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University of Groningen Rethinking Citizenship Altuna, Asier ; Suárez, Mariluz

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University of Groningen Rethinking Citizenship Altuna, Asier ; Suárez, Mariluz University of Groningen Rethinking Citizenship Altuna, Asier ; Suárez, Mariluz IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2013 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Altuna, A., & Suárez, M. (Eds.) (2013). Rethinking Citizenship: New Voices in Euroculture. Euroculture consortium. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 28-09-2021 Shapes of a Multicultural Society: Some Thoughts on the Rearrangement of the Museum of Cultures, Basel1 Bianca Rubino Abstract This paper is embedded in the topic of postcolonial museums in the context of a multicultural society. Nowadays, ethnographic museums, which were born in the context of colonialism and of Europeans travelling and exploring the world, are facing a crisis with regard to ethnographic representation and thus their identity, and of public interest. This is one of the reasons why Jean Jamin asked in 1998: “do we need to burn ethnographic museums?” and why over the last decades these museums have often changed their configurations and exhibition strategies. In this work the focus lies on the Museum of Cultures of Basel (so denominated from 1996), which, after two years of works, was re- opened in September 2011, with special orientation given to social issues. The paper considers how the museum sees itself today, also taking into account the treatment of the “Other” in the exhibition strategies, the curators’ intent, the public and its role. The methodology includes both a theoretical framework and fieldwork. In particular, it focuses on the analysis of the exhibitions “Intrinsic Perspective: Inspiring aspects of anthropology” and “Chinatown” (for example, considering the introduction of art, the concept of “us” versus “them”, etc…). Furthermore, activities carried out by the museum are also taken into account in order to understand how the public is engaged with the Museum’s activities. The purpose and scope of this work is to investigate the connection between the Museum and its attempt to foster a plural and cultural citizenship in present society. The tentative outcome is to consider the Museum as a “forum”, a “contact zone”, in other words, as a place which promotes practices of intercultural dialogue and is closely related to multiculturalism. Keywords: ethnographic museums, the “Other”, exhibition, public, multiculturalism 1 The author thanks the Museum of Cultures of Basel for permission to show photographs of some of its artifacts of the collections. 159 Introduction Exhibitions, according to Ivan Karp, are “privileged arenas for presenting images of self and “other” ”.2 And especially ethnological museums, which today find themselves affected by two epochal shifts, “postcoloniality” and “multiculturalism”, are concerned with narratives about the “Other”.3 Indeed, concerns about exclusion and inclusion become always more important.4 Nowadays, in the context of globalization, ethnographic museums, which were born in the context of colonialism and of Europeans travelling and exploring the world, are facing a even more severe crisis than for other museums. This is due to the crisis of ethnographic representation and consequently ethnographic museums’ identity, but also public interest. That is the reason why Jean Jamin asked in 1998: “Faut-il brûler les musées d'ethnographie?”5. Meanwhile De L’Estoile juxtaposes the “Musées des Autres”, which focus on the others, and the “Musées de Soi”, where people narrate a story about themselves, questioning the practices of talking about the “Other” and their legitimacy.6 And the curators of the Ethnographic Museum of Neuchâtel are developing practices working on a meta-museological level. Through critic museology they explore the implication of the relation between collections and their curators7 and try to overcome the museum known as “Cannibal”. In other words, the museum which devours and encloses the “Other”, leading us to think that it can be assimilated.8 Thus in the last decades these museums have often changed their configurations, exhibition strategies, and museum practices, putting the focus, for example, on colonial past, history, art or multiculturalism.9 According to De L’Estoile, multiculturalism is related to the establishment of the Museum of Cultures.10 In this work the focus lies on the Museum of Cultures in Basel and the interest about it is mainly due to its new reopening in September 2011, the shortage of academic literature about it and the possibility of a stimulating field of work, through which to explore the reality of a European museum. The Museum of Cultures (also MKB, Museum der Kulturen Basel) is the biggest ethnographic Museum in Switzerland and one of the first ethnological collections in Europe, stemming from Swiss travellers and private collections. It was established in 1849 as “Museum der Stadt”, it became the Museum of Ethnology and Swiss Museum of Folklore in 1944, and finally the Museum of Cultures in 1996.11 On the sixth of September 2011 the Museum of Cultures reopened its exhibition area, after 2 Ivan Karp, introduction to Exhibiting cultures. The Poetics and Politics of Museum Display, ed. Ivan Karp and Steven D. Lavine (Washington and London: Smithsonian Institution Press, 1991), 15. 3 Jan Nederveen Pieterse, “Multiculturalism and Museums. Discourse about Others in the Age of Globalization”, Theory, Culture & Society (1997), 123. 4 See Okwui Enwezor, art curator specialised in the areas of art and multiculturalism. Enwezor, Okwui. “The Postcolonial Constellation: Contemporary Art in a State of Permanent Transition”, Research in African Literatures, 34. No. 4, Indiana University Press (Winter, 2003), 57-82. http://www.jstor.org/stable/4618328 (accessed 20 August 2012). 5 “do we need to burn ethnographic museums?” Jamin Jean, “Faut-il brûler les musées d’ethnographie?”, Gradhiva (1998): 65-69. 6 “Museums of the Others” “Museum of the Self ”. Benoît De l’Estoile, Le goût des autres. De l’exposition coloniale aux arts premiers (Paris: Flammarion, 2007), 11-12-13. 7 Jacques Hainard and Roland Kaehr, Objets prétextes objets manipulés. Ed. (Neuchâtel, Men: 1984). 8 Marc-Olivier Gonseth et al., Le musée cannibale. ed. Gonseth M., Hainard J., K. Roland, Le musée cannibale, 13. 9 See Benoît De L’Estoile (2007) and Sally Price (2007). 10 De l’Estoile, Le goût des autres. De l’exposition coloniale aux arts premiers (Paris: Flammarion, 2007), 285-286. 11 Museum der Kulturen Basel, http://www.mkb.ch/en/3-1-museum/3-2-history.html (accessed 15 March 2012). 160 two years of works. The change did not just affect the architecture entailing a renovation, which was led by studio Herzog & de Meuron12, but involved museological practices as well, moving towards a special orientation on social issues. My research question considers how the museum sees itself today through the exhibitions and the activities, also taking into account the treatment of the “Other” in the exhibition strategies, the curators’ intent, the public and its role. The methodology includes, beyond a theoretical framework which counts on the contribution of several scholars, also a fieldwork which consists of observation and interpretation of the exhibitions and activities of the MKB. And the accent is more on the way the objects are selected and exposed than on the objects themselves, thus museological practices and their implications. Furthermore, activities carried out by the Museum are also taken into account to understand how the public is engaged in the Museum’s activities. In particular, the analysis of the exhibition is centred on “Intrinsic Perspective - Inspiring Aspects of Anthropology” and “Chinatown”, both accessible during the timeframe between February and May 2012. The analysis was made possible thanks to several visits to the Museum, having attended a guided tour, and a meeting with the Director’s Assistant, Samuel Bachmann. The contribution of this work consists in the consideration of new aspects of the Museum exhibitions and activities and exploring the connection with the concept of a plural and cultural citizenship. In particular, the purpose and scope is to investigate the connection between the Museum and its attempt to foster a plural and cultural citizenship in present society. In fact, as Deniz Ünsal states, “[t]he cultural definition of citizenship is made with regard to access to and participation in culture, and the recognition of cultural diversity in all its forms”.13 This could demonstrate how ethnographic museums as cultural institutions do play a relevant role in the shape of citizenship in a multicultural society. I. The Museum today: reopening, theoretical pillars and mission The Museum’s reopening has led to a radical change: from the paradigm of “Primitive” and “Primordial” stemming from the “Wunderkammer” to a more contemporary Museum of Cultures.14 The need for change originated from the crisis of representation and the intrinsic problem of the term “culture”.15 The MKB looks “for new ways of exhibiting and new manners of doing”16, thus dealing with always-different approaches ranging from 12With regard to architecture and new museums see also, for example, the case of Jean Nouvel and the Quai Branly in Paris, Sally Price (2007). 13 Deniz Ünsal, “Museums’ quest for validity in the 21st century.
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