Sarah Van Beurden – författare

Together, the Royal Museum for Central Africa in Tervuren, Belgium, and the Institut des Musées Nationaux du Zaire (IMNZ) in the Congo have defined and marketed Congolese art and culture. In Authentically African, Sarah Van Beurden traces the relationship between the possession, definition, and display of art and the construction of cultural authenticity and political legitimacy from the late colonial until the postcolonial era. Her study of the interconnected histories of these two institutions is the first history of an art museum in Africa, and the only work of its kind in English.Drawing on Flemish-language sources other scholars have been unable to access, Van Beurden illuminates the politics of museum collections, showing how the IMNZ became a showpiece in Mobutu's effort to revive "authentic" African culture. She reconstructs debates between Belgian and Congolese museum professionals, revealing how the dynamics of decolonization played out in the fields of the museum and international heritage conservation. Finally, she casts light on the art market, showing how the traveling displays put on by the IMNZ helped intensify collectors' interest and generate an international market for Congolese art.The book contributes to the fields of history, art history, museum studies, and anthropology and challenges existing narratives of Congo's decolonization. It tells a new history of decolonization as a struggle over cultural categories, the possession of cultural heritage, and the right to define and represent cultural identities.

Together, the Royal Museum for Central Africa in Tervuren, Belgium, and the Institut des Musées Nationaux du Zaire (IMNZ) in the Congo have defined and marketed Congolese art and culture. In Authentically African, Sarah Van Beurden traces the relationship between the possession, definition, and display of art and the construction of cultural authenticity and political legitimacy from the late colonial until the postcolonial era. Her study of the interconnected histories of these two institutions is the first history of an art museum in Africa, and the only work of its kind in English.Drawing on Flemish-language sources other scholars have been unable to access, Van Beurden illuminates the politics of museum collections, showing how the IMNZ became a showpiece in Mobutu's effort to revive "authentic" African culture. She reconstructs debates between Belgian and Congolese museum professionals, revealing how the dynamics of decolonization played out in the fields of the museum and international heritage conservation. Finally, she casts light on the art market, showing how the traveling displays put on by the IMNZ helped intensify collectors' interest and generate an international market for Congolese art.The book contributes to the fields of history, art history, museum studies, and anthropology and challenges existing narratives of Congo's decolonization. It tells a new history of decolonization as a struggle over cultural categories, the possession of cultural heritage, and the right to define and represent cultural identities.

Together, the Royal Museum for Central Africa in Tervuren, Belgium, and the Institut des Musées Nationaux du Zaire (IMNZ) in the Congo have defined and marketed Congolese art and culture. In Authentically African, Sarah Van Beurden traces the relationship between the possession, definition, and display of art and the construction of cultural authenticity and political legitimacy from the late colonial until the postcolonial era. Her study of the interconnected histories of these two institutions is the first history of an art museum in Africa, and the only work of its kind in English.Drawing on Flemish-language sources other scholars have been unable to access, Van Beurden illuminates the politics of museum collections, showing how the IMNZ became a showpiece in Mobutu's effort to revive "authentic" African culture. She reconstructs debates between Belgian and Congolese museum professionals, revealing how the dynamics of decolonization played out in the fields of the museum and international heritage conservation. Finally, she casts light on the art market, showing how the traveling displays put on by the IMNZ helped intensify collectors' interest and generate an international market for Congolese art.The book contributes to the fields of history, art history, museum studies, and anthropology and challenges existing narratives of Congo's decolonization. It tells a new history of decolonization as a struggle over cultural categories, the possession of cultural heritage, and the right to define and represent cultural identities.

Empires and their aftermaths were massive planning institutions; in the past two hundred years, the natural and social sciences emerged—at least in part—as modes of knowledge production for imperial planning. Yet these connections are frequently under-emphasized in the history of science and its corollary fields. The Planning Moment explores the myriad ways plans and planning practices pervade recent global history. The book is built around twenty-seven brief case studies that explore the centrality of planning in colonial and postcolonial environments, relationships, and contexts, through a range of disciplines: the history of science, science and technology studies, colonial and postcolonial studies, urban studies, and the history of knowledge.If colonialism made certain landscapes, populations, and institutions legible while obscuring others, The Planning Moment reveals the frequently disruptive and violent processes of erasure in imperial planning by examining how "common sense" was produced and how the intransigence of planning persists long after decolonization. In recognizing the resistance and subversion that often met colonial plans, the book makes visible a range of strategies and techniques by which planning was modified and reappropriated, and by which decolonial futures might be imagined.Contributors: Itty Abraham, Benjamin Allen, Sarah Blacker, Emily Brownell, Lino Camprubí, John DiMoia, Mona Fawaz, Lilly Irani, Chihyung Jeon, Robert Kett, Monika Kirloskar-Steinbach, Karen McAllister, Laura Mitchell, Gregg Mitman, Aaron Moore (†), Nada Moumtaz, Tahani Nadim, Anindita Nag, Raúl Necochea López, Tamar Novick, Benjamin Peters, Juno Salazar Parreñas, Martina Schlünder, Sarah Van Beurden, Helen Verran, Ana Carolina Vimieiro Gomes, Alexandra Widmer, and Alden Young

Empires and their aftermaths were massive planning institutions; in the past two hundred years, the natural and social sciences emerged—at least in part—as modes of knowledge production for imperial planning. Yet these connections are frequently under-emphasized in the history of science and its corollary fields. The Planning Moment explores the myriad ways plans and planning practices pervade recent global history. The book is built around twenty-seven brief case studies that explore the centrality of planning in colonial and postcolonial environments, relationships, and contexts, through a range of disciplines: the history of science, science and technology studies, colonial and postcolonial studies, urban studies, and the history of knowledge.If colonialism made certain landscapes, populations, and institutions legible while obscuring others, The Planning Moment reveals the frequently disruptive and violent processes of erasure in imperial planning by examining how "common sense" was produced and how the intransigence of planning persists long after decolonization. In recognizing the resistance and subversion that often met colonial plans, the book makes visible a range of strategies and techniques by which planning was modified and reappropriated, and by which decolonial futures might be imagined.Contributors: Itty Abraham, Benjamin Allen, Sarah Blacker, Emily Brownell, Lino Camprubí, John DiMoia, Mona Fawaz, Lilly Irani, Chihyung Jeon, Robert Kett, Monika Kirloskar-Steinbach, Karen McAllister, Laura Mitchell, Gregg Mitman, Aaron Moore (†), Nada Moumtaz, Tahani Nadim, Anindita Nag, Raúl Necochea López, Tamar Novick, Benjamin Peters, Juno Salazar Parreñas, Martina Schlünder, Sarah Van Beurden, Helen Verran, Ana Carolina Vimieiro Gomes, Alexandra Widmer, and Alden Young