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In November 2019, I participated in a four-day seminar titled “Transatlantic Seminar for Museum Curators and Educators: Museums as Spaces for Social Discourse and Learning.” The event was jointly organized by the German-American Fulbright Commission and the Leibniz Association, and hosted at the Smithsonian Institution in Washington, DC.
During the seminar, we touched upon a number of issues relevant for museums today, such as diversity, equity, accessibility, and inclusion (DEAI); visitor and non-visitor (!) studies, outreach and education, as well as repatriation and restitution. The group was very diverse in terms of their museum backgrounds – we had representatives from different museum departments, such as educators, curators, and program managers; and from various types of museums (large and small, private and public, natural history and history, technology, arts, local, and anthropology). As representatives from museums across Germany and the US, we always had the opportunity for transatlantic comparison and contextualization. We learned about other institutions as much as about ourselves in asking: what are the differences and parallels, the opportunities and challenges in museum and cultural politics in the US and Germany, in job descriptions and career development, in the organizational tables of our museums, as well as in our approaches to different topics?
At the end of these wonderfully enlightening and inspiring discussions, we formed groups to develop a number of analyses and best-practice interpretations. The result of this work was now published as a special issue of the Journal of Museum Education (46.1, 2021). I contributed to the group on repatriation.
In our article “Repatriation, Public Programming, and the DEAI Toolkit,” we share case studies in previous repatriations and the corresponding public programs from four museums: the Illinois State Museum in Springfield, the Carnegie Museum of Natural History in Pittsburgh, the German Historical Museum in Berlin, and the State Ethnographic Collections Saxony (Leipzig, Dresden, and Herrnhut) / State Art Collections Dresden. Two major takeouts from our work on the article are:
a) the realization that museums should expand their public programs around repatriation in order to better explain the contexts to local museum communities, as well as to integrate source communities (communities of implication) into the process, and
b) the fact that there is, as of now, little systematic research on public programming around repatriation – we argue that increased efforts and more research on repatriation-related events and education will improve the inclusiveness and accessibility of a museum, and strengthen its networks with both its local communities as well as with the source communities of its collections.
Here are links to various social media posts about the special edition of Journal of Museum Education: https://www.facebook.com/fulbrightgermany/photos/a.2042382882646796/2887745944777148/
While our seminar group worked on the article, my colleagues at the Department of Provenance Research and Restitutions at the GRASSI museum branch of SES further improved our outreach on repatriations and restitution: They opened an exhibition intervention to detail our repatriation efforts and the corresponding projects with source communities. They also launched a website to document these projects and to explain steps and challenges in the restitution process. A number of projects from the Americas, Australia, and the Pacific are already featured here, and more will be added in the future.
The regional broadcasting station MDR interviewed our director, Léontine Meijer-van Mensch, in early March to discuss the new website, as well as previous and ongoing repatriation processes.
I have been working at a new job for over a year now, so the job isn’t that “new” anymore, but I never got around to adjust my online profiles accordingly, so here goes:
I now serve as curator for the American collections at the State Ethnographic Collections Saxony (SES), a museum collaboration with sites in Leipzig, Dresden, and Herrnhut. The SES is part of the State Art Collections Dresden (Staatliche Kunstsammlungen Dresden, SKD), a collaboration of fifteen state-run museums in Saxony holding more than a million objects.
After I did a post-graduate internship at the GRASSI Museum für Völkerkunde zu Leipzig in 2011, I already knew the North American collection and many of the colleagues. I’ve spent much of last year working with the collections, and was involved with research and exhibition project at all sites.
My tasks as a curator, apart from research in collections and contributions to exhibition projects, include a lot of provenance research involving object and collector biographies and archival research. This is in part because collections from colonial contexts (e.g., human remains and sensitive objects) have received a lot of public attention in Germany in recent years. Museums put much effort and funding into investigating the history and the problematic aspects of their own collections. This is also tied in with the current large-scale task at SKD to put the entire collection into a searchable online database.
We plan to open new permanent exhibitions at Leipzig and Herrnhut in the early 2020s, so the next few years will bring intense institutional self-reflection and mapping out a course toward modern museums that reflect the state of scholarship, intercultural relations, and contemporary public debates of twenty-first century Germany and Europe.