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2024, international public history
Decolonization is the subject of an abundant literature, both as a historical event and as a contemporary process. In relations with the past, debates have risen about issues such as colonial monuments, museum collections, and repatriation. Rather than dealing with a specific type of space, institution, or material, this special issue in International Public History offers a discussion on the many links between decolonization and public history. The articles explore if and to what extent public history practices can contribute to decolonizing the history production process (through decolonized sources, decolonized interpretation processes, and decolonized space of communication of history). The articles discuss what 'public' in 'public history' means: who is doing history, for whom, with whom, and for what? The selfreflective approach of public history also questions the colonial bias and processes at stake in institutions such as archives, museums, and universities. The special issue includes contributions from various countries (South Africa, Kenya, Brazil, Canada, and Japan) to foster discussions on the plurality of links between public history and decolonization in an international context that goes beyond the too-often Western oriented public history frameworks.
2021 •
In 2020, Europe was the setting for several events that sparked off a broad debate on the need for the decolonisation of thought, practices, spaces, monuments and museums. Historically, several European countries have had a direct or indirect relationship with colonialism and its practices, as well as with the authoritarian ways of managing and exercising power (Cahen and Matos 2018; Cooper and Stoler 1997; Matos 2019). The need to reflect on imperial ruins (Stoler 2013) and to decolonise thought today is therefore understandable.info:eu-repo/semantics/publishedVersio
Journal of World-System Research
The Case for a Decolonization of Global History. A Response to Bruce Gilley, Elvira Roca Barea, and Sebastian Conrad, . Journal of World-Systems Research, 29(2), 605–622.2023 •
After three decades of cultural, philosophical, and epistemological decolonization, numerous areas and disciplines have been subjected to a profound critical review concerning the colonial and Eurocentric character of the social sciences and humanities. Anthropology, literary criticism, philosophy, gender studies, art, sociology, geography, education, and cultural studies have seen the emergence of critical spaces of theoretical contestation that seek to overcome the Eurocentric, Western, colonial legacy of academic knowledge. Anticolonial political thought, postcolonial studies, decolonial thought, southern epistemologies, Chicano studies, Afrodiasporic thought, interculturality in spaces of indigenous knowledge, feminisms, anti-racism, and other series of theories and currents have developed a series of solid critiques, knowledge, academic spaces, and ways of interpreting reality that today are part of the dispute in and against the Westernized university. However, if there is one discipline that has yet to have a theoretical and epistemological debate on colonial legacies within the discipline, it is history. Indeed, despite extensively developing the field of studies on empires, colonialism, and anti-colonialism, historiography has
Decolonising Museology 2: The Decolonisation of Museology: Museums, Mixing, and Myths of Origin
Museological Myths of Decolonization and Neutrality2021 •
Museums are some of the most trusted public institutions in many countries. Museum as institution is the “cultural product of western history” (Wu, 2006, p. 6) that enforces the nation-state creed. Consequently, imperial ideology and colonial practices have been naturalized in present-day museums, continuing to preserve and (re)construct cultural, social, political, economic, and aesthetic hierarchies. Museums absorbed diverse subject matter disciplines, such as anthropology and ethnology, further solidifying their discriminatory hierarchies, notably representing ‘we’ (as positive) and ‘others’ (as negative) and the imagined genetic superiority of the European white race. The same applied to art history, which favors Western aesthetics and universalizes its dominance. Have those perspectives changed today? If so, why do some cultural objects end up in an art museum and others in ethnological, anthropological, and natural history museums? Why are these museums separated in the first place? Who decides what is fine art and what is not? Who creates the value of the cultural objects? Museums today still represent global inequality of economic power, sustaining the unending colonizers and colonized relations. This relation is particularly visible in the current issue of restitution of cultural materials. This paper addresses the colonial origin of the museum and examines the questions “what is it really to decolonize the museum?” and “were museums ever neutral?” We will also introduce briefly two case studies: an experimental exhibition Art of the Americas (2018) and another exhibition, opening in 2021, which will be expanding the theme of Art of the Americas to the global scale.
Art & Descolonization, 3, Afterall, London
A brief history of decolonial studiesRacialised Faces in white Creative Spaces: Ein Sammelband über Rassismus in der Kultur- und Kreativwirtschaft
De_colonial? Archives, memory and power2023 •
Today I address in particular Black African people-continental or diasporic-who are workers and service providers in museal institutions in Europe. In particular, people who do work that supports or disseminates "decolonial" initiatives and discourses in these endeavors. I think this indication of direction is important, because we are not always truly aware of the roles we play within institutional "diversity" narratives, especially since these narratives are always constructed to make it seem like museums are institutions genuinely committed to education, when in fact they are commercial and rhetorical enterprises. Not exclusively museums, but especially museums, and I will explain myself later. When I refer to museums I mean all "archives of knowledge"all institutions dealing with the safeguarding, maintenance, and diffusion of historical, artistic, or cultural heritage, inheritance, or legacy (whether museums of any kind, archives, galleries, thematic libraries, universities, repositories, cultural centers, etc.). I take license to name and reduce all of these institutions-including museums-to the name Archive. I have done so in many of my more recent texts. I understand that the reason for the existence of these enterprises and their modes of operation all converge on the same original motivation: the articulation of the exercise of power. This is done through the control of narratives about a given fact, theme, biography or context, from a privileged place of enunciation. Thus, generating an accumulation of heritage, inheritance or legacy, and material, political or intellectual capital that accredit these sites to position themselves as "public places of memory". This convergence of factors enables the construction or destruction of a collective memory, as well as the construction or destruction of a collective forgetting. The relationship between these "places of memory" and their referent territories, the roles of the agents...
Atlantic Studies
Decolonization, diversity and accountability: The role of museums in democracies of the global north2023 •
BSTRACT Over the last twenty years, the global phenomenon of migration flows has contributed significantly to shaping the multicultural and multiethnic identity of the West’s major metropolises in the Global North. Faced with the challenge of integrating this new migrant presence, museums on both sides of the Atlantic have sought to reinvent their role and purpose. The British and the Louvre were created to celebrate the achievements of empire and the West’s civilizational superiority. In order to decolonize and rethink this public space and assign it a broader civic role, museum directors have sought to make their institutions spaces of accountability and inclusion as well as reconsider their role as guardians of an often looted cultural heritage. This essay will explore the radical shift that has occurred in conceptualizing the museum’s social role in helping to foster an open society in multicultural democracies of the Global North.
This article investigates the relationship between museums and decolonisation in the under-examined middle years of the twentieth century (c. 1945-1970). Focusing on London’s Imperial Institute and its successor, the Commonwealth Institute, it argues that material culture and museums not only reflected wider political change, but exercised agency on processes of decolonisation. Museums helped multiple stakeholders in both metropole and (ex)colony to trial and enact forms of decolonisation, neo-colonialism, independence and anti-colonial resistance and acted as microcosms of wider political encounters: the practices of display and acquisition allowed the subjects of a crumbling empire to retain a sense of control over the process of decolonisation, but importantly they also provided an arena for emerging powers from the former colonies to assert their own agendas and forced staff at such institutions to take this influence seriously. Drawing on extensive archival material representing the perspectives of the Institutes’ staff and their contacts in decolonising countries across the Commonwealth, the tensions, collaborations and ambivalence inherent in the relationship between museums and the high politics of decolonisation are explored.
Manual de direito processual do trabalho: teoria geral do processo, princípios, fase de conhecimento, execução e ações especiais
Manual de direito processual do trabalho: teoria geral do processo, princípios, fase de conhecimento, execução e ações especiais2024 •
2021 •
I. de Hulster and E. Darby (eds), Iron Age Terracotta Figurines in the Southern Levant. Leiden: Brill, 285-91.
Response to Hunziker-Rodewald and Daviau & Zeran2021 •
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