What is a Decolonizing Museum Approach?

Johan Leman, 5 June 2025

In preparing the upcoming fall exhibition “Brussels: La Congolaise: 1885–1985”, an important question for the MigratieMuseumMigration has been: what does a decolonizing approach entail?

As a matter of principle, co-curation with Brussels’ Congolese was consistently chosen—within the museum’s very limited financial resources—both in terms of the materials selected and the accompanying explanatory texts. Co-curation does not mean that a single viewpoint from the Congolese side always dominates. Sometimes, there is internal debate among Congolese people in Brussels—some believe that terminology from a specific historical period should be respected, while others advocate for new terminology because the old one is colonial. Co-curation, with respect for such internal debate, is essential.

This means that the participation of representative members of the relevant community must be a reality. However, this kind of participation is already systematically practiced by the MMM museum in every exhibition, even when there is no colonial history involved.

Furthermore, to the extent that art is included, there must be space for art from the diaspora.

But there is more. Through the topics presented, the exhibition must also seek to appeal to visitors and authorities regarding certain shortcomings in today’s Brussels. If it becomes clear that individuals or associations from the diaspora were of fundamental importance to Brussels or Belgium during the period 1885–1985, yet have received no recognition—such as a street name, monument, or commemorative ritual—this must be explicitly pointed out. Two clear examples:

How can it be explained that someone like Paul Panda Farnana, a Brussels resident (who was recently included in the Flemish canon), still has no street named after him in Brussels?
How can it be that the Brussels education system never mentions that several Congolese joined the Belgian Army during World War I, or that around 50 Congolese from Brussels joined the Resistance during World War II?

Inclusion in the school curriculum or some form of recognition outside of school—such as an annual ritual—would be appropriate. Without intending to be activist, can an exhibition not still issue a call to action?

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