a shorter version of this article is in the taz, 30.08.2007 to find
By Barbara Mürdter
recalls A new museum in Liverpool on the transatlantic slavery and its consequences. The focus of the analysis is on the resistance which the slaves and their descendants contributed to their oppression and their cultural heritage
In the dark oval is the viewer is surrounded by four large screens. It is seeing a black man. He lies naked in chains on rocking, creaking planks. His face is contorted with pain, he moans softly, throws up. This installation with artistically distorted view is an attempt at rapprochement with one of the worst crimes of the recent human history. It is relatively harmless compared to the unrepresentable what really happened, and leaves much to the imagination. "It is impossible to recreate today really know what happened then to the slave ships," says Richard Benjamin, director of the newly opened International Slavery Museum in Liverpool about the centerpiece of the exhibition.
The new museum is a showpiece with a total budget of about fifteen million euros, the United Kingdom on the occasion of the 200th Anniversary of the legal abolition of the slave trade in Great Britain does. The political and cultural establishment, including Queen, Anglican Church, and prominent politicians paid tribute to the occasion throughout the year with solid records and events. Any museum that anyone has to be dug, his trove of something that fits the theme or did their own exhibitions - if often only small - in order. At the center are often prominent abolitionists, led by William Wilberforce, who fought with the law in Parliament. You knock yourself on the back for the services of those compatriots who opposed, mostly from Christian-moral motives, the cruelty of slavery and against them were active. Also celebrated a historic event - it's all been 200 years ago and long gone.
The descendants of the slaves and the people who see in the regions devastated by the slave trade in West Africa which, however, different. Not only that they are considered by most whites as nonsense discussions for an official apology from the British head of state and even Restitution relapse. They also posed the question: Is not that an inverted world, stylize in which the people of the perpetrators and profiteers as liberators of the poor slaves? They placed value on the black especially historians in recent years underpinned fact that slaves were not simply passive victims, but despite the degrading circumstances and their limited scope of action campaigning actively for their own liberation.
This view determined the design of the exhibition - and this is new. It begins with a commitment: ". We will remember" This is the answer to the statement of former slave William Prescott, at the beginning Tour the Museum is: "You will recall that we were sold, but not because we were strong. You will recall that we were bought, but not because we were brave. "
In the first part of the richness of culture in West Africa and is represented at the time of the transatlantic slave trade. Showcases with products of craftsmanship, but also references to the intellectual life - particularly under the influence of Islam - are gathered around a replica of a hut of Ibo tribe.
The second room in the middle of the installation of the ship's passage is, deals with the period of slavery and is the centerpiece of the exhibition. Life on the plantations is shown in contemporary photographs and models. Display cases are filled with artifacts that symbolize the wealth, accumulated the traders and slave owners. On the other hand there are the episodes that had the kidnapping of Economy and Culture in West Africa. Cold figures on cards of transport quantities and revenues are credited. The ear is always the man moaning on the boards and the plaintive recitation of a text on the lot of the carryover.
Again, the slave described as an active agent who fought for freedom, wherever he can - even if one exposes himself to the charge of romanticism, so Benjamin: "The tone of this exhibition is the resistance." In the one an oil painting from the 19th Century issue, the fight an escaped slave with an ax to dogs that have hounded him, they break with the racist notion that black slave could not defend themselves. Was a major point of discussion in the current debate but was left out completely: the role of black tribal leader who bartered their own people against European goods. It might have been those who want to relativize the European guilt in this crime, can take quite a historically correct representation of the wind from the sails.
The third area deals with the legacy of slavery. This is the most courageous part of the exhibition because it deals with controversial issues such as racism in contemporary British society and restitution payments. A figure in an obviously worn Ku Klux Klan outfit is doomed for the existence of the exhibition on a wall to stare at the liberation of Africa from the colonial yoke and the emancipation of African Americans is presented. But the exhibition approach is adopted in accordance with particular emphasis on the cultural achievements, which changed the African Diaspora in the Western culture. Stories of diaspora members are told from their successes and their search for the roots.
Latin America is here, as throughout the exhibition, too short while back then curiously African ex-colonies of Great Britain come into play that were not directly affected by the transatlantic slave trade. As it has lost as well as elsewhere in the exhibition, the complexity of the topic a bit up the thread.
In general, there are some well-meaning museum approaches that have succeeded only partially. Benjamin thus stresses more than once occasion, the importance of the innovative technical presentation of the new museum was. The public had changed its expectations in recent years. In fact, blinks and talks and it meanders all over the place - though the presentation has, overall, complex, but rather conventional. The lovingly-made small models of a plantation and a slave ship, one could almost call it cute, would be the subject not so serious. In return you can feel overwhelmed when you get fed babbles on all sides and also have this or that sound the ear can get and are focused specifically on anything. Even in the set up by a voodoo priest memorial altar for the ancestors, is to offer a place of rest, one finds no rest. There are the various stations useful where you are short films on aspects such as Development of certain contemporary music can look silence from African roots - and the sound comes through the headphones. If in doubt, you can sometimes press the pause button.
also that the museum relies heavily on education and working with children can be annoying when you're older than twelve and blessed with an at least average IQ. However, one must not forget how important is this aspect: To date, the transatlantic slave trade, not a compulsory part of the curriculum in British schools. Many black Britons learned in connection with the anniversary for the first time details from their own past. "By Next year, the across the country are fixed in the curriculum, "Benjamin hopes. The museum provides a learning station and the guidance of trained personnel to almost bring children and young people the topic. In Phase II of the museum in 2010, a new building to be completed. Here will be built next to another exhibition on contemporary forms of slavery, a separate research and education center.
is very critical to note the conclusion that an exhibit on black history, as can be seen at present, appears to have been designed largely by white scientists - and it also seems to stand out to anyone. For here does the skin color is a Role. Black Brits have not only their own perspective on racism today, they experience first-hand, but also their family stories, which are inextricably linked with slavery. Benjamin, who grew up in Yorkshire and his father in the 50 years, immigrated from Guyana, was taken in November last year on board, set up a black group did recently. According to Benjamin while a close contact exists to the Black community in Liverpool, which would be regularly informed about developments at the museum and asked for their opinion. But a word of it, that she was asked primarily to suggestions and ideas, or that their members and also a central role in properly paid the design had been granted.
"We certainly have not done everything right," said Benjamin. "We're always open to add things and change it. It is important that we promote discussion. We want to challenge people in their pre-thinking. We are not a neutral Museum
International Slavery Museum , Albert Dock, Liverpool, United Kingdom
opening times daily from 10 to 17 clock
audio.
Interview with Richard Benjamin, director of the International Slavery Museum . hear
aufmerksamkeitsoekonomie © Barbara Mürdter 
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