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“Old Museum” Perspectives: Mutare Museum, Eastern Zimbabwe, 2015-2017

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“Old Museum” Perspectives: Mutare Museum, Eastern Zimbabwe, 2015-2017 Title: Working with Contested Ethnographic Collections to Change “Old Museum” Perspectives: Mutare Museum, Eastern Zimbabwe, 2015-2017 Author: Njabulo Chipangura How to cite this article: Chipangura, Njabulo. 2018. “Working with Contested Ethnographic Collections to Change ‘Old Museum’ Perspectives: Mutare Museum, Eastern Zimbabwe, 2015- 2017.” Martor 23: 59-69. Published by: Editura MARTOR (MARTOR Publishing House), Muzeul Ţăranului Român (The Museum of the Romanian Peasant) URL: http://martor.muzeultaranuluiroman.ro/archive/martor-23-2018/ Martor (The Museum of the Romanian Peasant Anthropology Journal) is a peer-reviewed academic journal established in 1996, with a focus on cultural and visual anthropology, ethnology, museum studies and the dialogue among these disciplines. Martor Journal is published by the Museum of the Romanian Peasant. Interdisciplinary and international in scope, it provides a rich content at the highest academic and editorial standards for academic and non-academic readership. Any use aside from these purposes and without mentioning the source of the article(s) is prohibited and will be considered an infringement of copyright. Martor (Revue d’Anthropologie du Musée du Paysan Roumain) est un journal académique en système peer-review fondé en 1996, qui se concentre sur l’anthropologie visuelle et culturelle, l’ethnologie, la muséologie et sur le dialogue entre ces disciplines. La revue Martor est publiée par le Musée du Paysan Roumain. Son aspiration est de généraliser l’accès vers un riche contenu au plus haut niveau du point de vue académique et éditorial pour des objectifs scientifiques, éducatifs et informationnels. Toute utilisation au-delà de ces buts et sans mentionner la source des articles est interdite et sera considérée une violation des droits de l’auteur. Martor is indexed by: CEEOL, EBSCO, Index Copernicus, Anthropological Index Online (AIO), MLA International Bibliography. 56 57 58 Working with Contested Ethnographic Collections to Change “Old Museum” Perspectives: Mutare Museum, Eastern Zimbabwe, 2015-2017 Njabulo Chipangura PhD Candidate, Department of Anthropology/ Wits City Institute, University of the Witwatersrand, Johannesburg, South Africa; Curator at Mutare Museum, National Museum and Monuments of Zimbabwe [email protected] ABSTRACT KEYWORDS In this article, I will examine the history of collecting ethnographic objects Ethnography, contested, collections, at Mutare Museum, moving between the colonial and postcolonial periods in Mutare Museum, Beit Gallery. order to show how these time scales structured the ways in which exhibitions are presented. I argue that by removing ethnographic objects from their cultural setting and inserting them into the visual system of the museum, their dynamic web of physical and social meanings was broken. Whilst I acknowledge that Mutare Museum’s system of displaying its ethnographic collection was shaped by colonialism in a way that resulted in the marginalisation of certain communities, I will show how collections in one of the galleries—the Beit Gallery—were transformed to convey new postcolonial meanings. In part, the article also looks at how the concept of object biography and ethnomuseology assisted in redesigning and changing old exhibitions in the Beit Gallery. This case in point will be illustrated by gleaning through the multi-layered histories of collecting at this museum. Next, I will argue that the particular, ‘old’ manner in which ethnographic objects were displayed conforms to the traditional practice of presenting exclusively for visual observation. Objects would be displayed on the floor in an almost derogatory way—presented as if they were strange and exotic and devoid of any social and historical significance. Yet, this type of scenography did not do justice to the social biography of the collection, which could not be understood in terms of a single unchanging identity, but rather by tracing the succession of meanings attached to the objects as they move through space and time. As a result, communities living around this museum used to periodically contest narratives that were appended on ethnographic collections on display in the Beit Gallery. Therefore, in this article, I will show how we reorganised this exhibition through a collaborative partnership with the source communities where the objects had originated from. The discussion in this article is premised on the data derived from my involvement in redesigning displays in the Beit Gallery as a curator at Mutare Museum. Later on, I will also address public perceptions of the new installations and gauge whether the exhibition attained the desired effects. ........ in 1980. Mutare Museum, situated in Introduction and historical background Eastern Zimbabwe, is the national collector of Mutare Museum of transport objects and antiquities. The Mutare Museum (formerly Umtali he Mutare Museum is one of the Museum) opened its doors to the public five regional museums under the in 1964 with displays of antiquities, administration of the National transportation, botany, and geology. Later, TMuseums and Monuments of Zimbabwe additional displays of ethnographic and (NMMZ) organisation. All five museums archaeological objects were added. Up to the were established as result of colonial present day, these permanent exhibitions encounters; Zimbabwe was colonized by have remained essentially unchanged. The Britain in 1890 and gained its independence Mutare Museum has been frozen in time 59 Njabulo Chipangura and biased towards colonialism as many and geology. Later on, additional displays aspects of an independent Zimbabwe have of ethnographic and archaeological objects been ignored, hence the growing need to were installed in the Beit Gallery. Therefore, change the displays or even revamp some of the creation of Mutare Museum, and many the outdated exhibitions (Chipangura 2014). other museums throughout Africa, is The locals have often criticised this museum closely linked to colonialism (Arinze 1988). for being alien, imported, elitist, urban- These museums were created as a result of based and still serving colonial interests colonial encounters. They share a common almost four decades after independence. history in terms of their development Looking back, the history of Mutare in that they tend to be the by-products Museum is inextricably interwoven with of colonialism and they are twentieth- that of the Umtali Society (Broadley 1966). century creations—a period marked by The Umtali Society came into being as European imperialism. In most cases they a committee of the Southern Rhodesia were created in specific socio-political Hunters and Game Preservation Associa- contexts that sought to denigrate the local tion in October 1953. This society was population, diminish self-confidence, and established for the purpose of inaugurating reduce pride in past achievements (Bvocho and fostering interest in the establishment 2013). Similarly, I argue that exhibitions at of a museum in Umtali. The society Mutare Museum have been frozen in time as gathered and displayed the first collections many aspects of an independent Zimbabwe of historical and natural objects in January have been ignored, hence the growing need 1956, which persuaded the Municipality to to change the displays or even revamp some provide a temporary home for the museum of the outdated exhibitions. Murambiwa (Broadley 1966). It was only in November (1999) also argues that between 1965 and 1957 that the Umtali Municipality granted 1979 there were deliberate attempts to use the association some space in an old museums to undermine African culture hostel, allowing them to exhibit on a while at the same time highlighting the semi-permanent basis (Broadley 1966). positive impact of colonisation. By mid-1958 the museum had about five hundred visitors each month, but it had no funds for further development, which lead ........ them to approach the trustees of National Museums and Monuments of Rhodesia to Old ethnographic displays takeover. Having secured grants from the in the Beit Gallery Government and the Umtali Municipality, Sir Edgar Whitehead officially opened the Before reorganization, the Beit Gallery museum in November 1958. Captain E.F measured approximately 224 square metres Boultbee was then appointed Honorary and included a wide range of exhibitions that Curator of the Umtali Museum on covered themes related to traditional aspects 1 September 1959 (Broadley 1966). of the Shona culture in Zimbabwe. Shona is The trustees realized that the existing the name widely given to the indigenous building was unsuitable and, with the help population in Zimbabwe, consisting of of the Umtali Museum Society, raised funds people who speak a similar language also for a new building for the museum. The called Shona. However, the Shona language new building was officially inaugurated itself is not homogenous because within it by Sir Alfred Beit on 13 September 1964 are different dialects that vary from region (Broadley 1966). When it opened its doors to region—Eastern Zimbabwe is inhabited to the public, the museum had displays by the Manyika, Ndau, Jindwi, Hwesa and focusing on antiquities, transport, botany, Karanga speaking people. 60 Working with Contested Ethnographic Collections to Change “Old Museum” Perspectives: Mutare Museum, Eastern Zimbabwe, 2015-2017 The old Beit Gallery had two entrances. in 1964. Karp and Kratz (2000) employed The first entrance was located in the front, an analytical approach in examining the close
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