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Taiwan needs a national Aboriginal
museum
By Lu Meifen ¿c±öªâ
Monday, May 17, 2010, Page 8
If Taiwan is a culturally diverse country, then how is that reflected in our
museums? The National Palace Museum in Taipei remains the main portal for those
who want to learn about Chinese culture in Taiwan. The only Taiwanese museum
dedicated specifically to Aboriginal culture is the Cultural Park Bureau of the
Cabinet¡¦s Council of Indigenous Peoples. Its status is uncertain, it lacks
research experts and its permanent exhibitions are not being updated. In other
words, it falls far short of the standard we have a right to expect from a
national museum of Aborigines.
Aside from the National Palace Museum, the highest-ranking national museums in
Taiwan are the National Museum of History in Taipei, the National Museum of
Natural Science in Taichung, the National Science and Technology Museum in
Kaohsiung, the National Museum of Marine Biology and Aquarium in Pingtung and
the National Museum of Prehistory in Taitung. The Museum of Prehistory is the
highest-ranking museum in Taiwan dedicated to prehistoric research, Aborigines
and the connection between prehistory, Aborigines and Austronesia. Although it
is charged with promoting balanced cultural development in eastern Taiwan and in
the nation¡¦s remote regions, the Museum of Prehistory has the smallest staff,
even though Aborigines make up a majority of residents in those areas.
Of these museums, all of which are categorized as level-three museums, the
Museum of Prehistory is the only one at risk of being demoted to level four.
That would place it on the same level as national museums under the Council of
Cultural Affairs, former provincial museums and national living art museums that
began life as social education centers.
Following the elevation of provincial museums and social education centers to
national level institutions, the division of national, provincial, county, city
and township institutions is increasingly muddled. Demoting the Museum of
Prehistory to a lower level would make it less attractive to curators and
research experts, resulting in fewer resources and expert staff. It would also
diminish Aboriginal cultural rights and limit the educational rights of people
living in remote areas. Taiwan would not have much of a national museum for
indigenous peoples to show the world.
In 1989, the US Congress passed legislation establishing a National Museum of
the American Indian (NMAI) under the Smithsonian Institution. The bill also
required that the Smithsonian inventory all indigenous cultural artifacts and
human remains in all its museum collections, and determine when those remains
could be returned, together with a plan for doing so. The law has been described
as the result of a successful strategy by the Red Power Movement. Fifteen years
later, in 2004, the NMAI, located at the National Mall in Washington, became a
symbol of indigenous identity.
In 1992, New Zealand¡¦s legislature passed the Museum of New Zealand Te Papa
Tongarewa Act, the bill that established New Zealand¡¦s national museum ¡X te
papa tongarewa is Maori for ¡§container of treasures.¡¨ The museum was established
in the nation¡¦s capital, Wellington, to highlight the cultural diversity of New
Zealand and symbolize partnership between the Maori and the country¡¦s European
descendants. In 1995, the museum adopted a dual leadership system with a chief
executive officer and a kaihautu ¡X Maori leader ¡X jointly leading the museum. In
2003, the museum initiated a plan for the return of Maori cultural objects
currently overseas, to be implemented through official channels and between
national museums. The plan included the pursuit of Maori cultural relics at the
British Museum.
Given that Taiwan¡¦s indigenous peoples are the perfect representatives of
Taiwanese identity and unique local color in the international arena, it is
perhaps surprising that there is no consensus on the need to maintain a national
museum dedicated to them.
The fact that museums are currently researching, compiling and reconstructing
the vast traditional cultural assets of Taiwan¡¦s Aborigines means that they
have become important institutions through which Aborigines can fight for their
cultural rights.
These collections make up the core of the museums and they are also the roots
that hold the culture of Taiwan¡¦s indigenous peoples in place.
However, Taiwan¡¦s Aborigines lack the experience of mainstream society in
dealing with museums. In this respect, they are more like first generation
immigrants as they get involved in what to them is the strange new world of
museum management. We still need to train Aboriginal museum staff, even if we
have yet to work out how to use museums as a cultural tool and their
relationship to cultural rights. In this context it is concerning that just as
indigenous peoples are developing the skills and abilities needed to run
Aboriginal museums, they are being increasingly marginalized by mainstream
society.
Lu Meifen is assistant curator in the exhibition and education
division at the National Museum of Prehistory.
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