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The Anticolonial Museum acknowledges some of the consequences of colonialism in the current work of museums. Looking at museum theory in a critical way, it proposes a radical revision of museums' rhetoric on decolonisation, as well as their public image and practices.
Bringing together a collection of reflections on decolonisation through the observation of museum performance and discourse, the author considers current practices in response to the social claims of marginalised groups and activists. Drawing from a genealogy of decolonial thinking in museology, Brulon Soares identifies the inherent paradoxes reflected in museum work. The book's focus is not exclusively on the reality of colonised countries, nor on the context of former imperialist nations-instead, it raises anticolonial questions, finding common ground between the different actors involved in the museum: scholars, students, curators, practitioners, community members and Indigenous creators. One of the central aims of this book is to view the museum as a locus for multiple enunciations, thus identifying in museum practice the active possibility of reconnecting subjectivities and restoring material fluxes to effectively repair the bonds that have been frayed by colonialism and an expanding modernity.
The Anticolonial Museum will be of great interest to researchers and students engaged in the study of decolonisation. It will also be essential for practitioners who wish to reconsider the impact of coloniality on their own position and everyday practice.
Bringing together a collection of reflections on decolonisation through the observation of museum performance and discourse, the author considers current practices in response to the social claims of marginalised groups and activists. Drawing from a genealogy of decolonial thinking in museology, Brulon Soares identifies the inherent paradoxes reflected in museum work. The book's focus is not exclusively on the reality of colonised countries, nor on the context of former imperialist nations-instead, it raises anticolonial questions, finding common ground between the different actors involved in the museum: scholars, students, curators, practitioners, community members and Indigenous creators. One of the central aims of this book is to view the museum as a locus for multiple enunciations, thus identifying in museum practice the active possibility of reconnecting subjectivities and restoring material fluxes to effectively repair the bonds that have been frayed by colonialism and an expanding modernity.
The Anticolonial Museum will be of great interest to researchers and students engaged in the study of decolonisation. It will also be essential for practitioners who wish to reconsider the impact of coloniality on their own position and everyday practice.