Community Relations and Social Value in the Museum World
Review by Jesse Van Hoy
Richard Sandell, ed.
Museums,
Society, Inequality.
Abingdon: Routledge, 2002
Moira G.
Simpson.
Making
Representations: Museums in the Post-Colonial Era, Revised Edition.
Abingdon: Routledge, 2001
Jesse Van
Hoy graduated from St. John’s College in 2006 with a Bachelor of Arts in
History. He is currently pursuing a
Master of Philosophy in Heritage and Museums at the University of Cambridge.
His academic interests include the formation of identity and the politics of
representation.
One
of the most daunting challenges facing the modern museum profession is the
struggle to identify and address the needs of a multitude of audiences. In many cases, centuries of institutionalized
racism, adverse social conditions, or the pursuit of the colonial project have
systematically marginalized the communities in question. Others have emerged as a result of shifting
definitions of the term ‘community.’
Museums have an obligation to heed their cries for a voice in their own
representation. They are more than
capable of performing great services for these and all other sections of
society; it is only a question of will.
Making
Representations: Museums in the Post-Colonial Era and Museums,
Society, Inequality tackle the many facets of this issue. The authors demonstrate that each community
or group brings a unique set of grievances, concerns, and values to the
table. Both volumes deliver the
resounding message of the need for museums to work with these communities in a
sensitive and cooperative manner.
Moreover, the books suggest that such cooperation need not be a response
to pressure to conform to standards of political correctness. Rather, the case studies employed show that
such a reassessment of museum practice can produce tangible social benefits for
the heritage sector, the aggrieved communities, and the greater public.
Making Representations: Museums in the Post-Colonial
Era
As the
subtitle suggests, Moira G. Simpson’s book examines museums in countries that
have played the roles of colonizer and colony.
She draws examples from the United Kingdom, Australia, New Zealand,
Canada, and the United States. The
common thread here is the power relationship that once existed between these
nations: the latter four countries were jewels in the imperial crown of Great
Britain.
Simpson
chose these particular former British possessions because they all contain
significant indigenous populations that were continually subjugated by the
colonial structures and the independent governments that took their place. This treatment informed the manner in which
museums represented them and subsequent minority groups. She argues that the demands of these groups
are the reason that the selected nations are at the forefront of the
representation sea change taking place in the heritage sector (p. 2). The post-colonial museum’s response is the
subject of Simpson’s investigation.
The
author’s critique of the contemporary museum landscape unfolds in three acts,
each of which is supported by a bevy of case studies that are both relevant and
compelling. Simpson first outlines the
circumstances that have led to the problems facing indigenous and minority
communities in the heritage sector.
Several especially insensitive or ill-conceived exhibitions, including Into
the Heart of Africa (pp. 26-28) and First Encounters: Spanish
Explorations in the Caribbean and the United States, 1492-1570 (pp. 40-41),
are recounted in detail. These examples
demonstrate the degree to which the disregard for native values has been
institutionalized. The curators believed
that they were shedding new light on previously underrepresented topics. However, by treating Africans and indigenous
Americans as subjects to be studied rather than living peoples to be engaged,
these museum professionals only perpetuated the problem.
Simpson
does a fine job of contextualizing this conflict. She does not vilify mainstream museums. These accounts of poor decisions are followed
by tales of the subsequent efforts to remedy them. Most museums seem willing to work with
subject communities following errors in judgment, but it is the recurrence of
such errors that underlines the need for a managerial paradigm shift (p. 69).
At this
point, Simpson moves on to the next phase of her project: an overview of
museums that successfully convey indigenous or minority values. The most significant aspect of all of the
case studies here is that they highlight institutions that are run by the
source communities themselves. Most of
these museums are incorporated into the tribal or community structure, or at
least have a significant number of community members as staff, curators, or
trustees. Tribal cultural centres such
as the ‘Ksan Historic Indian Village in British
Columbia (pp. 149-152) and ‘spirit houses’ in Papua New Guinea (pp. 112-113)
allow indigenous groups to take matters of representation into their own hands,
with great benefit to their cultures and local economies.
Again, the
author maintains a balanced view of the situation by citing examples of true
collaboration between major state museums and members of source
communities. The National Museum of the
American Indian is an example of an entire institution founded upon this
principle (pp. 167-169). In Australia,
the Koorie Heritage Trust of the Museum of Victoria
employs Aboriginal staff in the management and interpretation of its artefacts
(pp. 130-132). The case studies
presented in this segment of the book demonstrate that, both within the
mainstream and without, the way for museums to move forward is through the
empowerment of the communities being represented. This is a sensible approach. Partnerships should be encouraged as they
maximize the resources available for projects and share the results with all of
the associates.
The final
section of Making Representations addresses a very sensitive issue
within the museum world: the repatriation of human remains, related grave
goods, and other cultural property. This
has deep cultural and emotional ramifications for the communities in
question. For the institutions, the very
foundations of their collections may be at stake.
Simpson
enumerates the policies that have been developed in each of the four countries
regarding the respect shown to human remains in accordance with indigenous
traditions. They have all made strides
to address this important ‘bone of contention,’ as she puns in one chapter
title. She describes the changes that
have been made since the passages of the Native American Grave Protection and
Repatriation Act (NAGPRA) in 1990, which calls for the return of all
identifiable human remains held by federally funded museums to the proper
tribal authorities (pp. 228-231). She
also notes that museums in Canada have been able to make progress in this
endeavour without the pressure of a legislative mandate. Major museums in New Zealand are even
campaigning for the return of Maori artefacts and remains from collections overseas
(pp. 231-236).
Not to
overlook the museum community’s interests, Simpson goes on to explain why
curators often seek alternatives to repatriation whenever possible. She herself is a museum professional, and is
not calling for the wholesale dismantling of the world’s collections. The artefacts and remains that museums hold
are, after all, valuable sources of information that may yet yield research at
an unknown point in time (pp. 186-188).
It is not simply a battle over possession.
With
objects of ritual or religious importance, many museums have negotiated
arrangements with the source communities that allow them special access to
their collections for use in ceremonies.
In return the objects remain in safe and sensitive museum storage, which
is often designed under advisement from elders or other leaders. Simpson characterizes this development as an
example of the shift from museum ownership to museum custodianship of cultural
property (pp. 200, 211-214). This is an
ideal situation, for it pays respect to the values of indigenous communities
while keeping research avenues open.
There is
still much more progress to be made, but Simpson believes that the future will
be bright if museum professionals continue to make the right decisions (p.
266). The injection of indigenous values enriches the stories that are told and
tells them from the perspective of the living cultures behind the
artefacts. This book is at once sobering
and refreshing. Simpson points out the
faults, both past and present, of the museum community, but the entire project
is predicated upon the belief that some institutions are moving in the right
direction with regard to representation.
It is an astute and constructive assessment that should be read by
anyone interested in the future of the profession.
Museums, Society, Inequality
This book
is an edited volume that both widens the context of the issues discussed in Making
Representations and raises some new ones.
Editor Richard Sandell has selected essays
that focus upon concepts such as the duality of social inclusion and exclusion,
the implementation of plans to extend museum services to audiences that have
traditionally been ignored by the profession, and the social utility of
museums. By employing this social
exclusion schema, Sandell’s project encompasses more
groups than Simpson’s, which adheres to ethnic criteria of community identity.
Sandell
sets the scene by describing the modern museum as a place in which the act of
collecting, which ought to be treated as the means to the end of serving the
public good, has become an end in itself (p. xvii). Value construction is secondary to catalogue
construction. His ultimate aim is to
present essays that show the potential, and indeed the duty, of museums to
serve their respective communities in their entirety and enact meaningful
social change.
Sandell
divides the papers into three categories: Museums and society, Strategies for
inclusion, and Towards the inclusive museum. However, these three parts are rather poorly
defined. This is especially true of the
latter two. Many of the essays could be
shuffled between the different sections without adding to or detracting from
the framework Sandell attempts to build. Most of them are fine pieces of scholarship
in and of themselves, but the editor could have simply presented the book as a
reader on topics concerning value and social inclusion in museums without
squeezing the papers into clumsy boxes.
A number
of essays address the arrival to the mainstream of communities that were once
considered to be on the fringe of society.
These include homosexuals, the physically disabled, and people with
mental or emotional disorders. The
chapters describe the historical neglect, both in representation and service,
of these groups by the museum community and recent attempts to resolve it. The authors provide interesting anecdotes
about the resultant new projects, which have implications that reach beyond
their immediate circumstances. They are
curative measures for specific groups, but they also speak volumes about the
ability of museums to serve the general public.
Angela Vanegas’ chapter entitled ‘Representing lesbians and gay
men in British social history museums’ addresses the chronic issue of the
invisibility of the homosexual population in cultural institutions. She notes that when their existence is
acknowledged in museums, it is typically in reference to exotic oddities such
as sadomasochism or the AIDS epidemic.
This condescending practice harkens back to the curios of the Age
of Enlightenment and does not afford homosexuals the luxury of being
represented as normal people. Vanegas goes on to describe her own museum’s innovative
exhibition that presented homosexuality as one of many valid lifestyles present
in the town of Croydon (pp. 99-103). The success of such an exhibition is a
testament to the cultural influence of museums.
By choosing to include homosexuals in these important public
institutions, a mandate is given for people to accept them as members of
society.
The
physically handicapped are another group that have made huge strides over the
last century in terms of social inclusion.
The Annie Delin essay ‘Buried in the
footnotes’ points out that they, too, have historically been represented as
curiosities in artistic representation, when they are represented at all. Delin lists a
number of key victories on the museum front for the physically disabled in
terms of representation as well as access.
Those with both disabilities and great talent need not be portrayed in
the stereotypical fashion as strugglers against adversity. Their handicap is just another one of their
vital statistics, like their gender or their ethnicity (pp. 93-94).
The same
attitude is displayed in Lois Silverman’s chapter on the therapeutic value of
museums, which is one of the book’s most compelling essays. It chronicles her collaborative projects
between museums and wellness facilities, including rehabilitation programs,
nursing homes, and hospice centres. She
emphasizes the shared focus on principles like aesthetics, memory, and learning
as keys to the success of the pilot programs developed between the museums and
the health facilities, which helped return order to the lives of a number of
patients. One of the most important
points Silverman makes is the assertion that these individuals do not need to
be seen as pitiful because mental health is crucial to all human beings. We all need to maintain balance (pp.
75-76). This egalitarian notion promotes
the museum’s role as a resource for the entire community to utilize. It is a space in which all people can come
together to share their experiences and perspectives.
The book’s
other major contribution is the case it makes for the positive social value of
these institutions. Carol Scott’s
‘Measuring social value’ provides a competent analysis of the many quantifiable
benefits that regular museum visits can bring to a population. As Scott observes, the need for museums to
demonstrate their utility arises from the constant struggle to secure funding
from governments, charities, corporations, and other bodies. The heritage sector is in competition with
other national concerns such as defence, healthcare, and education, all of
which may seem to have more tangible outcomes for the average citizen. However, she cites studies performed in the
United Kingdom that have identified a host of areas in
which museums facilitate both individual and communal wellbeing. A brief list of the long-term social benefits
includes increased self-esteem, promotion of national and local identities, development of personal creativity, educational value, and
economic benefits via tourism (pp. 47-52).
Scott
stresses the need for all museums to conduct empirical studies of their own
value. This is very sound advice,
especially in an age when public money is in short supply. Her goal is to make a case for the
justification of current spending.
However, the stronger and more implicit point is that once their social
utility has been proven, it should be much easier for museums to secure even
more funding and continue their important work.
This could have been made clearer in the essay, but it is insightful
nonetheless.
These two
books compliment one another rather nicely as overviews of the state of the
museum profession in terms of community relations and social value. Making Representations’ narrow focus
is well suited to the delicate microcosm of the status of indigenous peoples in
the museum world. Museums, Society,
Inequality takes a step back and considers the rest of the picture. Despite its awkward and imposed structure, it
presents a number of quality papers that highlight the social utility of
museums and its potential for applicability to all communities, if a commitment
is made on the part of the professionals.
Together the two volumes offer them a clear challenge. The authors demonstrate that the
post-colonial museum has the tools for fair representation in its hands. They simply need to be put to use.