在本文中，我们将重点讨论在博物馆中如何利用物质文化来建构和呈现对非洲的叙述。展出者的权力、权威和意识形态都是物质文化所展示的。这通常是由代表文化机构展示项目的成本来完成的(Tythacott, 2011)。博物馆有一个特别不受欢迎的历史，它歪曲了展览中非洲的文化。有时会验证种族主义的意识形态。因此，热心的博物馆的批评家们开始质疑在公共教育的未来中博物馆的重要性(托马斯，2010)。然而，人们继续参观博物馆，体验来自非洲的展品。根据这些博物馆今天面临的挑战，这篇文章将探索非洲文物在博物馆中展出的方式，以及讨论这些展品在非洲文化中真实存在的方式(Schildkrout, 2008)。有几家博物馆，比如非洲自然历史博物馆，他们热衷于提供不同的展示对象的方法，以及关于非洲文化的叙述。从这篇文章的观点来看，这样的博物馆不可能以整体的方式来代表非洲的文化(Jones, 1993)。用物质性的物体来代表文化或文化方面是一种有限性质的努力。Shelton(2000)承认，物质性的物体没有静态和离散的机械体现的含义(Harris和O ‘Hanlon, 2013)。
In the essay focus will be on the way in which material culture is used by exhibitions in museums for constructing and presenting a narration over Africa. Exhibitor’s power, authority as well as ideology are exhibited by material culture. Often this is done at the cost of representing cultural agency displaying the items (Tythacott, 2011). There is a specific unpopular history of museums at distorting the cultures of Africa within exhibits. The at times validates the ideologies of racism. Critics of zealous museum consequently have initiated questioning the museum significance within the public education future (Thomas, 2010). However, the people have continued visiting museums and experiencing exhibits that feature objects from Africa. Depending upon the challenges these museums face today, this essay will explore the way in which the objects from Africa are exhibited in museums along with discussing the way in which these exhibits are really present in the culture of Africa (Schildkrout, 2008). There are several museums such as Field museum of Natural History of Africa which indulge in offering different methods of displaying the objects as well as narrations over cultures of Africa. It will be argued from the perspective of this essay that there is no possibility for such museums to represent the culture of Africa in a holistic manner (Jones, 1993). Use of objects of materiality for representing cultures or cultural aspects is an endeavour of limited nature. It is recognized by Shelton (2000) that objects of materiality do not have static and discrete mechanical embodiment implications (Harris and O’Hanlon, 2013).
However, they can be utilized as interpretation points. It is the objects interpretation by texts and related didactics which allows the museums to develop exhibits encircling themes such as arts of Africa or power displays. As it is not possible for objects to speak for their selves, it is the museum that does the talking for them. This allows the visitors to learn and be engaged in relation to the object. However, at times, when museums have various individuals involved in its construction, it leads towards distorted information to foster (Dorfman, 1993). This is because each individual’s perspective is taken into account to satisfy the individuals.