Behold the sleazy logic of museums: plunder dressed up as charity, conservation, and care.

Museum exhibitions focusing on Native American history have long been curator controlled. However, a shift is occurring, giving Indigenous people a larger role in determining exhibition content. In Decolonizing Museums, Amy Lonetree examines the co

Behold the sleazy logic of museums: plunder dressed up as charity, conservation, and care. The idealized Western museum, as typified by the Metropolitan Museum of Art, the British Museum, and the Museum of Natural History, has remained much the same for over a century: a uniquely rarified public space of cool stone, providing an experience of leisure and education for the general public while carefully tending fragile artifacts from distant lands. As questions about representation and ethics have increasingly arisen, these institutions have proclaimed their interest in diversity and responsible conservation, asserting both their adaptability and their immovably essential role in a flourishing and culturally rich society. With Decolonize Museums, Shimrit Lee punctures this fantasy, tracing the essentially colonial origins of the concept of the museum. White Europeans' atrocities were reimagined through narratives of benign curiosity and abundant respect for the occupied or annihilated culture, and these racist narratives, Lee argues, remain integral to the authority exercised by museums today. Citing pop culture references from Indiana Jones to Black Panther, and highlighting crucial activist campaigns and legal action to redress the harms perpetrated by museums and their proxies, Decolonize Museums argues that we must face a dismantling of these seemingly eternal edifices, and consider what, if anything, might take their place.

Senegal's cultural heritage sites are in many cases remnants of the French empire. This book examines how an independent nation decolonises its colonial heritage, and how slave barracks, colonial museums, and monuments to empire are re-interpreted to imagine a postcolonial future.

A passionately urgent call for all of us to unlearn imperialism and repair the violent world we share, from one of our most compelling political theorists In this theoretical tour-de-force, renowned scholar Ariella Aïsha Azoulay calls on us to recognize the imperial foundations of knowledge and to refuse its strictures and its many violences. Azoulay argues that the institutions that make our world, from archives and museums to ideas of sovereignty and human rights to history itself, are all dependent on imperial modes of thinking. Imperialism has segmented populations into differentially governed groups, continually emphasized the possibility of progress while it tries to destroy what came before, and voraciously seeks out the new by sealing the past away in dusty archival boxes and the glass vitrines of museums. By practicing what she calls potential history, Azoulay argues that we can still refuse the original imperial violence that shattered communities, lives, and worlds, from native peoples in the Americas at the moment of conquest to the Congo ruled by Belgium's brutal King Léopold II, from dispossessed Palestinians in 1948 to displaced refugees in our own day. In Potential History, Azoulay travels alongside historical companions—an old Palestinian man who refused to leave his village in 1948, an anonymous woman in war-ravaged Berlin, looted objects and documents torn from their worlds and now housed in archives and museums—to chart the ways imperialism has sought to order time, space, and politics. Rather than looking for a new future, Azoulay calls upon us to rewind history and unlearn our imperial rights, to continue to refuse imperial violence by making present what was invented as “past” and making the repair of torn worlds the substance of politics.

MUSEUM TRANSFORMATIONS DECOLONIZATION AND DEMOCRATIZATION Edited By ANNIE E. COOMBES AND RUTH B. PHILLIPS Museum Transformations: Decolonization and Democratization addresses contemporary approaches to decolonization, greater democratization, and revisionist narratives in museum exhibition and program development around the world. The text explores how museums of art, history, and ethnography responded to deconstructive critiques from activists and poststructuralist and postcolonial theorists, and provided models for change to other types of museums and heritage sites. The volume's first set of essays discuss the role of the museum in the narration of difficult histories, and how altering the social attitudes and political structures that enable oppression requires the recognition of past histories of political and racial oppression and colonization in museums. Subsequent essays consider the museum's new roles in social action and discuss experimental projects that work to change power dynamics within institutions and leverage digital technology and new media.