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They have knowledge and. Museum staff know through their practice that the choice of words can be sensitive. We have come to question our perspectives and our practices of marketing and display, and seek to include diverse voices. In doing so, we have had to think about the words or phrases that are sensitive to particular groups, that can cause offense, that elide important context, and that are understood as derogatory.

But society changes, and language changes with it.

Our objects may be timeless, but the ways we speak about them are not. But precisely which words are these? And, more importantly, why are particular words understood as derogatory or offensive, and by whom? Therefore, we felt that we needed to offer our exhibition makers, curators,. So we m produced a list of words, an explanation of why a particular word is considered sensitive or contested, and alternative terms that may be used in our museum practice. After having been asked a number of times by other museums for advice on this matter, we became aware that our efforts could be useful to others in the field.

This led to the idea for this publication. Compiling such a list is not a simple matter. In many cases it is all about context. Our aspiration is not at all to police word choices. It is to promote greater awareness within our sector of the meaning behind certain words, so our choices are more conscious and informed. There is an additional disclaimer: this list is neither comprehensive nor finalized. We remain convinced that this book will never be complete; words will need to be added and our descriptions of why certain words may be sensitive may also need revision.

This is a work in progress, nothing more and nothing less than the results of our efforts thus far. Now we invite others to help in the further development and refinement of this guide.

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We therefore expect and welcome reactions from every quarter. Let us know what you think, what can or should be added or removed, what may need revising.

Chris Barley and Marc Kushner

In this way we can work together to update the current version. Although this publication has been prompted by issues related. We hope that this publication is useful for, and we invite comments from, colleagues outside the Netherlands. We are regularly asked to speak on these subjects and to share our experiences with other museum professionals. I have already stated that context and nuance play an important role here.

To emphasize this, we start this publication with a number of short articles about language and word use, especially in the context of museums.

With this we aim to provide different perspectives and more background information about why words matter. After these, the list follows. We welcome your thoughts, suggestions and criticims. Wayne Modest Recent controversy in the Netherlands surrounding whether museums should change the titles of some of their paintings and refrain from using discriminatory, derogatory and racist words in wall texts or catalogues is in part the lead up to this publication.

The emotionally and politically charged nature of the discussions in the media surrounding such proposed changes should persuade anyone in doubt that words matter, that language matters. This is not an issue for just a small group of experts. The suggestion that some words are outmoded, even racist, struck a chord with a broad and diverse group of people, from academics and journalists to members of the general public.

For others, it is an attempt at rewriting history. Futterer circa Colored lithograph on paper, Tropenmuseum, Amsterdam. Yet for those in favor of such changes, changing words is not about changing history. For them, paying attention to language means acknowledging that the language we use affects whether groups feel a sense of belonging to society. This, then, is a battle over representation, recognition and respect. The media attention to this topic aside, such a discussion is by no means new, especially in ethnographic museums.

In fact, working with ethnographic collections today, one is always aware of the shadows of colonial categories and of the critiques of words and images long voiced by those we try to represent. These terms reproduce the stereotypes that emerged under colonialism and they continue to shape how people previously described in this way are viewed. Ethnographic museums have a history of trying to address problematic terminology. We recognize that meanings may change, as happens when the groups such terms describe voice resistance to them or re-appropriate them, turning.

Which groups are Indigenous or Aboriginal and which are not, and where do those terms come from? And what is the correct pronoun to describe someone who identifies as transgender? These are the words and issues that this publication addresses, beginning from the premise that words matter.

We consider here some of the most contested words in the vocabulary of museum practice, many of which are part of our everyday language, at least in the Netherlands. Some of the words we examine in detail, probing their history, how their meanings have changed over time and how they are understood today. This publication is primarily a tool of empowerment, a suggestion for how to make our way through the political and social terrain of word use in museums. We hope that museum staff will use it to inform their writing of wall texts and the cataloguing of objects.

The publication is also intended as a corrective to our earlier misrepresentations that may have reinforced stereotypes of peoples and cultures. In this sense, we hope that its impact. Undeniably, the demands for change issued by diverse groups, to which the museum is responding, are also broader demands for a more inclusive society.

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The book should, therefore, also be read as supporting museums as they respond to the rapidly changing society in which we live and as they strive to become more inclusive institutions. We do not expect that the publication will be read in full. Rather, it is written as a pocket manual. Paying attention to words means acknowledging that the language we use affects whether a person or a group feels excluded or included, whether they feel a sense of belonging to society.

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This is about representation, recognition and respect. Was the situation in the Netherlands comparable? To answer that question, more research is needed. As far as I am concerned, we as a museum should at the very least recognize Thomas's presence. There was considerable variation in how eighteenthcentury Britons understood the legal status of slavery in England. For that reason, the distinction between free and enslaved servants was often deliberately left unclear, both in everyday life and in the realm of representation.

For example, contemporaries frequently. Written archives generally are unhelpful when trying to be precise about these distinctions… The one clear signifier of slavery in British art of this period is the slave collar. They frequently were advertised for sale along with dog collars.

Not all slaves were made to wear collars. However, we can be quite certain that anyone who is shown wearing one in the portraits displayed here was intended to be understood as property, and thus, as a slave. Oil on canvas. Rijksmuseum, Amsterdam. Or, should we acknowledge the fact that his life in many respects was similar to that of an enslaved person, as he had no way of changing his status and leaving Hees?

I can recall a caption in a catalogue from the Figures of Empire exhibition at the Yale Center for British Art where they state:. This was painted in the Netherlands.

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