The ethnographic museum as a sensitive translation

Abstract This article analyzes the recently renewed, permanent exhibition of the Royal Museum for Central Africa (AfricaMuseum) in Tervuren, Belgium. The museum is seen as a translational space, considering the parallels between, on the one hand, curatorial strategies to represent cultural otherness and, on the other, processes of cultural and interlingual translation ( Sturge 2007 ). We draw on an interdisciplinary mindset of translation as change and choice, as a multimodal and multimedial activity, and as an inevitably meaning-transforming process. Pressured to keep pace with the rapidly evolving public debate on decolonization, the curators-translators of the AfricaMuseum are aware that they are dealing with “sensitive texts” ( Simms 1997 ) and have, accordingly, adopted a set of strategies to reduce perceived “translation risks” ( Pym and Matsushita 2018 ). The article explores these strategies at three levels of translation operating in the museum: cultural, intersemiotic, and interlingual. In particular, we reveal the inherent tensions in the current display by discussing scenographic interventions that undermine the decolonization efforts in a number of galleries. These tensions are conceptualized as incomplete or incoherent forms of translation and illustrate the “work in progress” in the AfricaMuseum.