Showing posts with label South Africa. Show all posts
Showing posts with label South Africa. Show all posts

8 April 2019

CFP: Living Forward, Looking Back: Museum Practice for Postcolonial Futures


Living Forward, Looking Back: Museum Practice for Postcolonial Futures 
Commonwealth Association of Museums (CAM) & Iziko Museums of South Africa
at the South African Museum
Cape Town, South Africa
March 9-14, 2020

The Commonwealth Association of Museums’ 2020 Triennial International Conference will explore issues of difficult histories in post-colonial societies. Sessions will explore the ways in which museums can enact social change through addressing decolonisation, reconciliation and community engagement.

  • Pre-conference workshops
    • Collections Management and Preventive Conservation of Human Remains and Sacred Belongings organised in collaboration with ICOM ICME
    • Interpreting Difficult History: Curation and Education organised in collaboration with the International Coalition of Sites of Conscience, ICTOP, ICMEMO and CECA
  • Conference presentations at the South African Museum
  • Visits to local museums and heritage sites
  • Post-conference tour
    • Visit Solms Delta, a progressive wine estate that is empowering its previously disadvantaged worker and resident communities through sharing of land and business equity and museums in the region

CAM has had very fruitful collaborations particularly with ICTOP and ICME in recent years and is happy to continue those relationships as well as to be working with new organisations. We invite proposals for papers, panels, PechaKucha presentations, roundtables, posters, and alternative formats such as performances or short films. Interested participants, whether panel chairs or presenters, should send a proposal/abstract in Word of 250 words and a 100-word biography by June 30th, 2019 to Rachel Erickson and Wendy Molnar: camtriennial@gmail.com

Session themes include:
  • Decolonising the Museum: What does decolonising the museum look like in practice? How can museums dismantle residual colonial power dynamics?
  • Legacies of Empire: What does the Commonwealth connection mean for museums today? How can museums confront this shared history?
  • Trauma and Memory: How can museums best collect and critically engage with difficult histories? How should museums care for visitors (and staff) dealing with trauma and difficult memories?
  • Human Remains and Sacred Artefacts: How can museums care for and/or repatriate ancestral remains? How are museums and Indigenous peoples working with sacred artifacts?
  • Community Engagement: How are museums working with Indigenous and (im)migrant or newcomer communities? How is diversity reflected both in the galleries and behind the scenes? What stories are being told, by whom?
  • Reconciliation: What does reconciliation look like in practice? How can museums contribute to reconciliation?

The Commonwealth Association of Museums (CAM)
CAM is an international non-governmental organization established in 1974 as a network of postcolonial museums throughout the Commonwealth and beyond that reflects on colonial legacies and develops new international relationships and working practices. CAM administers a distance learning programme; develops international internships and exchanges; organises international conferences and workshops; implements demonstration projects on shared issues such as Indigenous rights, reconciliation, migration, climate change, and gender equality; and empowers museum workers to use their resources – their collections, exhibitions, programmes, and expertise – for the benefit of their communities. As an Accredited Commonwealth Organisation, CAM promotes the value of museums in society and participates in Commonwealth Heads of Government Meetings and the Conference of Commonwealth Education Ministers. CAM is also an International Council of Museums Affiliated Organisation.

Why Cape Town?
Cape Town is the oldest city in South Africa, the legislative capital and epicentre of both the Apartheid and anti-Apartheid movements. It is one of the most culturally diverse cities in the world, a destination for immigrants. Named the best place in the world to visit in 2014, in addition to our hosts, the Iziko Museums of South Africa, Cape Town has many museums, historic sites and galleries.
Little is known of the area’s first residents who date from 15,000-12,000 years ago. However, from the late 16th century, Portuguese, French, Danish, Dutch and English ships regularly stopped in Table Bay en route to the Indies. Developed initially by the Dutch East India Company in the 17th century as a supply station for Dutch ships sailing to East Africa, India, and the Far East, the city has a long colonial history; it was the first permanent European settlement in South Africa. Cape Town was ceded to Britain in 1814.
CAM and our partners are currently working on two projects in Africa: Human Remains Management in Southern Africa, a collaboration between CAM, the Iziko Museums of South Africa, the Museums Association of Namibia and the University of Botswana, National Museum of Botswana, and ICOM National Committees in the region; and Art Focus on Human and Women's Rights in Nigeria with ICMEMO and partners. CAM is planning workshops and symposia in Rwanda (2020), Kenya (2021) and Egypt (2022).

Funding
Funding assistance may be available for CAM members from Commonwealth developing countries. Please request a bursary application form if funding is required and submit by November 15, 2019. Selection will be determined by the CAM Program Committee based upon geographical and gender representation, museum experience, and available matching funds. For all inquiries, please contact Rachel Erickson and Wendy Molnar at camtriennial@gmail.com

Exhibition review: Object Journeys: Fashioning Africa, Dr Chris Spring, Curator and Artist



African textiles of all sorts – and from all parts of the continent – have been an ongoing interest of mine for many years, so I was keen to be involved again with Brighton Museum’s Fashioning Africa project, in this case working with Tshepo Skwambane and Edith Ojo on an Object Journeys collaboration.

I love the whole concept of exchanging ideas, stories and works from the collections between museums, community groups and other individuals and organisations. Memories, experiences and expertise are shared in a convivial yet dynamic relationship which helps to create spectacularly interesting displays.

Tshepo and Edith are both from the local community in Brighton and are also on the advisory group for Fashioning Africa at Brighton Museum. Rachel Hemingway-Hurst (curator of World Art at Brighton) introduced them to me and to Helen Wolfe on their first visit to the BM textile stores (see photo). It was obvious then that they shared my passion for textiles, but it was a passion closely linked to an intimate knowledge of the significance of particular textiles in Africa, more specifically in the townships of South Africa and among the Yoruba people of Nigeria.

Tshepo wanted to tell the story of South Africa’s townships through the textiles and beadwork worn by the diverse peoples living there:

Tshepo Skwambane, Curator, ' Township Journeys' display
Townships are places where a real sense of community exists, and a multitude of cultural styles and identities are evident. This display reflects this diversity through presenting objects associated with Khoe-San, Ndebele, Tsonga, Tswana, Xhosa and Zulu groups. Many members of these communities live in townships today.

I want to challenge and dismantle stereotypes about Africa and Africans. Apartheid enforced separate and defined communities, but you can’t stop interaction between people and ideas.

I had recently co-curated, with John Giblin, the South Africa show at the BM, and amongst the pieces selected from the Royal Pavilion and BM collections, Tshepo chose two which had particular memories for me. The printed textile which you can see in the case behind him, which combines the South African flag with images of the World Cup, I came across in the ‘Elephant’ textile market in Maputo, Mozambique probably in 2008 or 2009 with the tournament just around the corner. Another piece, this time from the Royal Pavilion collections, was very similar to one which I collected for the BM in Jo’burg (see my African Art Close Up, page 59) and sparked my interest in this classically South African textile with its fascinating history and global connections. Tshepo takes up the story:



This printed cotton textile featuring bold geometric designs is called shweshwe. This type of indigo and brown patterned textile originated in Europe and was brought to South Africa and worn by German settlers in the 19th century. A similar textile was presented to King Moshweshwe I, founder of the Basotho nation, by French and German missionaries. Named after the King, Shweshwe was quickly adopted by Sotho and Xhosa people. It became so popular that a factory opened in the Eastern Cape area in 1982, introducing a range of new colours. It is still a popular fabric in South Africa today.”





Edith chose a particular style of Yoruba narrow-strip weaving known as aso-oke to tell her story: 
Edith Ojo, Curator, 'Aso-Oke a celebration on style,' display.



‘Aso-oke is a hand-woven textile originally made and worn by Yoruba people from south-western Nigeria, but now widely worn across the whole country. From maker to market, the fashion practices and culture that surround aso-oke are dynamic, vibrant and enduring.



It says ‘party’, that’s what aso-oke says to me! I love the spectacle and performance that surrounds aso-oke. It’s so culturally vibrant and constantly evolving



In the late 1980s (!!) when I first started writing about African textiles, I remember being intrigued by the Yoruba garments which included locally produced sanyan silk. Edith chose a classic sanyan-style aso-oke outfit from the Royal Pavilion collections which would have been worn by the father of the bride – you can see it in the case directly behind her. It was donated by Mr Martin Sholagbe and was worn at his daughter’s wedding in 2009. Edith described it in detail:



It consisted of an agbada (gown) and fila (hat) woven with white and beige cotton threads and lurex in the embroidery. These are paired with a buba blouse worn underneath and sokoto trousers made from a complimentary lace fabric. Sanyan is an enduring style, commonly woven with beige and cream threads. In the past natural beige silk threads were used, making the textile affordable only to the wealthy. Despite the variations of aso-oke today, the sanyan textile remains a favourite.



This was a wonderful project – a real team effort - and a great way to sign off from my long career at the BM before moving on to my permanent studio at The West London Art Factory in Park Royal: www.chrisspring.co.uk
'Fashioning Africa, Object Journeys' project team.
 All images used in this post are ©Royal Pavilion & Museums, Brighton & Hove.