Gender diversity and inclusive representation as a means to decolonise museums

ABSTRACT

Decolonising museums has become a popular issue in recent years as many museums have recognised the need to address how they have historically perpetuated colonialism and exclusion. One way in which museums can work towards gender diversity and inclusion is by actively seeking and amplifying the voices and perspectives of women and under-represented groups. This can be done through exhibitions, programming, and hiring practices that prioritise diverse perspectives and experiences. An important aspect of decolonising museums is re-evaluating how artefacts and collections are presented and interpreted. Museums have often reinforced patriarchal and colonial narratives in the past, and it is important to work actively towards a more inclusive and equitable representation of history. This can include re-contextualising artefacts to highlight the perspectives and contributions of marginalised groups, as well as actively seeking and acquiring artefacts that represent a more diverse range of perspectives. This paper will examine examples of museums that have successfully started decolonising their spaces through exhibitions on matriarchal societies and/or the representation of women in the Ancient World, with a focus on the American University of Beirut Archaeological Museum.

La question de la décolonisation des musées est devenue populaire ces dernières années, car de nombreux musées ont reconnu la nécessité de se pencher sur la façon dont ils ont perpétué le colonialisme et l'exclusion au fil de l'histoire. L'une des façons dont les musées peuvent œuvrer en faveur de la diversité et de l'inclusion des genres consiste à rechercher activement et à amplifier les voix et les points de vue des femmes et des groupes sous-représentés. Un aspect important de la décolonisation des musées consiste à réévaluer la manière dont les artéfacts et les collections sont présentés et interprétés. Les musées ont souvent renforcé les récits patriarcaux et coloniaux dans le passé, et il est important de travailler activement à une représentation plus inclusive et équitable de l'histoire. Il peut s'agir de recontextualiser les artéfacts pour mettre en évidence les points de vue et les contributions des groupes marginalisés, ainsi que de rechercher activement et d'acquérir des artéfacts qui représentent une gamme plus diverse de points de vue. Cet article examine des exemples de musées qui ont réussi à entamer la décolonisation de leurs espaces en organisant des expositions sur des sociétés matriarcales et/ou la représentation des femmes dans le monde antique, notamment le musée archéologique de l'Université américaine de Beyrouth.

En años recientes la descolonización de los museos se ha convertido en un tema popular, ya que muchos museos reconocen la necesidad de replantearse la forma en que históricamente han perpetuado el colonialismo y la exclusión. Uno de los modos en que los museos pueden impulsar la diversidad de género y la inclusión es la búsqueda y amplificación activa de las voces y perspectivas de las mujeres y los grupos subrepresentados. Esto puede hacerse mediante exposiciones, programación y prácticas de contratación que prioricen perspectivas y experiencias diversas. Un aspecto importante de la descolonización de los museos se asienta en la reevaluación de la manera en que se presentan e interpretan objetos y colecciones. Dado que en el pasado los museos a menudo reforzaron las narrativas patriarcales y coloniales, es importante dar pasos activamente hacia la concreción de una representación más incluyente y equitativa de la historia, por ejemplo, mediante la recontextualización de artefactos, para destacar las perspectivas y contribuciones de grupos marginados, y la búsqueda y adquisición activa de artefactos que den cuenta de una gama más diversa de perspectivas. Este trabajo examinará ejemplos de museos que ya empezaron a descolonizar con éxito sus espacios, presentando exposiciones sobre sociedades matriarcales y/o la representación de la mujer en el Mundo Antiguo, centrándose para ello en el Museo Arqueológico de la Universidad Americana de Beirut.

KEYWORDS:

• Decolonising museums
• gender diversity
• under-represented groups
• inclusive representation
• re-contextualising artefacts
• matriarchal societies

Acknowledgements

I extend my deepest gratitude to every artist, student, and professor mentioned in this article, who has graciously collaborated with me on these initiatives and granted me approval to mention their achievements in this paper.

Notes

1 Based on membership numbers and records of the International Council of Museums’ yearly subscriptions.

2 See https://identitywithoutborders.glam.ox.ac.uk/identity-without-borders.

3 AUB Archaeological Museum links: https://www.facebook.com/AUBArchaeologicalMuseum; https://www.instagram.com/aubarchaeologicalmuseum/; https://www.aub.edu.lb/museum_archeo/Pages/default.aspx.

4 Authorisation was obtained from faculty members and students to include their works in this article.

5 The term Gynocratic Age refers to a hypothetical period or concept characterised by female or feminine dominance in social, political, and cultural realms. It is derived from the Greek words gyne (woman) and kratos (rule or power). The idea of a Gynocratic Age often contrasts with the more commonly known patriarchal societies that have historically prevailed in many parts of the world. It is important to note that the concept of a Gynocratic Age is largely speculative and has not been widely recognised or supported by mainstream historical or anthropological research. It is often used as a theoretical construct to challenge traditional gender roles and power dynamics, highlighting the potential for alternative social structures that promote gender equality.

Additional information

Notes on contributors

Nadine Panayot

Nadine Panayot holds a Doctorate in Classical Mediterranean Archaeology from Paris 1 La Sorbonne. She serves as the Curator of the American University of Beirut’s Archaeological Museum and an Associate Professor of Practice at the Department of History and Archaeology. Following the port of Beirut explosion in 2020, she successfully restored the museum’s collection of archaeological glass in collaboration with international teams, aiming to heal her Lebanese colleagues and raise awareness of corruption and atrocities. Previously, Nadine was the Director of the University of Balamand’s Archaeology and Museology Research Department, and the founder and Chairperson of the Master’s Program in Museum Studies and Cultural Heritage Management. She also co-founded and curated the Ethnographic Museum at UOB. With involvement in Near East archaeological excavations since 1992, she advocates for a holistic approach to natural and cultural heritage conservation, emphasising their link to human dignity and well-being. She has recently been honoured with the prestigious insignia of Knight of Arts and Letters by the French Government in recognition of her significant contributions and commitment to the arts, heritage conservation and promotion. Postal address: Archaeological Museum, American University of Beirut, Bliss Street, Beirut, Lebanon, P. O. Box 11-0236. Email:[email protected]