In a time when past unequal colonial attitudes are no longer tolerated, can a museum that presents colonial history still thrive today? Located in Tervuren, Belgium, the Royal Museum for Central Africa, once considered "the last colonial museum in the world", has generated interest and critical reflection. After a five-year renovation, it reopened in December 2018 as the AfricaMuseum, aiming to reconstruct its historical narrative and engage with the complexities of African colonial history.
The main building of the AfricaMuseum
The current Director of the AfricaMuseum, Bart Ouvry, a former senior diplomat with over 30 years in economic and political diplomacy, transitioned into museum leadership. Discussing this shift at the China-Europe-America Museums Cooperation Initiative: 4th Dialogue, he stated, "I believe that in the long term, what is most significant is bringing people together. For that, cultural and scientific diplomacy is extremely effective." For the AfricaMuseum, which has faced ethical challenges, breaking free from colonial discourse is essential to embark on the challenging yet necessary path of deconstructing and rebuilding its narrative.
Full Speech by Bart Ouvry
PAST: ORIGINS OF COLONIAL DISCOURSE
The precursor to the AfricaMuseum served as a megaphone for colonial discourse. During the 1897 Brussels International Exposition, King Leopold II of Belgium created what is now known as the "Human Zoo" in Tervuren to justify his colonial plan. The exhibition attracted a large number of curious visitors, despite the death of seven Africans "exhibited" there.
King Leopold II forcibly brought at least 267 Congolese people to Belgium and exhibited them like zoo animals. By the end of the exposition, the colonial section alone had attracted over one million visitors.
Recognizing the propaganda potential of this success, Leopold II decided to establish a permanent museum—today's AfricaMuseum. Therefore, much of the discourse presented in the museum reflected these colonial inequalities. Overtime, Africa began to be portrayed "as primitive, as violent, as being in need of the civilization Europe would bring", and such biased colonial discourse became deeply entrenched.
The Leopard Man Statue, an early 20th-century work by Belgian artist Paul Wissaert, depicts a masked African man draped in leopard skin about to attack another person sleeping on the ground.
PRESENT: DECONSTRUCTING COLONIAL NARRATIVE
Today, continents globally rise against the once Western-dominated world, leaving the colonial era behind. Unequal colonial attitude has faced strong opposition internationally, making decolonization an inevitable trend. Yet, eradicating colonial remnants proves challenging across all fields, including the deconstruction of colonial discourse.
Deconstruction entails reflection and critique. For the AfricaMuseum, originally created to propagate colonial discourse, confronting historical legacies, scrutinizing inequalities embedded in its narratives, and dismantling established perceptions may be daunting tasks. Nevertheless, the museum remains resolute in its decision to deconstruct colonial discourse. For instance, in-depth interpretations of classic exhibits like the Leopard Man help people grasp their meanings and promote reflection on how colonialism distorted the public understanding of African cultures.
Project RE/STORE, co-created by Congolese artist Aimé Mpane and Belgian artist Jean-Pierre Müller, uses translucent veils with contemporary images placed near colonial statues. These overlays visually and conceptually prompt reinterpretation of an important heritage, challenging historical and ideological narratives.
FUTURE: RECONSTRUCTING EQUITABLE DISCOURSE IN A MULTIPOLAR ERA
Deconstruction and dismantling are not endpoints; reconstruction is the ultimate goal. Director Ouvry believes the 21st century demands multipolar perspectives: "In a spirit of true mutual respect, we must work together. That's the commitment we have." Therefore, constructing equitable modern discourse in a multipolar context is crucial for the AfricaMuseum. Achieving this may involve "out with the old, in with the new" collaborations.
In the museum's central hall, two sculptures by Congolese artist Aimé Mpane stand in opposition: one symbolizing past death and violence, the other future dignity and hope.
Regarding the restitution of artifacts, the AfricaMuseum believes it represents both the sharing of material resources in the international museum community and a reflection and response to historical legacies. The museum possesses a vast collection of artifacts, with cultural objects alone numbering over 130,000, yet only a fraction is exhibited. Therefore, restitution is not a burden but rather an opportunity. It reinforces the legitimacy and credibility of the museum and promotes the development of more equal and just partnerships within the global museum sector.
The Belgian government indefinitely loaned a Suku mask to the National Museum of the Democratic Republic of Congo, previously held by the AfricaMuseum for decades.
In Belgium's increasingly diverse society, the AfricaMuseum is actively collaborating with colleagues of African descent to bolster discourse reconstruction with fresh perspectives. These new narratives do not emerge in isolation within the museum; Africa today is experiencing remarkable cultural and scientific advancements. Therefore, the museum is eagerly awaiting artworks from African artists to enrich its exhibits.
The AfricaMuseum incorporates contemporary African art and strives to decolonize museum spaces that previously reflected colonialist perspectives.
Director Ouvry firmly believes that in today's world, people still want some authenticity. The AfricaMuseum not only needs to showcase the realities of Africa but also allows visitors to witness firsthand the beauty, creativity, and cultural significance behind these realities. Only then can the museum effectively contribute to future societal development, helping people better live together.
Bart Ouvry Director of AfricaMuseum, Belgium
Bart Ouvry grew up in Ghent. He studied history and communication studies at Ghent University. As a diplomat, he was active for Belgium in Kenya, Geneva and Kuwait, among other places. He was also a spokesman for Belgium's Federal Public Service for a time. From 2016 to 2019, he served as EU ambassador to DR Congo. His last post before the AfricaMuseum was as EU ambassador to Mali. From May 2023, he was appointed Director-General of the AfricaMuseum for six years.
