Access for Who? Podcast with Chao Tayiana Maina and Molemo Moiloa
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English |
Part of: 99 Questions |
Colonialism and Coloniality |
The Access For who? Podcast hosted by Chao Taiyana Maina and Molemo Moiloa is a five part mini-series that looks to begin a conversation on digitisation of African heritage. While digitisation is often considered a strategy for future oriented safe keeping, distribution and greater engagement, they ask: For who? And for what purposes? And are we making decisions about digitisation that ensure these objectives are met in ethical, equitable ways?
In order to explore, and think together about the difficult questions that digitisation of African heritage brings to the fore they have spoken with practitioners, primarily from the African continent, across the spectrum of heritage, digital, intellectual property and museum work. Among them are Temi Odumosu, Nothando Migogo, Neema Iyer, Minne Atairu, Kọ́lá Túbọ̀sún, Golda Ha-Eiros, Andrea Wallace, Samba Yonga and Mulenga Kapwepwe.
The podcast is produced by Chao Tayiana Maina and Molemo Moiloa with Phumzile Nombuso Twala and Lethabolaka Gumede on research. Thank you to Josh Chiundiza for the music, Karugu Maina on design and Annelien van Heymbeeck on editing.
This podcast is brought to you by the Open Restitution Africa project, a collaboration between African Digital Heritage and Andani.Africa. It was made possible by the Stiftung Humboldt Forum im Berliner Schloss as part of the 99 Questions Podcast series and was developed within the framework of a 99 Questions Residency.
For wider accessibility of the podcast’s subject matter, transcripts of the episodes are available in English, French and German through a free zine on the Humboldt Forum and Open Restitution Africa website.
Access for who? Trailer
This trailer briefly explains what to expect on Access for who? hosted by Chao Taiyana Maina and Molemo Moiloa.
They explore digital restitution in detail; if digital restitution is being presented as a strategy for safe keeping and preservation, they ask: for who? And for what purposes? And do the decisions about digitisation ensure these objectives are met in ethical, equitable ways?
Episode 1 – Digital from an African perspective
with Temi Odumosu, Kọ́lá Túbọ̀sún, Mulenga Kapwepwe, Neema Iyer
In this episode our two hosts and their guests begin by reflecting on the opportunities that digital technology presents for African societies while confronting the inequalities and biases it entrenches. Together they explore notions of digital access and digital neutrality in the context of African languages, histories and knowledge systems as they reflect on what it means to create equitable digital futures within and outside museum spaces.
Neema:
feminist collective civic tech organisation: Pollicy – https://pollicy.org/
archive.pollicy.org/feministdata/
archive.pollicy.org/digitalextractivism/
Terms & Conditions Podcast – https://twitter.com/tcafricapodcast
Kọ́lá Túbọ̀sún – kolatubosun.com
YorubaName.com is an online intervention to preserve and document all Yoruba names in a multimedia format. It is part of a long-term project to document all types of African cultural experiences on the internet as a way of ensuring the survival of African identities in their various expressions.
Temi Odumosu – https://www.temiodumosu.com/
The Women’s History Museum Zambia – https://www.whmzambia.org/
Episode 2.1 – Digital Collections
with Temi Odumosu, Golda Ha-Eiros, Samba Yonga, Mulenga Kapwepwe
This episode takes a deep dive into the origins of museum practice and the colonial origins of museum collections. How did Western museums end up amassing hundreds of thousands of objects? How does this legacy influence digitisation today? The discussants explore ways in which African museum practitioners are going beyond these entrenched legacies to create innovative approaches that center indigenous knowledge and prioritize people over objects.
Museum history and Cabinets of Curiosity
“To be or not to be colonial: Museums facing their exhibitions” – http://www.scielo.org.
mx/scielo.php?script=sci_arttext&pid=S1870-11912010000200005
“Universal Museums”: New Contestations, New Controversies” – https://www.iwgia.org/images/publications/0028_Utimut_heritage.pdf#page=31
“Reinventing Africa: museums, material culture, and popular imagination in late
Victorian and Edwardian England” – https://yalebooks.yale.edu/book/9780300068900/reinventing-africa/
Africa Museum Tervuren
The origin of the AfricaMuseum dates back to the Brussels International Exposition of 1897. At King Leopold II’s behest, the ‘Colonial Section’ of the exhibition was moved to the Africa Palace (formerly known as the ‘Colonial Palace’) in Tervuren.
Leopold II saw the museum as a propaganda tool for his colonial project, aimed at attracting investors and winning over the Belgian population. It was in 1898 that the temporary exhibition became the first permanent museum of the Congo. The institute has always served the dual purpose of museum and scientific institute.
https://www.africamuseum.be/en
Daphne: Provenance project of the SKD Museum in Germany
https://www.skd.museum/en/forschung/provenienzforschung/
National Museum of Namibia
https://www.museums.com.na/museums/windhoek/national-museum-of-namibia
Episode 2.2 – Digital Collections
with Temi Odumosu, Minne Atairu, Kọ́lá Túbọ̀sún, Samba Yonga, Mulenga Kapwepwe, Neema Iyer
In this episode the discussants reflect on digital practice as a form of repair, care and knowledge creation. Faced with challenges around access to data, absence of archives and physical removal of objects from communities – How are digital collections creating room for new African narratives and imaginations? What potential does digital restitution hold for African heritage? And how can this contribute to the physical return of artifacts?
Minne Atairu
https://www.minneatairu.com/
Igun AI: https://igun.minneatairu.com/
Benin Dialogue Group
A central objective of the Benin Dialogue Group is to work together to establish a museum in Benin City that will facilitate a permanent display reuniting Benin works of art dispersed in collections around the world.
https://markk-hamburg.de/en/benin-dialogue/
Afromask NFTs
A series of artworks that capture reimagined traditional masks of African peoples as futuristic elements.
https://www.instagram.com/afro_masks/
Episode 3 – Ownership and Intellectual Property Collections
with Nothando Migogo, Andrea Wallace, Mulenga Kapwepwe
This episode explores the complex and entangled questions around legal ownership of digital collections in the face of already contested physical collections. While Western IP systems are built around individual ownership, indigenous knowledge systems are designed to have communal and collective benefits. What limitations and dangers does this present in the context of mass digitisation? Who has the right to make digital copies in the first place? And how can we imagine legal ownership outside Western oriented frameworks?
The Other Nefertiti
Talk by one of the artists: https://vimeo.com/239598613
Article by Hyperallergic (free): https://hyperallergic.com/647998/what-the-nefertitihack-tells-us-about-digital-colonialism/
Nefertiti copies for sale
Neues Museums sells copies of the Nefertiti for 8900€ (as of 25 June 2022) https://www.gipsformerei-katalog.de/sammlungsgebiete/aegypten/2751/nofretete
Creative Commons
The Creative Commons copyright licenses and tools forge a balance inside the traditional “all rights reserved” setting that copyright law creates. Our tools give everyone from individual creators to large companies and institutions a simple, standardized way to grant copyright permissions to their creative work. The combination of our tools and our users is a vast and growing digital commons, a pool of content that can be copied, distributed, edited, remixed, and built upon, all within the boundaries of copyright law.
https://creativecommons.org/
Seana Marena Blankets
The Seanamarena brand is the original form of all ‘Basotho blankets’. This brand dates back to the 1930’s when it was created by the late Mr Charles Hendry Robertson who owned a trading store in Leribe called Seanamarena. The word ‘Seanamarena’ means ‘to swear by the Chiefs’. The Collection features the famous Poone design with its corncob motif. In Basotho culture the corncob is a symbol of fertility and wealth. The Chromatic design derives its name from its creator’s initials C.H.R. https://www.aranda.co.za/products/seanamarena-chromatic
Louis Vuitton: https://www.enca.com/life/cultural-appropriation-or-appreciation-louisvuitton-turns-basotho-blankets-into-expensive
Injera
Injera is a sour fermented flatbread with a slightly spongy texture, traditionally made of teff flour. In Ethiopia, Eritrea, and some parts of Sudan, injera is the staple; also eaten in other countries in East Africa, injera is central to the dining process, like bread or rice
elsewhere.
Theft of IP and battle to get it back: https://qz.com/africa/1545111/ethiopias-teff-flouris-no-longer-patented-as-a-dutch-invention/
Hakuna Matata
Disney trademark: https://www.npr.org/sections/goatsandsoda/2018/12/14/676703629/swahili-speakers-horrified-by-disneys-trademark-of-hakuna-matata?t=1657548541742
Ngadji drum
The Ngadji is a drum belonging to the Pokomo community of Kenya. Once hidden in sacred places within forests by elders of this community, the drum played a central role in the community’s way of life. It was once revered as Pokomo’s center of sovereign power. The Ngadji was stolen by British colonial officers in the early 1900’s and is now kept in storage at the British Museum.
https://www.washingtonpost.com/world/2019/08/09/kenyas-pokomo-people-ask-british-return-what-was-stolen-their-source-power/
Episode 4 – African Data Futures
with Angela Okune, Temi Odumosu, Minne Atairu, Andrea Wallace, Neema Iyer
As the two hosts and their guests move towards the end of the series they ask – How can we build sustainable digital infrastructure that is people centered and Africa centered? They reflect on indigenous data sovereignty, data stewardship and creative strategies towards collective care for digital data. Positing that digital collections are not a point of reversal to an idealized past but rather a point of departure towards a collectively imagined future.
Angela Okune
https://angelaokune.me/
The Nest Collective
The Nest Collective is a multidisciplinary collective living and working in Nairobi, Kenya.
https://www.thisisthenest.com/