{"id":1513,"date":"2022-12-19T10:07:04","date_gmt":"2022-12-19T10:07:04","guid":{"rendered":"https:\/\/mpelembe.net\/?p=1513"},"modified":"2022-12-19T10:07:04","modified_gmt":"2022-12-19T10:07:04","slug":"why-wellcome-closed-its-medicine-man-exhibition-and-others-should-follow-suit","status":"publish","type":"post","link":"https:\/\/mpelembe.net\/index.php\/why-wellcome-closed-its-medicine-man-exhibition-and-others-should-follow-suit\/","title":{"rendered":"Why Wellcome closed its Medicine Man exhibition \u2013 and others should follow\u00a0suit"},"content":{"rendered":"

Ana\u00efs Walsdorf<\/a>, University of Warwick<\/a><\/em><\/span><\/p>\n

In November the Wellcome Collection closed their Medicine Man gallery. In a Twitter thread<\/a>, they acknowledged that \u201cthe display still perpetuates a version of medical history that is based on racist, sexist and ableist theories and language.\u201d<\/p>\n

<\/p>\n

Medicine Man told history<\/a> from a narrow, eurocentric perspective<\/a>. As such, the Wellcome\u2019s decision to rethink its gallery is not a matter of erasing history, but of deepening it.<\/p>\n

As they rethink their collections, Wellcome and others like it must remember that decolonisation is not a metaphor<\/a>, and that this move must be followed up by more concrete action.<\/p>\n

Henry Wellcome and his collection<\/h2>\n

Henry Wellcome (1853-1939) was an American collector who amassed a fortune through his pharmaceutical firm.<\/p>\n

Through a network of collecting agents, Wellcome accumulated millions of objects over the course of his career.<\/p>\n

In 1912, collecting agent Charles Thompson wrote a letter<\/a> to his colleague Paira Mall advising that he should not come home until \u201cIndia is completely ransacked.\u201d<\/p>\n

\n \"Sepia<\/a>
\n Henry Wellcome photographed in 1890.<\/span>
\n Henry van der Weyde<\/a><\/span>
\n <\/figcaption><\/figure>\n

Colonial thinking<\/a> was a fundamental part of the feverish collecting in Wellcome\u2019s company. The Medicine Man gallery is the culmination of this effort.<\/p>\n

15 years old, it housed a selection of Wellcome\u2019s collection, focusing on the collector, with scant context regarding how the objects were acquired. <\/p>\n

The myth of the heroic European male collector<\/a> is pervasive in personal collection museums. Collectors are often portrayed as pioneering men with a \u201cpassion for exploration\u201d<\/a>.<\/p>\n

Museums have been slow to tackle this narrative, which omits the networks of collectors that often relied upon indigenous labour and knowledge<\/a>.<\/p>\n

\n \"Nail-studded<\/a>
\n A nail studded wooden statue from the Democratic Republic of the Congo dated between 1882-1920.<\/span>
\n Wellcome Collection<\/a>, CC BY<\/a><\/span>
\n <\/figcaption><\/figure>\n

This portrayal also mutes histories of violence ubiquitous in 19th century collecting. <\/p>\n

One object in the gallery<\/a>, a nail studded statue from the Democratic Republic of the Congo is dated between 1882-1920. This encompasses 22 years of the Congo Free State<\/a>, a notoriously violent regime that decimated over half of the country\u2019s population.<\/p>\n

Displaying this object without context for its creation and acquisition allows the violence of this history to continue. <\/p>\n

Decontextualising objects suppresses public awareness of colonial violence, facilitating historical whitewashing that allows for continued denial of accountability.<\/a><\/p>\n

Thousands of objects in Wellcome\u2019s collection, among millions in UK museums, were acquired in violent, colonial contexts<\/a> and put on display for audiences to gawk at or walk past, unbothered. Many objects are sacred, intimate, personal. Many contain human remains.<\/p>\n

\n \"Sepia<\/a>
\n Paira Mall received a letter from fellow collecting agent Charles Thompson stating that he would not come home until \u2018India is completely ransacked\u2019.<\/span>
\n Wellcome Collection<\/a>, CC BY-NC<\/a><\/span>
\n <\/figcaption><\/figure>\n

Prior to the closing of Medicine Man, Wellcome attempted to introduce<\/a> new perspectives into the gallery: alternative labels, artistic responses to objects and critical engagements led by the Visitor Experience Team.<\/p>\n

These interventions showed an evolving attitude. Though, as the museum acknowledged<\/a>, this did not change the wider narrative of the gallery. <\/p>\n

The pivot from a Wellcome-centric narrative towards \u201cthe narratives and lived experiences of those who have been silenced\u201d is a necessary step forward.<\/p>\n

The state of colonial collections in Britain<\/h2>\n

Wellcome has had relative freedom within the museum world thanks to its access to private funding.<\/p>\n

In 2020, former UK culture secretary Oliver Dowden wrote<\/a> to national institutions threatening to cut funding if they took \u201cactions motivated by activism or politics\u201d. <\/p>\n

As a result, alternatively funded museums such as Wellcome, Pitt Rivers Museum<\/a> and the Powell-Cotton Museum<\/a> have taken the lead over national ones in confronting their collections.<\/p>\n

Though it is important to diversify perspectives in galleries, true decolonial action must stem from the active return<\/a> of human remains<\/a> and objects<\/a>. <\/p>\n

Looting was a tool of colonial violence, and it is only through this process<\/a> that justice can begin.<\/p>\n

\n \"Exhibitions
\n The now closed Medicine Man collection gallery at Wellcome.<\/span>
\n Osama Shukir Muhammed Amin<\/a>, CC BY-SA<\/a><\/span>
\n <\/figcaption><\/figure>\n

The Wellcome has a history of returning human remains, fulfilling claims from M\u0101ori\/Moriori<\/a> and Hawaiian<\/a> communities. Oxford\u2019s Pitt Rivers Museum has set up a partnership<\/a> with Maasai representatives to discuss objects of Maasai origin and London\u2019s Horniman museum sent back<\/a> 72 objects to Nigeria in November.<\/p>\n

More institutions<\/a> must follow these examples.<\/p>\n

Those sceptical of restitution have asked \u2013 what would happen to museums if their collections were all returned? For most, this is not a realistic risk.<\/p>\n

The British Museum<\/a> has 80,000 objects on display at any one time \u2013 just 1% of their entire collection. <\/p>\n

If any museum was<\/em> emptied through returns, this would be a reflection on the historical injustices in the collection and a major success in accountability.<\/p>\n

This question circles back to the Wellcome Collection\u2019s original tweet<\/a> – \u201cWhat\u2019s the point of museums?\u201d It is the job of museum professionals and audiences today to grapple with this, and broaden their perspectives and imagination.<\/p>\n

Smaller, emerging museums, such as the Museum of British Colonialism<\/a>, the Migration Museum<\/a> and Queer Britain<\/a>, have risen to the front lines as agents for social change that help represent<\/a> and respect all the histories that reflect the British community.<\/p>\n

Museums are not neutral – the stories they tell and the objects they display are always an active and powerful choice.<\/p>\n

A long way to go<\/h2>\n

Despite Wellcome\u2019s positive steps, they must do more internally to ensure their dedication to addressing racism. A summer report<\/a> revealed that the Wellcome perpetuated systematic racism<\/a> and outlined a pattern of discrimination, harassment and microagressions<\/a> faced by staff.<\/p>\n

The report reflects broader structures of institutional racism in the heritage field<\/a>.<\/p>\n

The heritage sector has a lot of work to do before they can genuinely claim anti-racist progress. <\/p>\n

Museums must strengthen their commitments to creating more equitable and just societies. This includes following the advice of activists<\/a> in repatriating colonial collections and fostering equitable environments in their own communities.<\/p>\n

Closing the Medicine Man gallery was a good step forward, but there is still a long way to go.\"The<\/p>\n

Ana\u00efs Walsdorf<\/a>, PhD candidate, History, University of Warwick<\/a><\/em><\/span><\/p>\n

This article is republished from The Conversation<\/a> under a Creative Commons license. Read the original article<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

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