By Alana Derry, with editing by Max Liboiron

Anti-colonial methods for a project that uses natural history museum samples

What do natural history museums mean to you? Are they a place with interesting objects? A fun place to visit with friends or family? An alternative to dinner and drinks for a first date?

To myself, a settler and junior researcher living on the traditional territory of the Anishinaabe Algonquin Nation with an average interest in natural history museums, this about encompasses my view of museums before beginning my work with CLEAR in June of 2024. While I, like many people, was aware of the not-so-lovely “history of history,” what I failed to realise was the vast and deeply structural extent of colonialism in natural history collections. So, what aspects of Natural History Museums contribute to the perpetuation of colonialism? And how can we conduct anti-colonial research regarding Natural History?

Subhadra Das and Miranda Lowe’s 2018 paper, “Nature Read in Black and White: Decolonial approaches to interpreting natural history collections,” does a wonderful job of outlining the racist nature of natural history museums due to their disregard for their colonial past:

Narratives about the history of collecting are commonly absent from the interpretation of natural history collections. In this paper, we argue this absence – particularly in relation to colonial histories – perpetuates structural racism within modern society by whitewashing a history where science, racism, and colonial power were inherently entwined. This misrepresentation of the past is problematic because it alienates non-white audiences (p. 4).

They explain how the expansion of natural history museums and emphasis on advancing scientific thought during the Enlightenment played a large role in establishing scientifically racist ideas through othering non-Western civilizations and fuelling colonial collecting (Das & Lowe, 2018, p. 6). Plus, numerous collections in natural history museums were only collected with the help and knowledge of local Indigenous people, though, these people are rarely named (Das & Lowe, 2018, p. 8). The omission of non-Western people from museum collections further reinforces colonialism–the domination of Indigenous Lands, knowledges, and peoples by Western systems.

The authors call for the decolonisation of natural history museums through acknowledging the colonial past of natural history collections, and presenting accurate narratives of the history of these collections along with the current information (Das & Lowe, 2018, p. 11). This acknowledgement and recognition would be validating for the non-white audiences, and make natural history collections more inclusive: “there is clearly an exciting opportunity for us to change the interpretation of natural history collections to better reflect their histories, exploring them through the lens of colonial history” (Das & Lowe, 2018, p. 11, 12).

As a research assistant and point person for CLEAR’s Nunatsiavut Government Natural History Sample project, I have been researching the collection location, source, and context of natural history samples of birds taken from Nunatsiavut, Inuit homelands in northern Labrador. The goal of this project is to provide a historical context that tells a more accurate narrative of the bird samples and their hidden colonial collection–who collected these? Why were they in Labrador? What interactions did they have with Inuit there?

Throughout my time working on this project, I have reviewed hundreds of online articles, visited bird specimens and archives in person–being my first time viewing archives or doing work at a museum!–at the Royal Ontario Museum (ROM) and Canadian Museum of Nature (CMN), and viewed documents at Memorial University QEII Library Archives and the Centre for Newfoundland Studies (CNS) to gather information and create biographies for various collectors who spent time in Nunatsiavut.

This project is part of a comparison of the differences in plastic and heavy metal contamination of Inuit foodways and environments in Nunatsiavut over time, using bird feathers from bird species caught as wild food by Inuit. In a partnership between Liz Pijogge, Nothern Contaminants Program Coordinator for the Nunatsiavut Government, Dr. Alexander Bond at the Natural History Museum (UK), and Dr. Max Liboiron at Memorial University, we compare bird feathers from colonial samples in museums to those caught by hunters in Nunatsiavut. While the Inuit hunters and researchers we work with now are co-researchers and co-authors in our work, there is no contextual parity for the museum samples. These museum bird samples, along with any item you may see in natural history museum exhibits, will be presented with the species name, collection date, location, and some information on what it eats and its ecological role. But, a huge chunk of information is missing, which is the–most often colonial–collection context. The settler collectors of the past often used local knowledge to help them hunt and collect samples, bought samples from local hunters or paid locals to collect for them. However the role of these locals is almost never officially acknowledged, and this aspect is the core of my research with CLEAR– trying to recover and retell the stories of these museum samples. 

References

• Das, S. & Lowe, M. (2018). Nature Read in Black and White: Decolonial approaches to interpreting natural history collections. Journal of Natural Science Collections, Vol. 6, 4?14.

Further reading

• Colonial Coral: Design for decolonising more-than-human worlds in the Natural History Museum. (n.d.). PhD Research Projects; The Natural History Museum. Retrieved December 19, 2024, from https://www.nhm.ac.uk/our-science/study/postgraduate/phd-opportunities/projects/colonial-coral-design-for-decolonising.html
• Q+A with Antonia Canal, Policy and Campaigns Officer at Museums Association (UK). (2022). Decolonizing Museums Project; Canadian Museums Association.
• Ashby, J. (2023, October 26). How do you do decolonial research in natural history museums? NatSCA.
• Maranda, L. (2021). Decolonization within the Museum. ICOFOM Study Series, 49–2, 180–195.
• Prianti, D. D., & Suyadnya, I. W. (2022). Decolonising Museum Practice in a Postcolonial Nation: Museum’s Visual Order as the Work of Representation in Constructing Colonial Memory. Open Cultural Studies, 6(1), 228–242.