The Powell-Cotton Museum’s dioramas are visual spectacles that delight audiences, but they aren’t representations of ‘real life’. Starting in September 2020, we are undertaking a project called ‘Colonial Critters’, which will look critically at the context in which these displays were created. In this project we will delve into the history of the Museum and uncover the ‘hidden’ stories in our extensive archive,
including those of the communities with whom Percy Powell-Cotton worked across the African continent, in India, and in Kent to make this place. We will engage our staff and audiences in the process to find out what stories they would like the Museum to tell, giving the opportunity for some uncomfortable – but ultimately more rounded – histories to be displayed. The aim of decolonisation is not to re-write history, but to be more open and transparent about the origins of our collections.
This presentation will outline the Colonial Critters project, and discuss what decolonisation means to us at the Powell-Cotton Museum.
To paraphrase that great Disney wildlife documentary, The Lion King: change is good, but it’s not easy.
Leaving any job after a long time is always strange, and I’ve been lucky enough to have spent (almost!) seven years at the Horniman Museum and Gardens. In that time I’ve worked on several large projects, learned more than I thought I ever would about anthropology collections, and made some wonderful friends. But sadly, I have now had to move on. Happily, I’ve been able to move on to the wonderful Powell-Cotton Museum, where I will be spending the next year curating the natural history collections.
This has meant quite a large change: I’ve moved to a different part of the country, and started a new job that is very different to what I’ve been doing for the last few years. I’ll admit to feeling some imposter syndrome – I have been working almost exclusively with anthropology objects for a long time now (not my subject specialism: I studied zoology), and worried that I might have forgotten some of my natural history knowledge! Thankfully, that doesn’t seem to have been the case, and in fact working with anthropology collections has taught me a surprising amount about working with natural history collections… from identifying worked animal materials (such as ivory and bone) to documentation standards and procedures (I was a Documentation Assistant at the Horniman), I have gained skills and knowledge that will be invaluable in my new role.
Sad to say goodbye to the Horniman Walrus. (C) Horniman Museum and Gardens
Dear Digital Digest-digesters, it has been an extremely busy month but there are just enough hours in the month to put out the April edition. Continue reading for a round up of all the things you need to know…
What Should I Read?
After much to-ing and fro-ing and panicking from various factions, it has been announced that “accredited museums and galleries will be granted an exemption in legislation… that bans the trade of elephant ivory in almost all circumstances”. This is great news for museums. Read the full story on the Museums Association website here.
There has been a lot of coverage of the dinosaur tracks found in Scotland, but if you missed it all, here’s what the BBC had to report. Both sauropod and theropod tracks are present and they’ve gotten everyone all excited.
Wildlife Photographer of the Year is in the news for another year as another photographer falls foul of either not reading, or else ignoring, the rules. The anteater in one of the winning images has been investigated and concluded to be a taxidermy specimen. The image was therefore disqualified and the photographer told to er… get stuffed.