Is it possible to decolonise an entire museum? The Africa Museum on the outskirts of Brussels, which reopened in December 2018 after a five-year redevelopment, is an attempt to answer that question.
The institution, formerly known as the Royal Museum for Central Africa, has a shameful history. The palatial building was commissioned by King Leopold II in 1897 to display the spoils of Belgium’s rule of the Congo Free State, which the king exploited as a personal fiefdom. The atrocities committed by his regime led to the death of millions of Congolese people.
For years, the venue served as a propaganda tool to whitewash Belgium’s colonial exploits; in one rotunda, visitors can still view original golden statues of Leopold, styled as the “father of civilisation”, surrounded by indigenous children gazing up at him in adoration. The museum is obliged to keep these on display, as listed historic monuments, but the rest of its racist former iconography – such as statues showing Congolese people as savages – has been relegated to a small room.
The redeveloped museum aims to confront visitors with the truth about colonialism and seeks to redress the telling of African history. The interpretation has been developed in consultation with people of central African origin.
One gallery tells the “long history” of the Congo, a challenge to traditional narratives that treat pre-colonial history as irrelevant, while another examines why such a gulf exists between the modern-day Democratic Republic of Congo’s (DRC) rich natural resources and its impoverished people.
Paintings and sculpture are interpreted as art, rather than as ethnographic curiosities. A new glass visitor centre overlooking the old museum – connected to it through an underground gallery – is an embodiment of the institution’s mission to examine the past through the prism of the present. One room in the old building has been preserved as it was displayed – a “museum of the museum”.
But conversations about decolonisation are moving forward rapidly. Just before the museum opened, a report commissioned by the French president, Emmanuel Macron, recommended a new approach to restitution. It advocates for the return of artefacts acquired from sub-Saharan Africa during the colonial era to their country of origin on request, unless it can be proved that they were acquired legitimately.
It identifies the Africa Museum as one of the largest repositories of African objects in the world. Shortly after the institution reopened, the DRC government announced it would seek the repatriation of artefacts and human remains held in the collection. This reopening is not an end point in decolonisation – it’s just the beginning.
What were the main goals of the project?
Bruno Verbergt: The renovation of the building and what we call mental renovation – bringing our permanent displays in line with 21st-century developments in historic and scientific research on our collection and Africa. Or, if you wish to call it so, decolonising the museum.
What was the biggest challenge you faced?
It was to get all this done in a limited timespan and a budget of around €74m (£64.8m), which is a quarter of the cost of similar projects in cities such as Vienna or Berlin. And, of course, aligning everybody involved with this new approach.
The museum acknowledges that it has a “shadow” lying over it. How has this been addressed?
First, by facing the colonial history of Belgium, the museum and its activities over 120 years. It is not difficult: the historical archives show the different mechanisms of colonisation – for instance, forcing one’s supremacy over an entire population. They also show how these mechanisms were promoted and how the museum was part of this propaganda machine.
We also wanted to have people of African origin talking about their history and heritage. This addresses what was a typical colonial mechanism: talking about someone without listening to what they had to say. We started the renovation process 15 years ago in consultation with people from the African diaspora in Belgium. They proposed that the museum work with six experts of African origin living in Belgium, with whom we started a dialogue.
What do you hope people will take away from a visit?
A belief that Africa, especially central Africa, was, is and will be a source of civilisation, creativity and wealth; that the west has enforced its influence and culture through colonisation and this has had effects that are visible today. And that African people should be respected and praised for their culture, and that what happens in Africa will always have an impact on Europe and vice versa.
What do you hope your museum will contribute to the discourse around decolonisation in the sector?
We hope to be an example for other museums that remain stuck in colonial mechanisms of representation. We have a quote when you enter the museum: “Everything passes, except the past.” This is the paradox we have to live with: you cannot change the past, but one should be more open about what has happened and how past actions are now seen as morally wrong.
What are your thoughts on the Macron report?
We are happy with it and want to be open in this dialogue. It is not justifiable that more than 80% of one’s cultural heritage is outside one’s country. We will continue to strengthen our collaboration with museums in Africa. Three years ago, long before Macron’s initiative, we decided to mention how every piece we display was acquired by us. This transparency is the basis of any restitution debate.
Bruno Verbergt is the director of public-oriented services at the Africa Museum
africamuseum.be
The institution, formerly known as the Royal Museum for Central Africa, has a shameful history. The palatial building was commissioned by King Leopold II in 1897 to display the spoils of Belgium’s rule of the Congo Free State, which the king exploited as a personal fiefdom. The atrocities committed by his regime led to the death of millions of Congolese people.
For years, the venue served as a propaganda tool to whitewash Belgium’s colonial exploits; in one rotunda, visitors can still view original golden statues of Leopold, styled as the “father of civilisation”, surrounded by indigenous children gazing up at him in adoration. The museum is obliged to keep these on display, as listed historic monuments, but the rest of its racist former iconography – such as statues showing Congolese people as savages – has been relegated to a small room.
The redeveloped museum aims to confront visitors with the truth about colonialism and seeks to redress the telling of African history. The interpretation has been developed in consultation with people of central African origin.
One gallery tells the “long history” of the Congo, a challenge to traditional narratives that treat pre-colonial history as irrelevant, while another examines why such a gulf exists between the modern-day Democratic Republic of Congo’s (DRC) rich natural resources and its impoverished people.
Paintings and sculpture are interpreted as art, rather than as ethnographic curiosities. A new glass visitor centre overlooking the old museum – connected to it through an underground gallery – is an embodiment of the institution’s mission to examine the past through the prism of the present. One room in the old building has been preserved as it was displayed – a “museum of the museum”.
But conversations about decolonisation are moving forward rapidly. Just before the museum opened, a report commissioned by the French president, Emmanuel Macron, recommended a new approach to restitution. It advocates for the return of artefacts acquired from sub-Saharan Africa during the colonial era to their country of origin on request, unless it can be proved that they were acquired legitimately.
It identifies the Africa Museum as one of the largest repositories of African objects in the world. Shortly after the institution reopened, the DRC government announced it would seek the repatriation of artefacts and human remains held in the collection. This reopening is not an end point in decolonisation – it’s just the beginning.
What were the main goals of the project?
Bruno Verbergt: The renovation of the building and what we call mental renovation – bringing our permanent displays in line with 21st-century developments in historic and scientific research on our collection and Africa. Or, if you wish to call it so, decolonising the museum.
What was the biggest challenge you faced?
It was to get all this done in a limited timespan and a budget of around €74m (£64.8m), which is a quarter of the cost of similar projects in cities such as Vienna or Berlin. And, of course, aligning everybody involved with this new approach.
The museum acknowledges that it has a “shadow” lying over it. How has this been addressed?
First, by facing the colonial history of Belgium, the museum and its activities over 120 years. It is not difficult: the historical archives show the different mechanisms of colonisation – for instance, forcing one’s supremacy over an entire population. They also show how these mechanisms were promoted and how the museum was part of this propaganda machine.
We also wanted to have people of African origin talking about their history and heritage. This addresses what was a typical colonial mechanism: talking about someone without listening to what they had to say. We started the renovation process 15 years ago in consultation with people from the African diaspora in Belgium. They proposed that the museum work with six experts of African origin living in Belgium, with whom we started a dialogue.
What do you hope people will take away from a visit?
A belief that Africa, especially central Africa, was, is and will be a source of civilisation, creativity and wealth; that the west has enforced its influence and culture through colonisation and this has had effects that are visible today. And that African people should be respected and praised for their culture, and that what happens in Africa will always have an impact on Europe and vice versa.
What do you hope your museum will contribute to the discourse around decolonisation in the sector?
We hope to be an example for other museums that remain stuck in colonial mechanisms of representation. We have a quote when you enter the museum: “Everything passes, except the past.” This is the paradox we have to live with: you cannot change the past, but one should be more open about what has happened and how past actions are now seen as morally wrong.
What are your thoughts on the Macron report?
We are happy with it and want to be open in this dialogue. It is not justifiable that more than 80% of one’s cultural heritage is outside one’s country. We will continue to strengthen our collaboration with museums in Africa. Three years ago, long before Macron’s initiative, we decided to mention how every piece we display was acquired by us. This transparency is the basis of any restitution debate.
Bruno Verbergt is the director of public-oriented services at the Africa Museum
africamuseum.be
Project data
- Cost €74m (£64.8m)
- Architect Stéphane Beel Architects
- Exhibition design Niek Kortekaas; Johan Schelfhout
- Permanent displays Potteau-Labo; Étoile Mécanique
- Lighting LuxLumen
- Graphics Piet Hoevenaars; XL digital; Helena.be; CR3DO; Bert Van Wynsberghe
- Multimedia Anamnesia; Miam Miam Creative Lab; Tiny Big Stories
- Admission Adults €12; people with disabilities and students €4; under-18s free