MUZIUM UNIVERSAL SEBAGAI BENTUK NEO-KOLONIALISME (UNIVERSAL MUSEUMS AS A FORM OF NEO-COLONIALISM)

Abstract

Abstrak 

Konsep “muzium universal” yang dipromosikan oleh muzium utama Barat sering digambarkan sebagai usaha menyatukan warisan manusia secara global. Melalui dokumen “Declaration on the Importance and Value of Universal Museums” yang ditandatangani oleh 18 muzium terkemuka dunia termasuk British Museum (UK), Louvre Museum (Perancis), The Metropolitan Museum of Art (AS), The Hermitage Museum (Rusia), Rijksmuseum (Belanda) dan Staatliche Museen zu Berlin (Jerman), mereka seolah-olah berperanan dalam menyebarkan pemahaman silang budaya dan berhak menjaga artifak-artifak negara-negara jajahan. Namun, analisis ini menunjukkan bahawa konsep tersebut bersifat penjajahan baharu yang menyembunyikan dominasi warisan kolonial dan menafikan hak komuniti asal. Kajian ini akan menyingkap tentang sisi gelap muzium universal yang dianggap sebagai pemilik dan penjaga warisan dunia dengan tuntutan repatriasi “Patung Gangsa Benin” sebagai contoh kajian kes. Kajian mendapati konsep ini telah gagal memenuhi prinsip-prinsip kuratorial moden yang mementingkan keterwakilan komuniti asal, ketelusan sejarah objek, pemulangan atau rundingan pemilikan serta keadilan naratif. Melalui analisis deklarasi 2002, penolakan repatriasi, strategi penjenamaan semula dan kajian kes British Museum, artikel ini mencadangkan pembaharuan paradigma muzium berdasarkan prinsip keadilan sejarah dan epistemologi pelbagai. 

Kata Kunci: Muzium universal; penjajahan baharu; repatriasi; Patung Gangsa Benin; penjenamaan semula; paradigma muzium; epistemologi pelbagai.

Abstract 

The concept of the “universal museum”, promoted by major Western institutions, is often portrayed as an attempt to unify global human heritage. Through the document “Declaration on the Importance and Value of Universal Museums”, signed by 18 leading museums around the world including the British Museum (UK), the Louvre Museum (France), The Metropolitan Museum of Art (USA), The Hermitage Museum (Russia), the Rijksmuseum (Netherlands), and the Staatliche Museen zu Berlin (Germany); these institutions appear to play a role in fostering cross-cultural understanding and claim the right to preserve artifacts from formerly colonized nations. However, this analysis shows that the concept is a form of neo-colonialism that conceals the dominance of colonial heritage and denies the rights of source communities. This study aims to uncover the darker side of the universal museum, which positions itself as the owner and guardian of world heritage, by using the repatriation demands for the Benin Bronzes as a case study. The research finds that this concept has failed to uphold modern curatorial principles that emphasize community representation, transparency in object history, restitution or ownership negotiations, and narrative justice. Through an analysis of the 2002 declaration, the rejection of restitution, rebranding strategies, and a case study of the British Museum, this article proposes a paradigm shift towards a museum model rooted in historical justice and multi-epistemic ethics. 

Keywords: Universal Museum; neo-colonialism; restitution; Benin Bronzes; rebranding; museum’s paradigm; multi-epistemic.