A description of the Tropenmuseum. With basic information such as Title of Exhibition / Location, Institution, Time span of exhibition, Curator(s) of exhibition, General information about exhibited works/artists (which artists, what kind of works, which genre/media). A description of the exhibitio...
10 OCTOBER 2023 | NRC HANDELSBLAD | ` LUX ET LIBERTAS
"Our Colonial Heritage" at the
Tropenmuseum: A Transformative
Exploration of Dutch Imperial History
Embedded within the imperial architecture of Amsterdam's However, the integration of diverse mediums does not uniformly
Tropenmuseum is the unfolding narrative of "Our Colonial achieve optimal results, as seen in the exhibition's treatment of the
Inheritance." This review delves into the museum's latest permanent Banda Genocide. While the textual content demonstrates clarity in
exhibition, representing a significant departure from its earlier identity both its message and objectives, the selection of accompanying
as the Colonial Museum of the Dutch Empire. Under the guidance of objects presents a notable incongruity. Adjacent to the text, the
Content Director Wayne Modest, years of meticulous preparation, visitor encounters a botanical drawing of a nutmeg fruit, cloth
including precursor exhibitions like "Afterlives of Slavery" in 2017, have adorned with a nutmeg-inspired batik pattern, and a Dutch etching
converged into this expansive 1200 m² showcase. depicting the island of Banda. On the opposite side of the display
The exhibition, spanning the first floor, boldly tackles an array of case, a model of a ship and a house constructed from cloves, a bust
of Jan Pieterszoon Coen, and a schoolbook illustration depicting a
themes—national colonial histories, slavery, racism, language, and
tranquil plantation are positioned. Although each object bears a
religion. This deliberate approach serves as a powerful statement,
connection to the spice trade and, consequently, the Banda
underscoring the museum's commitment to a profound examination
Genocide, none appears to contribute substantial additional
of imperial history and its contemporary ramifications.
information or facilitate an emotional engagement with the
What distinguishes "Our Colonial Heritage" is its permanence. It
historical atrocity. This assemblage of objects, seemingly appended
transcends transient responses to external pressures, providing a Remarkably absent among the myriad addressed
from the museum's collection with tangential connections to the
lasting space designed for sustained learning, contemplation, and issues was the significant theme of sexualization and
topic, gives rise to an impression that the curatorial intent was to
discourse surrounding our colonial legacy. The assurance that these sexual violence integral to various forms of imperial
address Banda, supplemented by a selection of loosely associated
galleries will endure for at least seven years reinforces their role as domination. While glimpses of this topic emerge
artifacts. Rather than augmenting the textual narrative, this
enduring sites for the comprehensive understanding and ongoing sporadically—a sentence or two here and there—they
amalgamation of objects introduces a sense of clutter that diverts
discussion of our colonial heritage. The journey into the exhibition underscore a perceived inadequacy in providing a
attention from the central message, inadvertently trivializing the
commences with a compelling two-screen video installation featuring comprehensive framework. For instance, the section on
deliberate annihilation of an entire island's population.
interviews, speeches, and performance art that contextualize Dutch race and racism highlights the general prohibition for
This incongruity recurs at various points within the exhibition,
colonial heritage. Mayor Femke Halsema's poignant apology for the prompting the query: the significance of the presented objects colonizers to engage in intimate relationships with
city's involvement in the Dutch slave trade serves as a gripping remains unclear; how do they contribute to the thematic discourse? enslaved or colonized individuals. The discussion on
introduction, setting the tone for an unambiguous confrontation with This issue, epitomized by the lack of meticulousness in the Banda slavery briefly acknowledges the frequent victimization
imperialism. case, underscores a specific curatorial challenge. It suggests a of enslaved workers through physical and sexual abuse.
Throughout the exhibition, manifestations of imperial violence and potential underestimation of the emotional profundity associated Towards the exhibition's conclusion, present-day
their enduring impact on lives are articulated in straightforward with imperial violence, even within an exhibition explicitly devoted descendants learn unsettling truths about their origins,
language. The curatorial text unreservedly names acts such as slavery, to this subject. Simultaneously, it points to a broader quandary descending from enslaved women or housekeeper-
genocide, and racism, emphasizing the Dutch nation's accountability. inherent in the ethnographic museum functioning as an imperial concubines (nyai). These fragments, dispersed
A notable example is found in the textual exploration of the Dutch archive—the absence of more pertinent objects might stem from throughout the exhibition, imply an aspect deserving
genocide on the Indonesian island, where the curators distinctly an archival logic that historically deemed certain artifacts more explicit attention yet challenging to present
elucidate historical responsibility, as seen in the case of the Banda inconsequential for preservation. within the existing framework. While Ann Stoler
genocide. The text employs a straightforward approach in addressing Consequently, the Banda case inadvertently raises a pivotal cautions against a simplistic approach to the subject in
Dutch colonial violence, evident across the majority of its content. question concerning the role of such objects as museums, including academic discourses, a curatorial strategy for
While the museum's linguistic proficiency may have anticipated this the Tropenmuseum, pursue their decolonization endeavors. An effectively displaying the intimate politics of empire to
approach, its manifestation within the actual texts of a permanent increasingly prevalent strategy to address the paucity of material is a broader audience remains elusive.
exhibition proves noteworthy. Addressing racism and colonial the integration of contemporary artworks, as evidenced, among
language in an online publication differs significantly from other instances, in the section recounting the museum's history.
However, these critiques should not overshadow the
confronting these issues within the tangible framework of a While this approach can prove efficacious, "Our Colonial Heritage"
exhibition's foundational accomplishments. Particularly
permanent exhibition. highlights that art is not a universal panacea for representation
when juxtaposed with the recently inaugurated
he museum undertakes a critical self-examination, dedicating a issues. The exhibition predominantly relies on artworks as visual
permanent exhibition at the Humboldt Forum, "Our
condensed yet dense section to its imperial legacy. Describing its depictions of imperial violence, a deliberate decision by the curators
Colonial Heritage" emerges as a harbinger of the future
initial commitment to an idea that certain population groups had to eschew archival material showcasing explicit violence. While
for ethnographic museums. The Tropenmuseum, by
progressed further in development, particularly within ethnographic commendable for mitigating visual victimization and ensuring
setting new standards, inherently faces challenges and
museums, the text provides limited elucidation on the mechanisms accessibility to diverse audiences, this approach places significant
imperfectly realized concepts. Yet, the earnest
involved. Accompanying photographs, strategically placed next to the onus on artworks—a medium inherently subjective and often non-
functional. Noteworthy examples, such as Virgil Nassara's abstract willingness to confront these challenges is a source of
balustrade overlooking the main hall, vividly portray a throne erected
portrayal of a slave ship, exemplify the challenges arising from this optimism. The exhibition's permanence assures
for Queen Wilhelmina, surrounded by wax figures symbolizing
reliance on art. The abstraction, while intriguing, assumes greater ongoing debates and potential controversies,
colonial populations paying homage to the imperial monarch. This
responsibility due to its status as the sole representation of violence constituting a potent tool for the ongoing process of
visual representation of imperial power within the museum's core
aboard these ships, occasionally resulting in a sense of vagueness decolonization.
communicates its authentic ideological purpose more vividly than
textual exposition could achieve. Artist Heri Dono's installation, "The and trivialization. In scenarios lacking both artworks and archival
Museum of Ethnography," completes this section, featuring miniature material depicting violence, as evident in the case of the Banda
dioramas with unsettling arrangements of dolls and figurines, genocide, the audience is left solely with propagandistic etchings
and schoolbook illustrations. This prompts the contention that if For the difficulties of this process, see Caradonna,
creating an atmosphere reminiscent of a horror movie set.
artworks ascend to pivotal roles in an exhibition's narrative, they Vittoria. “‘All the Things Happening Outside of the
Collectively, the integration of text, photographs, and artwork
may encounter challenges in effectively conveying specific Museum Push Me Back in’: Thinking through
effectively communicates the museum's imperial legacy, appealing to
meanings under the burden of such expectations. Memory and Belonging in Amsterdam’s
both intellectual and emotional sensibilities and leaving visitors with a
Tropenmuseum.” International Journal of
palpable sense of discomfort.
Heritage Studies 28, no. 1 (2022): 59–73. .
Gigi Emanuels
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