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

在旅游话语中，牙买加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年）。它的物质文物在英格兰广泛的帝国博物馆收藏中基本上不存在（巴林杰和莫德斯特，2018）。加勒比地区的收藏品规模较小，集中于其遗产的狭隘代表性，即植物标本形式的自然历史和该岛土著历史的人种学收藏。这种取向反映了汉斯·斯隆（Hans Sloane）等殖民地人物和托马斯·西斯尔伍德（Thistlewood）等种植园主的科学追求（Modest，2012; Sloane，1707，1725; Fowler，2020）。牙买加的文物和文化习俗，虽然在牙买加的国家博物馆中很明显，但在同等的英国遗产收藏中却很少见。这一遗漏产生了深刻的文化后果。更充分代表的遗产能够促进集体文化记忆，增强文化和公民身份（Hall，1999年）。然而，在霍尔的基础工作以来的二十年里，英国遗产的“心灵之眼”可视化在很大程度上仍然是不可改变的，并由白色殖民视角主导（阿什利和斯通，2023）。本研究调查如何从殖民时代的遗产收藏品被认为是牙买加人在岛上和牙买加散居在英格兰之间的那些人和谈判。我还将借鉴文献，探讨缺乏和介绍加勒比文物的作家，包括安德烈利维和路易丝班尼特，他们的工作提供了一个创造性的批评评论策展实践。

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.