A collaborative approach to decolonisation

• Poole Museum recognises that colonial legacies are an inherent part of museum culture, and they inform many aspects of how museums operate.

• We seek to question, review, and alter how things are done is a multi-faceted and on-going process. The museum’s collection staff continuously undertake work to improve its documentation, aligning it with today’s standards. 

• As a starting point, the collections team reviewed objects in the museum’s care that relate to world cultures, previously referred to as the ‘Ethnographic Collection’, and explored aspects of the Natural History Collection with potential colonial legacies. 

• Historically, Poole was the chosen retirement location for many wealthy families with considerable colonial links, particularly within the military, and many of these families gifted ‘curios’ acquired during their service and travels to the museum.

• Over a period of 18 months, the collections team dedicated part of each week to documenting, identifying and understanding the World Cultures Collection, and elements of the Natural History Collection.

• A working group was created to explore how the museum acquired objects within this collection, and to approach other institutions for assistance in the identification process. 

• Poole Museum worked with:
  • Te Papa (Museum of New Zealand) 
  • Nigerian National Commission for Museums and Monuments 
  • The Rooms, Newfoundland 
  • University of Cambridge 
  • Natural History Museum, Tring

A Māori Patu onewa, made from greywacke, with a harakeke leaf cord. Identified by Te Papa, the National Museum of New Zealand.

• Improve object documentation.
• Greater transparency and accessibility. 
• Heightened understanding of the origins of the collection.

A skull of a lion cub, shot in 1909 by a Poole resident while on colonial service in modern day Kenya.

• Identify from existing digitised records which objects were already recorded. 

• Locate all relevant historic documentation. 

• Select objects to investigate in greater detail.

• Create a wider working group to explore the collection further and providing relevant training to staff in relations collections management, care and research 

• Identify appropriate institutions to provide identifications. 

Extract from an historic letter donated alongside an Igbo brass anklet.

• Prior to the project, only 300 objects were listed within the collections category of ‘Ethnography’. 

• 406 items now fully recorded and photographed.

• Talks were delivered to local interest groups focusing on the work. 

• Expressions of interest from volunteers to continue work. 

• Specialist knowledge was shared with the wider museum team.  

• Don’t attempt this work on your own, utilise the help of peers and experts outside your museum. 

• Identify outcomes that are within reach. Don’t set yourself up to fail. This work must be manageable. Although the entire collection was documented, only a small selection could be explored and identified further within the timeframe. 

• Create a network of support as this work can be emotionally challenging.  

Public responses:

We set up a feedback box alongside the display, so that people could share their thoughts and reflections, especially given the emotionally challenging nature of the story. 

Here are a few of the notes we received:

“Really great little display, so interesting to read about the experience of a man who lived locally. Not only does it help us understand the wider picture, but it is fascinating to hear about his life here. I love the emphasis on his constant fight for justice. Really well curated small exhibition.”

“We specifically came to the museum just to see this exhibit. Thank you for making this display. It was excellent, informative and very helpful to learn about.”

“Fascinating amount of information in such a little display.”

“Very interesting – thank you. The timeline is well presented”.

“I loved it”.

Jordan Cole, student at Bath Spa University who curated the display said:

“Researching John Brown’s strength and courage in escaping slavery and starting a new life here in Dorchester has been an amazing experience and I hope that this exhibition gives people the same opportunity I have in learning about his journey”.

• Continue to obtain positive identification for all objects within the World Cultures Collection. 

• Explore the donors of objects within the World Cultures Collection. 

• Explore the origins of Poole Museum’s earliest collections.

• Reclassify all objects originating outside of the United Kingdom as ‘World Cultures’. 

Gary Edwards

Curator, Poole Museum & Chair, Wessex Museums Decolonisation Working Group

gary.edwards@bcpcouncil.gov.uk