AfricaMuseum: core player in decolonisation

The history of the AfricaMuseum in Tervuren begins 125 years ago, during the 1897 World's Fair. King Leopold II wanted to display the colonial achievements in Congo there, then still the private property of the monarch.

A great deal of field experience

Meanwhile five years ago, in December 2018, the museum reopened after a thorough and lengthy renovation. Former director Guido Gryseels guided a radical turnaround: doing away with the stereotypes and racism of the colonial past once and for all and working towards a diverse society where African citizens and people of African descent receive respect and recognition. In short, a far-reaching 'decolonisation'.

It was not until 2 May 2023 – Guido Gryseels had been director for 21 years – that none other than our former fellow diplomat Bart Ouvry took over (see biography box). A challenge he seized with both hands. 'Very particular to the diplomatic profession is that you have to reinvent yourself after 3-4 years every time you change posts. I have that opportunity here too,' he says. 'I already bring a great deal of field experience from my time as a diplomat in three African countries. For example, the AfricaMuseum has an important development cooperation division (see below). Well, I helped drive that development cooperation from the field. I also have a strong personal interest in scientific and cultural collaboration.'

Leopard man

For the work is far from finished. Our society is evolving rapidly, and populations in Africa and the African diaspora – our compatriots of African descent – are becoming increasingly empowered. They want to be equal citizens and receive recognition for the suffering and injustice caused by colonisation.

The revamped display at the museum, reopened five years ago, had already made an initial attempt to look that colonial past squarely in the eye. But there is still some room for improvement. During a brief walk through some of the rooms, Ouvry shows what changes he has in mind.

'Initially, we had the most stereotypical, racist images – representing Africans as primitive creatures – set up at the beginning of the route with very little explanation accompanying them. Most famous was the 'leopard man', who even appeared in a Tintin album. It is a man clad in leopard garb and leopard mask standing menacingly bent over another, reclining man. Such leopard societies did exist and members of them did commit violence, but there is no indication at all that it was done in this ritualistic way, with a mask.'

Sapeurs

Putting those stereotypical images front and centre was intended to expose colonial imagery. But this did not work, Ouvry believes. 'It was too implicit. Moreover, by confronting the visitor with those old cliché images from the very beginning, the colonial imagery was unintentionally perpetuated. Adjusting a faulty image of Africa is done not only by debunking the old images but, above all, by putting up a more constructive, contemporary image.'

Those stereotypical images have since been moved to a real 'sculpture depot', where they can only be viewed under supervision. 'We still need to think about the arrangement,' says Ouvry. 'But I already think the current arrangement in crates and on pallets is not bad. It shouldn't be too fancy – it should look like a real depot.'

He wants to apply the contemporary image of Africa from the very beginning of the permanent display. Now, after purchasing their ticket, visitors will walk through a long, white, empty corridor where there is only a pirogue. Ouvry feels there’s something missing here. 'There should be pictures here that show contemporary Africa.'

Swirling contemporary Africa should also be featured more in the temporary exhibitions. For example, an exhibition is planned on the role of Africa in electronic music. Ouvry also likes to cite the example of the sapeurs, dandyesque-dressed men and women in Central Africa who became a cultural heritage there.

Provenance research

Removing the racist images has freed up some new space. Some additional temporary exhibitions will be organised there. Museum staff are currently hard at work on an exhibition on 'provenance research' – ReThinking Collections – which will open on 19 January. Ouvry: 'We have recently had a legal framework governing the return of stolen objects. But that requires a great deal of research into the objects' origins. How did they end up in our collections? Were they looted or legitimately obtained? The exhibition will highlight that process, incidentally in the context of the Belgian EU presidency.'

This 'restitution', as it is called, will be an extremely important task for the AfricaMuseum in the coming years. As it happens, it also involves a matter of great importance for our FPS. Recently, a new focal point was appointed to monitor 'the restitution and return of cultural heritage'.

The brand-new restitution law provides for a separate bilateral treaty with Congo, from which two-thirds of the AfricaMuseum's collection originates. Ouvry: 'Belgium has handed over a treaty proposal to Congo – now we are waiting for a response. In any case, it is not up to the AfricaMuseum to decide what was stolen and what was not. A scientific committee will be appointed for that purpose.'

Restitution and reconstitution

Today, five Congolese scientists are already working in Tervuren on the provenance research. They are making a very interesting contribution, Ouvry believes. 'They can easily head out in the field in Congo and give some input from the community of origin where the object came from.'

It is striking how different the views on that restitution sometimes are. 'The Congolese colleagues often see it as 'reconstitution'. They would rather fill the gaps in their collections and re-appropriate their traditional culture. So they take a more holistic view.'

Elsewhere in Africa too, that restitution is not necessarily the first priority. Ouvry established this for a few days in Congo-Brazzaville, which does not even have a national museum. Yet something is moving. 'In many African countries, there is a growing interest in their own traditional culture. I think that's a positive evolution.'

In any case, restitution will be a long-term process, but that need not be a problem. Ouvry quotes the African saying: 'If you want to go fast, you walk alone. If you want to go far, you walk together.'

The AfricaMuseum also wants to contribute to decolonisation in another way. Ouvry: 'Digitalisation allows us to make our collections, libraries and archives perfectly accessible. We can even create some three-dimensional images from them! That way, even on the other side of the world, our collections can be studied smoothly – you don't have to travel for it.'

Racism: let's talk!

Ouvry also wants to further strengthen ties with the African diaspora. 'It played an important role in the renewal. And we also have more and more people from the diaspora in our workforce. In addition, several associations from the diaspora provide guided tours here. I don't always agree with them, but I think it's important that they feel at home here and that we stay in dialogue. The colonial past has many layers; it's their story too. Critical voices are certainly allowed to be heard.'

'I'd like to develop an even more structured relationship with them, though. One successful collaboration in the meantime is the Afropea Room, which will open in December. It highlights the place and role of Africans from sub-Saharan Africa and people of African descent in Belgium, especially from the 19^th century onward.'

By the way, the racist statements that people of African descent often have to deal with are on open display in a racism-themed space at the beginning of the museum. These include 'whoa, you speak Dutch so well' or 'can I touch your hair?'. Aim: to open up the discussion around such statements.

The AfricaMuseum also works around racism in a different way. Ouvry: 'When supporters are convicted of racism on or off the football field, the Belgian Football Federation sends them to us. Here, they learn where the roots of that racism lie, including in our colonial past.'

Real co-creation

Not to mention, the AfricaMuseum is equally a leading scientific institution. In disciplines as diverse as archaeology, anthropology, biology, geology, and linguistics. For example, some groundbreaking research is being conducted on the impact of climate disruption on the Congolese rainforest. Or it is attempting to contribute to sustainable mining in Congo through training and doctorates.

For that research, among other things, the museum received generous funding from our Directorate-General for Development Cooperation. In principle a new five-year programme – to the tune of 18 million euros – will be launched for collaboration with 11 African countries. Here too, decolonisation is not lost from thought. 'We want to focus even more on partnerships with programmes and doctorates, among other things,' Ouvry explains. "And in doing so, we need to evolve towards 'making ourselves obsolete'.'

In Africa, they no longer like the term 'aid' – they want real collaboration on an equal footing. 'We want to achieve this by first listening carefully to our partners. When we make a decision, our African partners must fully share in that decision with us. Only then can we do some really useful things. The willingness to listen on both sides should lead to real co-creation. That may sound ambitious, but we are moving in that direction.’

No turning back

In any case, the path to far-reaching decolonisation cannot be reversed. 'The turn has been made,' Ouvry says. 'Not so long ago, Belgians still thought colonisation was a good thing. Today, this is no longer the case. With the shifting balance of power in the world, the context is also completely different. Our partners want to be perceived as full ones.'

After more than six months at the helm of the AfricaMuseum, Ouvry can look back with satisfaction. But there is still a great deal of work ahead. The museum's new direction must be supported by the entire staff. Some working groups are now getting on with that. The space on colonial history could be even more ambitious. The general public needs to be even more involved, through activities, schools, social media, citizen science, etc.

Another problem is that the available budget is not fully adequate for the expanded range of tasks. That may require a stronger focus. But in any case, the role in decolonisation will remain close to the heart of the AfricaMuseum. The museum should be an open house where anyone who takes an interest in Africa feels at home.