: this collaboration engages an organisation of
writers, both because of their work, and because of their positioning as Black
women and their political project.24
The project emerges from the tradition of museums seeking to address
groups whose voices are excluded from the museum’s dominant narrative.
The educational and community work advanced in particular by the New
Labour government in the UK has contributed to the broader establishment of
education and outreach work not only in exhibitions, but also in long-standing
cooperation and community involvement
epistemic authority. The gesture of exposing connects these two aspects.”4
The insights of critical museology give rise to the demand to transform
the museum into an arena of political action, in which conflicts can be made
1 | R. Muttenthaler & R. Wonisch, Gesten des Zeigens, p. 9.
2 | S. Offe, Ausstellungen, Einstellungen, Entstellungen, p. 62.
3 | See R. Muttenthaler & R. Wonisch, Gesten des Zeigens, pp. 38–40.
4 | M. Bal, Double Exposures, p. 2.
visible, articulated and worked through. In practice, the task for the museum is
to become more permeable
, because a socio-political or historico-didactic interest was
connected with the exhibitions in the district or on-site, or because a previous
exhibition had served as a model. The presentations were preceded by an explor-
atory process with an open public invitation. The concept, program, process
and design were jointly decided upon.11 Through incorporating its curatorial
8 | See Gerchow et al., Nicht von gestern.
9 | The concept of collaborative curation means a collaboration on exhibitions in which
the dif ferent participatory forms outlined by Nina Simon (2010
Education at the Centre
of the District Six Museum
A museum premised on absence makes for an interesting study. It provokes
thinking about what people who have very little by way of material posses-
sions, socio-political influence or formal education, and shaped by a history
of excision, have to offer the world through a museum dedicated to their story:
that of the destroyed community of District Six.
Although only formally constituted in 1994 as the first post-apartheid
museum in South Africa, the District Six Museum actually has its origins
Processes: An Introduction«, in: Ethnos. Journal of Anthropology, 65/2 (2000),
2 | Henrietta Lidchi: »The Poetics and Politics of Exhibiting Other Cultures«, in:
Stuart Hall (Hg.), Representations. Cultural Representations and Signifying Practices.
London: 1997, S. 199–219.
3 | Anthony Alan Shelton: »Curating African Worlds«, in: Laura Peers/Alison Kay Brown
(Hg.), Museums and Source Communities: A Routledge Reader, London/New York:
4 | Raymond Corbey: »Ethnographic Showcases, 1870–1930«, in: Cultural
Anthropology, 8/3 (1993), S. 338
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curses and punishments upon themselves if they should break their rules of office, including
protecting those objects that had been handed down to them by their forebears. There are
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10 | Joachim