Curating the colonial: the afterlives of museums, heritage sites and great houses in Jamaica and England.

策划殖民地：牙买加和英国的博物馆、遗产地和伟大房屋的来世。

• 批准号: 2880776
• 金额: --
• 依托单位: University of Leicester
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2880776
• 关键词: Curating; colonial; afterlives; museums; heritage

In tourist discourse, Jamaica features as a natural, tropical paradise rather than as a culturally significant space (Thompson,2006). Its material artefacts are largely absent from England's extensive imperial museum collections (Barringer and Modest, 2018). Where present, Caribbean collections are small and focus on a narrow representation of its heritage, namely natural history in the form of botanical specimens and ethnographic collections from the island's indigenous past. This orientation reflects the scientific pursuits of colonial figures such as Hans Sloane and plantation owners such as Thomas Thistlewood (Modest,2012; Sloane,1707,1725; Fowler,2020). Jamaican objects and cultural practices, whilst evident in Jamaica's National museums, are scarce in equivalent English heritage collections. This omission has profound cultural consequences. More fully represented heritage enables collective cultural memory and enhances cultural and civic identity (Hall, 1999). However, in the two decades since Hall's foundational work, the 'mind's-eye' visualisation of British heritage remains largely immutable and dominated by white colonial perspectives (Ashley and Stone,2023). This research investigates how heritage collections from the colonial era are perceived and negotiated by those who identify as Jamaican both on the island and among the Jamaican diaspora in England. I will also draw on literature which explores the absence and presentation of Caribbean artefacts from writers including Andrea Levy and Louise Bennett, whose work provides a creative-critical commentary on curatorial practices.

在旅游话语中，牙买加的特色是一个自然的热带天堂，而不是一个具有文化意义的空间(Thompson，2006)。它的材料文物基本上没有出现在英格兰帝国博物馆的广泛收藏品中(巴林格和谦虚，2018年)。目前，加勒比地区的收藏品很少，侧重于其遗产的狭隘代表性，即以植物学标本形式的自然历史和来自该岛土著过去的人种学收藏品。这种取向反映了汉斯·斯隆等殖民人物和托马斯·希斯尔伍德等种植园主的科学追求(谦虚，2012；斯隆，1707,1725；福勒，2020)。牙买加的文物和文化习俗，虽然在牙买加的国家博物馆里很明显，但在同等的英国遗产收藏中却很稀少。这一遗漏具有深远的文化后果。更充分的代表性遗产能够促进集体文化记忆，增强文化和公民身份(霍尔，1999年)。然而，在霍尔的基础工作之后的二十年里，对英国遗产的“心灵之眼”的可视化在很大程度上仍然是一成不变的，并被白人殖民视角所主导(阿什利和斯通，2023)。这项研究调查了在岛上和散居在英国的牙买加人中，那些认为自己是牙买加人的人是如何看待和谈判殖民时代的遗产收藏的。我还将借鉴安德里亚·利维(Andrea Levy)和路易丝·班尼特(Louise Bennett)等作家探索加勒比海文物缺失和呈现的文学作品，他们的作品对策展实践提供了创造性的评论。