” and to potentially disclose infor- about such sensitive topics. Example: this is demonstrated by the Museum of British Colonialism mation on the resistance movement. the schools now have windows but the that produced an interactive map and 3D models of camps Camps across Kenya were arranged by camps did not - this information surfa- created by the British colonial administration. levels of torture, sexual violation and ced through an interview with commu- violence. Question: how do we community members, which also highlights the nicate the gravity of this information importance of community involvement that has not been part of the education in museums. Important: dialogue and system and that majority of Kenya eit- participation to achieve ownership Summary: The Zimbabwe gallery scene her don’t know or don’t talk about? of information and the availability of and private galleries are significant in the platforms that enable this ownership. preservation of the local arts scene against She showed a diagram outlining the Community involvement in museums influences, such as those from Europe. The gallery is built on the basis of sharing with Pipeline, which she transformed into need more discussion as Africa beco- the community and the culture of collec- a simple but interactive map sho- mes digital. ting local artworks is rife. Africa has become wing the camps’ geographical location the merging arts scene and is rich in diver- – this visual representation is easier Museums need to go the audience sity. There is a need to develop networks, understood than the diagram, which and the audience no longer should have collaborations and share resources in brings the power of digital media need to go to the institution. Muse- Africa; not monetary resources alone but the to the forefront. Digital technology ums perpetuate colonial imperial lega- human and intellectual resources as well for artists to work and express themselves. may sometimes not produce the most cies because of matters including the 54 55

PANEL MODELS FOR RESTITUTION, LESSONS LEARNED BY DR. SANDRA FERRACUTI (LINDEN-MUSEUM, GERMANY); PROF. WIEBKE AHRNDT (ÜBER- SEE-MUSEUM, GERMANY); SUZANA SOUSA (INDEPENDENT CURATOR, ANGOLA) & NZILA MARINA MUBUSISI (NATIONAL MUSEUM OF NAMIBIA)

This discussion evolved around The Angolan experience by Sousa: The pro- guidelines on the restitution of human to the inventories available to see how Namibia’s restitution process, cess begins by tracking items from the offi- remains and colonial artefacts. These docu- objects were acquired remains a challenge with a departure point of the cial museum archives before encountering ments provide information on topics inclu- for African governments and professio- whip and bible of Hendrik issues of methodology, which summons ding the sensitivity and handling of objects. nals. Challenges faced by Namibia include Witbooi, and other restitution the involvement of governments that have Reviews are welcome and the documents language barriers and little information on claims. The process of restitu- said negotiations will occur according to are not a blueprint. African States are res- the objects, as persons involved in the pro- tion is complicated in Germany in-place signatories to conventions. Restitu- ponding to this, which indicates an imba- cess are not proficient in German. In gene- since it includes legalities and tion has occurred with no unpleasant inter- lance that needs to be addressed. ral, objects in German museums very often policies that require federal ference from the governments. have very little information – lack of nar- approval, while the artefacts How were these objects obtained and who rative – such the bow from Tanzania that are considered as the property Prof. Wiebke Ahrndt noted that every owns them? The State should be the key has the cultural meaning and symbolism of whichever federal State they government should have its own solutions actor for African countries. The global per- of victory. German officials are of the opi- are in. Some artefacts are also to challenges and take ownership of this spective is that artefacts/human remains nion that African States must conduct their contained in private collections. process. Collections are public property in cannot belong to the State but to the com- own research on the origin and meaning of Namibia is simpler in that only Germany. The government, due to the Nazi munity that is aggrieved. The return of artefacts – including human remains – to Namibia’s ambassador to Ger- past, owns few museums. Most such institu- human remains is based on circumstan- establish a narrative of something that was many, a representative of the tions are independent. This process is fast ces and there are exemptions. If it is a cle- in some cases forcefully removed or sto- arts and culture ministry, one in terms of approval and the politicians in ar-cut case, the objects are returned accor- len from the community of origin. Namibia of the National Museum, and power are generally in favour of restitu- ding to Germany. “We are talking about lacks an agency – a multi-lateral institu- one of the Cabinet of Ministers tion. Speaking from experience as the for- colonial legacies and it should be addres- tion - for making claims and political will is are involved in the process. mer co-chair of the German Museum Asso- sed. The significant research needs to be needed. The different levels of conver- ciation, she said the association provides done about the country of origins.” Access sation detach politics from the process but despite this, it is important to note that most African governments do not have policies and laws for the direct regulation of this process and very often, the process of restitution is done according to Summary: The involvement of African gover- the European laws. nments in the complex process of restitution is crucial to overcome challenges brought by the private and community ownership of African artefacts in German collections. While Germany has guidelines for the process of restitution and most federal States are in favour of the process, Namibia’s lack of laws and policies and the language barrier of inventories in German makes the process complicated. Very often, objects in European states also lack narrative, which brings other challenges for the African States and aggrieved communities. African States should be included in the formulation of European policies on restitution. 56 57

NEW MUSEUM APPROACHES ON THE AFRICAN CONTINENT GROUP WORK CO-CURATORSHIP AND COMMUNITY CURATORSHIP ENGAGING WITH THE COMMUNITIES BY NJABULO CHIPANGURA (MUTARE MUSEUM, ZIMBABWE) BY PROF. ALINAH SEGOBYE (NAMIBIA UNIVERSITY OF SCIENCE AND TECHNOLOGY)

This lecture examined the colonial practices process, traditional drums were reconfi- to render professional curators as mere Alinah Segobye posed a simple question practitioners/people in the museology pro- to define a community? Communities have of acquiring objects from African commu- gured and ascribed new meanings deri- facilitators in capturing and documenting to the audience before elaborating: What fession. Questions such as: Who works rejected a definition imposed on them such nities, the conventional methodologies of ved from every-day use in a contempo- rituals and traditions. This is in contrast is a community? The concept of a commu- for who? should be raised and answered. as in museums and other institutions, and museums and how new museums in Africa rary community. New musicology concepts to using authoritarian means to ascribe a nity has a lot to do with the engagement of Should the communities co-curate with the redefined themselves. Defining a commu- are adopting methodologies different to and co-curatorship were used in integrating biography to the objects. Therefore, the the people and the authorities. Engagement heritage practitioners, or simply be a source nity should be an active conversation bet- those of conventional museums that ori- multiple perspectives from the Hwesa com- drums found in the museum had their nar- generally refers to the State that makes of information for heritage practitioners, ween members, including institutions such ginate from Europe. Chipangura opened munity on the socio-cultural uses of traditi- rative directed by members of the commu- decisions and then informs the commu- and not be a part of the process? It is felt as museums that preserve and community the lecture by relating to how traditio- onal drums that were previously treated as nities. This was achieved through activities nity. Example: there shall be a museum and that communities should rather be part of objects that define an identity. nal objects were during the colonial period mute objects. Collaboration with the com- including dances in relation to their cultural we shall determine our cultural heritage. the museum and part of the processes in a taken away from a community and placed munity in reorganising drums was embra- meanings, which had curators, viewers and This has manifested as people buying into museum. They should talk more about the in a museum without consent or understan- ced in decolonizing the museum practice community members understand the mea- the preconceived idea that resulted from objects/ideas since they are the communi- Summary: Communities are not easily defined ding the cultural value of the object. Muse- and space. ning and purpose of the drums as a cultural making a decision. However, the people of ties where the objects and knowledge come but must play a huge and inclusive role in a ums in Africa are now reconfiguring them- artefact and heritage. a community should be where such dialo- from; they know better than practitioners museum. They should be a part of the museum; selves to involve communities for access to Discussions: Much like in other museums gue begins and be more involved in making who are just packers of knowledge/objects. more than a source of information; with full cont- information and understanding the cultural and countries, artefacts are removed from those decisions. ribution to it as the custodians of the exhibitions value of objects. communities without any biography or nar- Discussion confronted the term ‘commu- within, and not that the museum is a piece of rative, which results in the object having Discussion began with acknowledging that nity’ in terms of its meaning and who hardware placed within the community. Example: The Mutare Museum in Eas- no connection with its socio-cultural pur- Africa is not unique because other parts of defines a community as different people tern Zimbabwe during 2016 reorganised poses and use. Adopting a methodology of the world were also colonized. Therefore, define it differently. Should someone else ethnographic objects understood accor- community involvement can surface under- colonisation is not unique to Africa and define a community as a group of peo- ding to conventional museology practices lying narratives of objects such as ritu- the lack of the authorities engaging with ple, or should a group define themselves that reinforce the colonial gaze. During the als. The collaborative approach is deemed communities when making decisions is not as a community? Where should the line be unique to Arica. There is a need for a para- drawn? The people need to have a speci- digm shift and how people in positions of fic value in a specific context in order to authority understand their roles. The roles adequately define themselves as a commu- of communities regarding museums should nity. When defining a community, there will be confronted in comparison to heritage most likely be conflict so is it worthwhile

Summary: Co-curatorship allows communities to be a part of museums and provide them with the opportunity to add a biography to their objects that have the potential to communicate more about the community and its way of life. Dialogue and involvement of the communities generates more accurate narratives and has communities appreciate their cultural heritage as communicated by the objects in the museum. The curator is almost dead and then functions as a mere facilitator of discussions as demonstrated by the Mutare Museum in Zim- babwe that in 2016 reorganised ethnographi- cal objects and engaged with communities to obtain members’ contributions to the museum’s content that communicates a lot about their way of life. 58 59

LECTURE NEW MUSEUM APPROACHES ON THE AFRICAN CONTINENT HUMBOLDT FORUM: INTERNATIONAL AND TRANSDISCIP- PRIVATELY FUNDED MUSEUM ABOUT SOMALILAND LINARY COOPERATION BY SAEED HUSSEIN (SARYAN MUSEUM, SOMALILAND) BY LAVINIA FREY & LARS-CHRISTIAN KOCH (GERMANY)

Lavinia and Lars discussed the importance and demonstrate interconnections bet- The post-presentation discussion covered Mr. Hussein provided a presentation about communities in the sale and export of arte- of cooperation in putting together cultu- ween history and cultures across countries the full involvement of communities from establishing a museum in Somaliland and the facts did not exist. ral projects for the benefit of all people. and continents, and connection and rela- where the collections originate. While challenges faced in the process. Somaliland The Humboldt Forum has set off as one of tion of activities across cultures, traditions, others are discussing restitution of parti- was under colonial British rule from 1884 Through events such as Museum Conversa- Germany’s largest cultural projects and is practices, countries and continents. This cular items, this forum allows exhibitions to 1960, which was followed by a military tions 2019, several things can be achieved even before its actual opening, in the focus provides information on various activities from all over the world because coopera- rule from 1960 - 1991. After years of experi- and lessons taught by counterparts to address of attention to a national and an interna- and how they are connected to each other, tion on the exhibition of global histories ence in international operations of the Uni- the challenges experienced by the museum: tional public. More than 20 000 exhibits such as slave trade, Asian movements, together is important to understand the ted Nations and its agencies, Hussein took it community engagement, government sup- from Asia, Africa, the Americas and Oceania culture, dance and music, and how these connections. Communities not happy with upon himself to establish the Saryan Museum port, funding and repatriation. The rich his- are the core of the Humboldt Forum’s pro- establish possible connections between the exhibition of their cultural artefacts are after an agreement with the government. tory of Somaliland needs to be preserved: gramme. The lecture gave insights into the continents. at liberty to re-claim. The museum, as an example of new museum, objects of historical and cultural significance, current status of the conceptual and pro- employs concepts of representation that such as dress, need to be part of collections grammatic planning. The museum is busy with several exhibi- override the colonial gaze and embraces com- because cultural practices are dying. Demons- tions from around the world and is aiming munity engagement as means of obtaining trations of cultural bearing by individuals are In September 2020, the Humboldt Forum to achieve youth involvement through dis- information. no longer common and artefacts are begin- will open as a unique place of experience, cussions that provide a platform for shared ning to lose their cultural value and meaning. learning and encountering in the heart of knowledge that can be accessed by anyone. The Saryan Museum is referred to as Soma- The objects in a museum – without a caption, Berlin. Inspired by Alexander and Wilhelm This means that the Humboldt Forum brings liland’s Heritage because it captures most documentation and preservation – would thus von Humboldt, the fundamentals of its con- different people together to talk about their of the country’s history, including the wars have no meaning and history would be lost. cept and work are inter and trans-discipli- issues, such as colonialism and post-colo- and genocide that ravaged Somaliland. There narily, transculturally, international coope- nialism. There is liaison and cooperation was initially no funding to build this museum Discussion after Hussein’s presentation evol- ration and the merge of three components: between the Humboldt Forum and the dif- and lack of interest from the Somali gover- ved around the story of the Somaliland capi- exhibitions, events, and outreach. ferent countries that are the sources of the nment. The government, at the time of the tal, Hargeisa, that was destroyed by the exhibits, and collections are handled in a museum’s establishment in 2017, had seve- government with artillery and aviation equip- This forum will be a platform for the dis- sensitive way. ral other issues of ‘more national importance’ ment bought from Asian countries during the play of different cultures, historical and to allocate a budget for the museum. This, civil war. Situated in a valley of the Galgo- contemporary cultures. It aims to celebrate coupled with pressure after the war - inclu- don Highlands (Ogo Mountains), the capital ding pirates – made prioritizing the museum is home to rock art from the Neolithic period impossible. and is also the hub for businesses in the areas of precious stone cutting, construction, retail Someone other than the government had to and general trading; all that have been part of Summary: The Humboldt Forum will be traveling around the world with exhibitions from take the initiative and spearhead the museum the people’s history. The people of Hargeisa almost anywhere in Asia, Africa, Europe, Ame- project. This led to the intervention by Saeed have rebuilt the city but mostly without being ricas and Oceania to demonstrate the inter- Hussein, who collected hundreds of thousands aware of its historical importance. connectedness of countries’ history and cultures of objects of cultural significance and heri- through the components of events, exhibitions tage. Hussein explained how he continues to Summary: History, cultural heritage and language are the cornerstones of the Saryan Museum that recently and outreach. The countries of origin and com- champion the objectives of the museum, des- expanded to include a library that functions in the interest of also preserving intangible cultural heritage munities are involved in the project, not only as pite limited funding, through collaborations such as language. Hard work and dedication, not by the government but by members of the community, have sources of information but also through discus- played the biggest role in the development of a museum with limited funding and almost no political sup- sions of issues such as colonialism and post-co- and assistance from other institutions. The lonialism. The forum brings different people importance of this museum is highlighted by port. Community involvement is at the forefront of the museum that is constantly seeking collaborations together and objects of the forum may be rec- the vast loss of cultural artefacts from Soma- and cooperation with other institutions to learn and overcome challenges. The museum is not complete and laimed if owners are not comfortable with the lia during the colonial period and civil war, in need of assistance to preserve the cultural heritage of Somaliland, some of which was lost with artefacts display of their artefacts. both periods during which the involvement of during the civil war. 60 61

NEW MUSEUM APPROACHES ON THE AFRICAN CONTINENT NEW MUSEUM APPROACHES ON THE AFRICAN CONTINENT A SPIRAL JOURNEY; THE MAKING OF LESOTHO NATIONAL SELF-FILLING EXHIBITION OF RELIGIOUS TOLERANCE MUSEUM & ART GALLERY BY LAURA DE FRANCISCO CAMPILLO (SPAIN/SIERRA LEONE) BY JONATHAN WEINBERG (LEAD PROJECT MANAGER DIJONDESIGN, LESOTHO)

Jonathan began by taking the audience the audience enter the building from a In her presentation, Laura de Fran- Foundation answered questions inclu- on a virtual tour of Lesotho and its rich current perspective and not a historical cisco highlighted the power of images ding: What is the best thing about spen- history, will hopefully be effectively one. In addition, the museum has inves- and how a street-art project showca- ding time with people from different represented by a national museum that ted a lot in its presence on social media sed Sierra Leone’s high religious tole- religions? Those answers were used involved a lot of community engage- to connect with particularly the youth of rance to the world. In an environment to inspire fourth year arts students to ment in the processes of construction and Lesotho. scarce of resources, a wall in a busy continue painting murals on the wall to selection of content. Other methodologies street was the perfect platform for arti- achieve a dynamic and inclusive wall of conventional museology will also be Other key narratives to be told by the stic performance because it is a place produced by a mix of local and interna- challenged. Being a relatively small coun- museum include the making of Lesotho, open to everybody and where conver- tional artists. try, Lesotho is landlocked within South the arts of Lesotho, and the kingdom’s sations could take place. The project is Africa and largely dependent on the lat- garden. Over 25,000 heritage sites have an example of how art can function as a The project is ongoing and each year ter. Maseru is the capital and boasts a already been identified through archa- medium of communication, particularly will have a different theme that evol- low level of poverty. Unofficially, the eological and paleontological excursions. concerning sensitive topics. ves around the concepts of together- SADC state has a population of about 3 Negotiations with the British Museum ness and human rights. The youth are million. Sesotho and English are the offi- for the restitution of objects with great The project wants to share the country’s encouraged to see themselves and act cial languages. Lesotho is referred to as cultural and historical heritage to Leso- spirit of an inter-faith community of as project leaders for them to be empo- the “Kingdom in the Sky” because it is tho are in progress. In particular, The which about 60% are Muslim and 40% wered. The long-term goal of this pro- about 4,500m above sea level. There is a King Moshoeshoe Collection is of a high Christian but they collectively distance ject is to have an annual music, street- UNESCO world heritage site in Lesotho – priority. themselves from the world’s perception art, skateboard, surf, film and dance the Maloti Drakensberg Park - known for of Sierra Leone that is based on images festival in Freetown for the city to its biodiversity and the highest density from the civil war and the Ebola pande- become an artistic hub. of pristine rock art in Africa that is 800 mic. This collective consciousness is a - 1000 years old. In 2000, government positive aspect of that society and the passed the Museums Act, which resulted project aims to reflect that. This project in the formation of a consortium to build was put in place by Affixed Produc- the first National Museum and Art Gallery tions and with the support of the mayor of Lesotho. Architects were awarded to of Freetown, Yvonne Aki-Sawyerr, and design the museum in 2017. world-renowned artist Vhils.

The project brief: Currently nearing com- One mural features an image of two pletion, the circular building is opposite siblings, Paul & Alfreda, of which one the Royal Palace (Maseru). The ground is Muslim and the other Christian. They Summary: The power of images and the use of art in public floor will house mostly artefacts and school in one of the communities where spaces as a medium of communication cannot be underestima- information on the country’s social his- the We Yone Child Foundation is wor- ted and have a lot of potential in transforming communities. A tory, while the top floor will focus on king to improve the lives of vulnerable mural project in Freetown by a non-governmental organisation natural history and performance spa- children through education and empo- and artists has inspired the local youth to be agents and lead ces will be arranged in between. Stake- Summary: Lesotho, with rich social and natural history as one of Africa’s kingdoms, is close to completing cons- wering their families. While in Free- projects that would hopefully result in an annual multidisci- holder consultation has been absolutely truction of the National Museum and Art Gallery that has embraced approaches different to conventional muse- town, Vhils conducted art workshops plinary arts festival that could have the capital city be reco- critical on how this project is to unfold ums in a post-colonial Africa. Consulting with stakeholders such as communities directly and involving the youth at schools that tend to lack artistic and gnised as an artist hub. The murals by local and international differently than others. The social his- of Lesotho through social media has been of high importance. Despite the optimism and community engagement, creative classes. artists were inspired by the answers of primary school learners tory section is envisaged to start in the challenges remain in negotiating the restitution of objects from a former coloniser – Britain - as is with almost on topics including the city’s diverse religious community that present and not in the past as expected in any other African country and its former coloniser. Officials from Paris are also engaging on the topic of cultural Primary school children from the com- have put efforts themselves to live in harmony as faithful Mus- most museums. The intention is to have artefacts’ restitution to Lesotho. munities involved in the Yone Child lims and Christians. 62 63

MUSEUM CONVERSATIONS 2019 | DAY 3 64

Goethe-Institut Namibia 1-5 Fidel Castro Street P.O. Box 1208 Windhoek, Namibia

Tel. +264 61 225 700 Fax +264 61 221256 www.goethe.de/namibia