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Expanding Internationalism - A Conference on ... - Mary Jane Jacob

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4. opening up new opportunities and avenues for man to develop a greater and<br />

better understanding of his neighbors; and<br />

5. promoting better political and cultural relati<strong>on</strong>s between nati<strong>on</strong>s and<br />

peoples.<br />

The political dimensi<strong>on</strong> of internati<strong>on</strong>al exhibiti<strong>on</strong>s is now<br />

assuming important dimensi<strong>on</strong>s we can no l<strong>on</strong>ger ignore.<br />

However, we in Africa do recognize the practical problems involved in<br />

organizing internati<strong>on</strong>al exhibiti<strong>on</strong>s. Let me highlight some of our fears and<br />

problems:<br />

1. the risk of overexposure of the works due to excessively l<strong>on</strong>g lengthy<br />

viewing, thus making them lose their dramatic impact, which may lead to<br />

trivializing their meaning and potency;<br />

2. the lack of financial benefits accruing to the country or museum of<br />

origin<br />

(This is a serious problem that should be addressed at this<br />

c<strong>on</strong>ference. African Museums are generally under-funded, and it does not<br />

appear that they benefit financially like the host country or museum when<br />

their works of art are taken out for exhibiti<strong>on</strong>) ; and<br />

3. the risk of taking the exhibits out with too small a number of trained and<br />

qualified staff from the museum/country of origin.<br />

In most cases, as was<br />

the case with the Nigerian experience, <strong>on</strong>ly <strong>on</strong>e staff was taken at a<br />

time.<br />

This is grossly inadequate and unprofessi<strong>on</strong>al, especially when it<br />

is understood that such a pers<strong>on</strong> acco.rrpanying the works is the anchorman<br />

for the museum/ country of origin.<br />

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