DECOLONISING THE ARTS

By Edna Santos

(Photography by Guillaume Valli, 04 October 2024, Tate Britain)

Transforming Collections was the name given to this 3-year project led by an UAL Professor
of Contemporary Art and Director. This project ran between scholars from Britain and 14
national and international collections and archives.
A “Discovery Project” and part of – A National Collection Programme – it was funded by
UKRI’s Arts and Humanities Research Council aiming to deconstruct existent barriers within
UK’s culture heritage sector and aiming to open new doors for researchers and interaction
from the public.

But why name it “Transforming Collections” ?

In recent years, global institutions like the University of the Arts London (UAL), explored the
notions of structural inequalities questioning who is behind decision-making on what is
considered valuable or cultural heritage. Through collaboration with a range of institutions,
professionals and scholars advocated for more inclusive platforms to reflect diversity in
history, culture and living experiences. Therefore, we can reach an agreement and say
“Transforming Collections” is not a mere interpretation of the past but a positive lens on how
to create a more equitable and representative future for the arts world and it’s audiences.

 

The exponential growth of Decolonisation in Arts Institutions

Throughout recent decades, the surge of political movements instilled new words in quotidian
lives such as decolonisation where many of us might have familiarised ourselves with.

Through acquisition of artefacts and artistic works, academia curriculum, political spaces and
rallies across the ocean, intentionally acknowledged the effects of colonialism. This process
happens when institutions give platforms to marginalised groups and cultures while
perpetuating narratives favouriting western countries lenses on colonialism. Despite the
growing visibility of marginalised voices, the unbalance still present within the Arts, making it
difficult for communities to find representation of their histories and identities in international
cultural organisations.

The “Transforming Collections” project introduced by UAL recognises existent structural
inequalities and systemic biases. The decolonial action is recognised mostly in museums and
galleries, with expected undertaking decision of decolonisation and western narratives of
“stolen” or acquired colonised objects through unethical actions is taking stage in museums
across the world.

The original context is a claim for justice and change on colonial perspectives.
Within indigenous contexts such as the return of “43 ceremonial and sacred objects to
Aboriginal communities” in 2020 by the Manchester Museum, is a reflection on how
protecting cultural heritage with an approach is mirror on social responsibility. This call is
important for museums that had a relationship with colonisation, as the effects are still
evident in objects and their acquisition like the artefacts from Benin.
Countries that had a significant role on the Transatlantic slave trade, have more expectations
on the roles and measures they undertake to decolonise their institutions. The act of
returning objects to its country of origin is vital nonetheless. Allowing countries to reclaim
their cultural identity and control over the display and ownership of objects relevant to their
history and heritage.

 

Rethinking the Object: Beyond the Artefact

A central focus on the “Transforming Collections” project is how can art and artefacts be
reimagined and retranslated. Traditionally, artistic objects have been handled as individual
and timeless objects to be preserved and admired. In many situations, those same objects
are displayed without understanding it’s history or complex contexts in which they were
created or exhibited. This project retransforms this narrative and challenges it by
emphasising that objects account for histories, cultures, lived experiences surrounding these
pieces. It claims they are not only exhibited for aesthetic purposes but to be embedded with
meaning, shaped by social, political and historical factors.

The reevaluation of historical artefacts are necessary for better understanding of cultural
identity, this projects then encourages other museums to take action and engage in
meaningful and more holistic interpretation of their collections.
This new shift invites the reader to rethink and interpret collections through new lens.
Who has the right to interpret these collections and exhibit them?
Historically, curatorial managerial has been predominantly focused on western, elite groups.
This movement has been deconstructed on Transforming Collections initiative, by
incorporating diverse perspectives and giving a platform/temporary roles to communities
whose histories have been neglected or marginalised. Repatriating objects is the beginning
of potential connections between communities and cultural institutions providing hope and
reshaping museums narratives.

 

Reimagining Heritage Through Collaborative Practices

Museums efforts to repatriate objects falls into social responsibility as well as taking action
into making museums free off elite groups powers, it is a place that consistently discusses
and acknowledges the role played by colonialism within cultures, objects and infrastructures.
Museum decolonisation is not merely an act of returning artefacts but an attempt to create
collaboration, where curators and experts actively participate on how collections should be
be translated. UAL University created a participatory-model, including the voices of
communities represented in their collections.

 

This collaborative approach redefined power connections between cultural institutions and
surrounding communities. This fairly new shift towards collaboration between different
societal groups, brings diverse perceptions on the process of decision-making and
reinterpretation of collections. Also allowing a cross of exclusionary practices that have
previously swamped the art world. The goal can be understood as a ongoing dialogue
between cultural institutions and communities, fostering more inclusive and dynamic
exchanges.
“Transforming Collections” project is an opportunity to explore valuable insights into the
intrinsic meaning of pieces, giving communities a platform to share their personal stories,
while acknowledging the wrongs of the past and working towards a more sustainable future.

Towards a Decolonised Future

It is evident that many institutions still have work to do in creating a more inclusive and
decolonised space. Big museums like the British Museum in London, has many collections
with objects from across history and the world, many have not publicly undergone a dialogue
of change or act of repatriation. However, projects like “Transforming Collections” makes for
a hopeful future and change in scenery, opening further dialogues in museums context
transforming them into a space that accurately represents different cultures, and creates
dialogue on untold narratives, aiming to educate and promote change.
These are the current outlooks for museums in order to create a truly decolonised and
neutral space. Museums should be a reflection of communities on their collections and
displays.
This project provides a compelling model for organisations worldwide to embrace. It has
potential to transform the role of museums and galleries have in shaping our understanding
of history and culture. This project is a portrait between the relationship with the viewer and
art post-colonial world.

Sources
https://www.arts.ac.uk/ual-decolonising-arts-institute/projects/transforming-
collections/museum-x-machine-x-me

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https://www.arts.ac.uk/ual-decolonising-arts-institute/projects/transforming-collections

Future of Collections

https://www.manchester.ac.uk/about/news/reimagining-meanings-co-curatorship-and-
decolonising-methods/