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Radha Kapuria | 16 November 2020
◇ British History | Modern History | Public History | Inidgenous History
Radha Kapuria with Helen Idle and James Moss
A chance visit to Manchester’s historic Portico Library in September 2020 revealed a fascinating exhibition on the colonisation of Australia. Titled ‘What it is to be here: Colonisation and Resistance’, this exhibition marks 250 years since the Gweagal people in Kamay (Botany Bay) first encountered strangers, led by Lieutenant James Cook, or ‘Captain Cook’, approaching their shores.
The exhibition launched in April, and chimed well with the renewed debates around decolonisation and ‘Black Lives Matter’ that followed the killing of George Floyd in May 2020 in the US. In step with these current movements, an exhibition panel also covered poignant photographs from the ongoing ‘Aboriginal Lives Matter’ campaign across Australia.
As an instructor on Sheffield’s sector-leading undergraduate module, ‘Conflict, Cultures and (De)Colonisation’, I was also struck by how the exhibition’s layout and content were so relevant to our classroom discussions. Our module considers the growth and governance of empires, and the role of decolonisation struggles, in shaping our contemporary world. On approaching Portico Library staff, I was delighted to find a Sheffield History alumnus in the Librarian, Dr Thom Keep. Thom introduced me to the library’s Exhibitions Curator, James Moss, and the force behind the exhibition, Dr Helen Idle, a researcher based at the Menzies Australia Institute at King’s College London.
My colleagues Prof Siobhan Lambert-Hurley and Dr Esme Cleall, who lead the teaching team on the module, were similarly enthused at the remarkable synergies between the exhibition and especially our rubric for Week 6, on ‘Materiality and Ownership’. During this week we examine the representations of objects–some stolen from indigenous populations across the world–in museums in the West and how they are bound up in histories of colonialism. Slowly, a plan emerged, where the Portico curators would deliver a guest lecture to our students on ‘Decolonising a Museum/Library Exhibition’. This lecture would provide students a window into the curators’ experience of putting together an exhibition that consciously tackled the challenges of decolonising knowledge, narratives and artefacts, through creative and self-reflexive methodologies.
Western Australian timber samples from Manchester Museum, displayed in The Portico Library’s exhibition. Photograph: Apapat Jai-in Glynn.
The session with Helen, James, and Apapat Jai-in Glynn (art curator and collaborator on the exhibition) on Thursday 29 October was a massive hit with students. Students were especially interested since their seminar activities for the coming week required them to design their own ‘decolonised’ museum galleries on the British Empire. A series of inventive questions from students ranged from repatriation and the curators’ partnership with the Aboriginal and Torres Strait Islander peoples, the impact of the exhibition on other museums, to efforts toward genuine reconciliation in Australia, the ethics of representation in museum displays, and the difficulties of knowledge production through colonial archives. We will now turn to the experiences of Helen and James, as independent researcher and library curator respectively, in assembling this remarkable exhibition at Manchester.
Portico Library curators answer questions (in text form below) from students during the Google Meets session at the University of Sheffield on Thursday 29 October. Image Courtesy: Radha Kapuria.
Helen Idle:
When you glance around the open space of the Portico Library your eyes will alight on a black and white photograph. A woman stands tall, wrapped in a blanket with her head bowed. She is covered but for her face, and her voice. Here Rene Kulitja, artist and Traditional Owner of Uluru (the monolithic rock formation in central Australia), performs a story of the colonisation of her people through the very stillness of a photograph. She shows how the English language of the British tries to smother her language, law and culture: ‘But we are not English. We are Pitjantatjara!’
Pulangkita pitjangu (When the blanket came), displayed at the Portico Library, talks back to an official account of James Cook’s 1770 voyage that arrived in Australia. The account, compiled by Hawkesworth (1773) and held in the Portico Library, records the ‘possession’ of Australia for King Geroge III under the assumption of terra nullius – land belonging to no-one. The photograph counters this claim showing that Aboriginal and Torres Strait Islander peoples continue to survive and thrive in their country.
Two young children in The Portico Library watching a video of artist Rene Kultja addressing audience members at Lowitja Institute. Above them hangs Rene’s artwork Pulangkita pitjangu.
For Rene Kulitja:
‘The blanket represents an important story with the significance of Captain Cook’s story, it’s on the same level. This is our side of the story.’
Putting these together affords a close re-reading of the account to reveal that Cook and his companions (eg. Joseph Banks) had seen people living along the east coast of Australia.
Shortlisted for the Australian National Photographic Portrait Prize in 2020, the edition on display was made by special arrangement with Rene Kulitja and photographer Rhett Hammerton. It journeyed from Melbourne to Brisbane to Alice Springs to Docker River via Uluru and Kata Tjuta before arriving in Manchester. In the collective effort to bring the photograph to Manchester we see a commitment to a principle of exhibition, ‘nothing about us without us’, and support the work of the artwork, ‘to get the story straight.’
‘It’s crucial we make one story out of our shared history, to get the story straight. At the moment, it’s too one-sided, the Cook side is bigger than the Blanket story. Finding a balance is really important for the wellbeing of our children
James Moss:
The Portico Library’s mission is to make its building, history and collection work for all the people of Manchester and beyond, and especially to share experiences and perspectives with and from those excluded by its early membership. Established at the height of British empire-building in 1806, the Library initially served only wealthy, white, male users (albeit including radical progressives, abolitionists and feminists) and overwhelmingly represents their voices among its books and manuscripts. It was central to Manchester’s Industrial Revolution, since it provided 400 of the leading industrialists, inventors and politicians with daily access to news, books and information, plus a space in which they met, networked and did deals, in the years during which Manchester grew from a town of about 60,000 to the biggest industrial city in the world. For the current team, who are committed to nurturing a socially responsible organisation, this unrepresentative nineteenth-century collection creates a challenge, but also an opportunity. By exposing the inequities upon which Britain’s prosperity was built, and those original texts that cultivated the white supremacist systems we inhabit, we can stimulate productive conversations among our visitors and users.
The Portico Library, exterior and interior. Photographs: James Moss.
Port Jackson/Sydney in 1801. David Collins, An Account of the English Colony in New South Wales from its first settlement in January 1788 to August 1801, 1802. The Portico Library collection.
A view of the exhibition inside the Library. Photograph: Apapat Jai-in Glynn.
To achieve this, we have introduced increasingly collaborative and self-reflexive methods, working with experts-by-experience like Rene Kulitja and directly quoting campaigners such as Mangubadijarri Yanner to offset the obscurantism of the Library’s historic texts and our own inevitable biases. Rene’s photograph Pulangkita pitjangu, collaborative painting and text (Uluru Statement from the Heart) and performance at the Lowitja Institute are all intended to reach across lands and waters, time and place, to call each viewer and reader to action. In a Library whose books contain thousands of words about Aboriginal Australian and Torres Strait Islander people, the very least we can do today is to share words and intentions from artists and speakers like Rene. But this is of course just the start of what is needed.
Anangu artists with the Uluru Statement from the Heart. From left: Christine Brumby, Charmaine Kulitja, Rene Kulitja, Happy Reid. Photograph: Clive Scollaly.
A copy of the Uluru Statement from the Heart, as displayed in the Portico exhibition.
As a small charity, our budgets are often stretched, but we have committed to always paying artists and contributors, and covering the additional costs of ensuring legitimate voices are heard.
The necessity to work with people with first-hand lived experience of exclusion and marginalisation is directly relevant to decolonisation, and translates into institutions ensuring that their work and contributions are well-paid for. To exhibit with Rene, who speaks a Pitjantjatjara language and based more than 1,500km from the nearest city, and in a time zone 9.5 hours distant from Manchester—and whose priorities are distinct from those of exhibition producers in England —factoring in significant extra time between communications was essential. Colleagues like Helen and Apapat who are conscientious and patient but also responsive and adaptable are also vital.
The process of addressing the enormous imbalances of the history we have inherited does not have an end point. However, the direction we choose can either help perpetuate the privileges that benefit a few while disadvantaging others–especially marginalised communities–or generate new ideas and an enthusiasm for change.
Radha Kapuria is Leverhulme Early Career Fellow at the Department of History in Sheffield. She researches and teaches cultural histories of South Asia and the Global South, with a specific interest in music and gender history, migration, displacement and borderlands, and conflict, decolonisation and culture. She tweets @RadhaKapuria .
Helen Idle is a Research Associate with the Menzies Australia institute at King’s College London. Her research considers how visual cultures, art, and artefacts work as agents of knowledge production in museums, galleries and libraries. She also produced the exhibition ‘Entwined: knowledge and power in the age of Captain Cook’ at the Portico Library. She uses creative narrative and self-reflexive methodologies to work towards decolonisation within these domains. She tweets @Helen1i .
James Moss is an artist and curator who uses artworks, events and collaborations to interpret collections’ significance with new audiences. He is currently the Exhibitions Curator at The Portico Library in Manchester. He has curated a series of site-responsive co-produced projects to promote and contextualise the Portico’s 19th-century collection, including Made In Translation, and Cut Cloth: Contemporary Textiles & Feminism. The Portico Library tweets @ThePortico.
The exhibition ‘What it is to be here: Colonisation and Resistance’ is available online to view here.
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