ow do museums collaborate, with individuals or with groups? What are successful methods or practices of co-creation between museums, institutions of power, and members of different communities? How do we fashion equitable partnerships? These are questions that have long animated museums. In fact, they are the central questions around which the field of (critical) museology emerged in the 1980s. Already in the nineteen seventies, ideas around the relationship between museums and diverse communities, about how museums should best serve community interests emerged, underpinned in many ways by a Marxist interest in class struggles. In these early moments, the question of whether other forms of difference, of racialized, gendered, or sexual difference, were markers of exclusion for museums was of limited if any interest at all. These questions would be of growing concern in the decades to come, reaching a kind of high point in the 1990s, as diverse experiments emerged across the world, challenging the role that museums played as part of public culture. In his introduction to the 1992 publication, Museums and Communities: The Politics of Public Culture, Ivan Karp ends with:
"FOR COMMUNITIES, THE STRUGGLE OVER IDENTITY IS VITAL TO THEIR EXISTENCE: THEY OFTEN FEEL THAT THEY LIVE OR DIE TO THE DEGREE THAT THEY ARE ACCORDED OR DENIED SOCIAL SPACE. BUT MUSEUMS ARE LEARNING THAT MEMBERS OF COMMUNITIES ARE ACTIVE AGENTS. THEY CAN RESIST MUSEUMS DEFINITIONS
OF SPACE AND EVEN REDEFINE SPACES IN SUBVERSIVE WAYS”1
For the authors of Museum and Communities the intensification of debates about identity in museums were “directly related to their prominence in civil society.” As institutions of civil society museums have increasingly become prominent players in these struggles.
1 Karp, Ivan, Christine Mullen Kreamer, and Steven Levine, eds. Museums and communities: The politics of public culture. Smithsonian Institution, 1992.
a Work in Progress
With rising ethnocentric, xenophobic nationalism across Europe, indeed across the world, Karp’s statement, written almost three decades ago is, arguably, even more urgent today than ever. But Karp, like many of the other authors in this publication, were only recording what was being placed on the agenda by community themselves. Indeed, as diverse individuals and communities struggle against ongoing structures of oppression, struggle against marginalization, against the unequal distribution of life chances, even of life itself, they have pushed to reshape the museum towards being truly public institutions that serve a differentiated public.
Ethnographic museums, like the Wereldmuseum, have long been important sites for such struggles. Emergent during and in support of European colonial expansion, these institutions embody colonialism’s extractive ideology, their role in propping up European self-understanding as the center of the world. They, as institutions, hold the remains, both material and ideological, of a colonial project that has, and continues to shape the unequal world in which we live. It is against this history, against their collecting and representational practices, that activist individuals and communities have been struggling.
Mindful of this history of practice as tools of empire, as differencing machines, how, then, do we change these institutions? How do we decolonize institutions built on colonialism, on colonial ideology, on colonial logics and on colonial practices? Over the last decade these are the questions that have been raised anti-racist, anti-sexist, anti-gentrification, anti-ableist activists who have confronted museums, confronted the ethnographic museum. In response, museums including the Wereldmuseum, have been developing projects and programmes, working together with diverse individuals and communities, as they attempt to reshape themselves, to reshape their practices, as better institution. To be sure, these are not all successful projects. In fact, we at the Wereldmuseum would not be interested in thinking through the lens of success.
The project for which we write this foreword, is such a project. The Last Room, was an invitation to a group of young people in the cities of Rotterdam and Amsterdam to co-curate one part of the exhibition HA!R POWER, on show at the Wereldmuseum Rotterdam between July 2022 and January 2024. Working together intensely with two members of the Wereldmuseum staff, but more broadly with other staff of the museum, the project was an experiment, a work in progress, as we as a museum try to learn how we as a museum can center the needs of communities and individuals often marginalized, even disabled, by the structures of the institutions. We also want to acknowledge the work of our own staff in helping to shape a new understanding of what community work can be today.
But this was the secondary goal; the project was not about us. Ultimately, the Last Room was about supporting the hopes, dreams and desires of a group of young people as they try to curate, not just an exhibition, but the world as they would like to see it. A world that does not see difference as markers and structures of exclusion, but rather as site for flourishing. We would like to thank the curators for their work, for their vision of this otherwise world. We acknowledge that it was sometimes hard. And while we do not look at project like these through terms of success or failure, we want to celebrate your success in making this happen. And we want to say that where we failed you, where our structures failed you, it remains our commitment to be a better institution to help shape better futures.
Marieke van Bommel, General Director & Wayne Modest, Director of Content
Marieke van Bommel, General Director Wayne Modest, Director of Content
The Last Room: Community co-curation
The Last Room was the community co-curated gallery of the HA!R POWER exhibition which was open to the public at Wereldmuseum Rotterdam between December 2022 and January 2024. HA!R POWER delved into the extraordinary spiritual, cultural and historical significance of human hair (see below for more information). Eight Social Work and Education students from Rotterdam and Amsterdam curated the final gallery space for the exhibition, bringing their own perspectives, collaborators and artworks into the space. They were facilitated and mentored by the curator of the exhibition, Priya Swamy and Hodan Warsame of the Research Center of Material Culture (RCMC), the research institute of the Wereldmuseum. The co-curators of the Last Room are Zinah Autar, Melissa Chotoe, Jente Diepstraaten, Halil Kaya, Emma Liebrand, Miryam Mehjed, Zinath Niluka and Eunice Weerwind.
The Wereldmuseum has colonial, ethnographic foundations and holds collections of material culture, photography and contemporary art from across the globe. Like many museums in Europe, the Wereldmuseum is in the process of reckoning with this history and the ways in which colonial practices of classification, exhibition and archiving are still present. As part of this reckoning, the Wereldmuseum is re-examining and reshaping its practices.
The RCMC plays an important role in this process by identifying discourses, interventions and methodologies that we believe can be productive to imagine and create the museum anew. The Last Room was an RCMC project that explored how the museum can facilitate co-curation as a powerful method to break through the inherited and ongoing power structures that shape and gatekeep exhibition making. The aim was to put curatorial power in the hands of historically marginalized individuals, groups and communities and create a space within the exhibition for perspectives on hair that would otherwise not be considered. Specifically, the co-curators would go on to create their ‘own’ space within an exhibition that was made in an otherwise conventional manner. The Last Room spoke to the rest of the exhibition, but had its own distinct feel, design and formats.
co-curation at the Wereldmuseum
What we found was that the co-curators’ perspectives, expertise and identities were exactly what allowed them to create a space in the museum that would not have existed without them, thanks to their dedication to uplifting teenagers and young adults, their commitment to racial and queer justice and their distinctly pedagogical perspective. Together the eight co-curators created an artistic, playful and rich collection of spaces filled with art and stories that centered racialized, LGBTQ+ stories about human hair from their own lives and over forty collaborators they platformed. The designer for the project, Sheryl Leysner and her team, was a wonderful collaborator who brought the co-curators’ visions to life. Although each co-curator brought a unique perspective to the Last Room, they shared a deeply collaborative, personal and community-oriented approach. This is what inspired the subtitle of this publication; “Centering social justice in community co-curation”. The co-curators fearlessly centered social justice in their approach to the Last Room. Both in the content they produced and the way they generously and respectfully platformed many others. At the same time, a commitment to justice and repair was at the heart of the way we facilitated them. For us collaborating with and mentoring the co-curators was not only personally meaningful and rewarding, it demonstrated the necessity of community co-curation as a way to fundamentally shift the power dynamics in the museum.
"WHAT WE FOUND WAS THAT THE CO-CURATORS’ PERSPECTIVES, EXPERTISE AND IDENTITIES WERE EXACTLY WHAT ALLOWED THEM TO CREATE A SPACE IN THE MUSEUM THAT WOULD NOT HAVE EXISTED WITHOUT THEM, THANKS TO THEIR DEDICATION TO UPLIFTING TEENAGERS AND YOUNG ADULTS, THEIR COMMITMENT TO RACIAL
AND QUEER JUSTICE AND THEIR DISTINCTLY PEDAGOGICAL PERSPECTIVE."
In this publication you will hear the voices and see the work of each of the co-curators in interviews, videos and photos. They share about their creative and curatorial process, the
values and lived experiences that informed their choices and their hopes for the future. We hope you enjoy the stories of the Last Room.
"FOR US COLLABORATING WITH AND MENTORING THE CO-CURATORS WAS NOT ONLY PERSONALLY MEANINGFUL AND REWARDING, IT DEMON STRATED THE NECESSITY OF COMMUNITY CO-CURATION AS A WAY FUNDAMENTALLY SHIFT THE POWER DYNAMICS IN THE MUSEUM."
Hodan Warsame, Community Collaborations & Priya Swamy, Curator Globalisation and South Asia
About the HA!R POWER exhibition
The HA!R POWER exhibition was about the extraordinary spiritual, cultural and historical significance of human hair. HA!R POWER connected visitors to their own embodied experiences of the topic, and introduced with care alternative perspectives and views on what hair can do. Drawing on the museum’s collection of historical photographs, objects and collaborations with contemporary artists, the exhibition highlighted the (anti) colonial contexts of hair, a space where hair was collected and measured as part of colonial, racist knowledge production. The exhibition aimed to present hair as entangled in worldmaking in new and surprising ways.
CO-CURATORS DEMONWAY TO MUSEUM."
Hodan Warsame, Community Collaborations & Priya Swamy, Curator Globalisation and South Asia
Video
M
eet some of the co-curators of the Last Room and find out about their creative process. Eunice, Melissa, Emma, Miryam, Zinath and Halil talk about designing the space, platforming artists of color in the museum, making interactive installations, and much more.
Meet the co-curators of the Last Room
F ilmed and edited by
Naomi Rijkaard.
Jente Zinah Autar INTERVIEW & Diepstraten
J:
My name is Jente and I’m 23 years old. I was born and grew up in Brabant but moved to Rotterdam (as soon as I could) to study. The city felt like home, and I lived here happily for five years. I initially studied communication and media but discovered I was actually more interested in art and culture. Through internships, jobs, and getting involved in social projects I steadily developed in this direction. After finishing my undergraduate studies and working for a year, I moved to Lisbon for a master’s in art and culture, where I still live. In my free time you’ll find me at the beach, the cinema, the gym or relaxing with a good book in the park. I also love listening to R&B and dancing to hip-hop.
Z:
My name is Zinah, I’m 26 years old and I live and study in Rotterdam. I get a lot of energy from making social issues accessible, especially if I can do it in a creative way. Music and movies have always been a big inspiration. Through hip-hop I fell in love with language and the art of storytelling. As a kid, I loved to lose myself in Disney and Bollywood movies and tried to understand and analyze human behavior. While studying Social Work, I gained experience in youth work and learned how to use my critical voice to help others. Over the last six months, I’ve been taking the minor Sexuality and Diversity at The Hague University of Applied Sciences, where I’ve learned a lot about sexual health and gained the tools for looking at society in a sex-positive way.
Diepstraten
CAN YOU DESCRIBE YOUR CURATORIAL VISION FOR YOUR PART OF THE LAST ROOM?
WHY
WAS PARTICIPATING
IN THIS PROJECT IMPORTANT TO YOU/THE WORK YOU DO/THE LIFE YOU LEAD?
J:
Zinah and I met at a youth ately bonded over music tions turned to beauty hearing that we could ways to work together. to tell stories people munity a step closer to landed on the topic of it comes to body hair, with. We wanted to start ness. But most of all, warmth, acceptance, freedom
"WITH SO MANY BEAUTY IT’S SOMETHING
We hardly ever went to museums with my parents, I moved to Rotterdam, I discovered how many cool tance is. I worked in a museum for a couple of projects. I worked a lot with kids and young see yourself represented in museums and cultural a lot about colonial history and how much it social structures. That’s when I knew: I wanted counternarrative. The Last Room was a chance own way and for their own reasons, are dedicated museums and cultural institutions. This lined
I grew up in a white, privileged environment where high school, I saw art and museums as elitist very calming, but because of my poor grades in collaboration and the project encouraged me to dare to celebrate it in its entirety. And, for During the design process I was able to use old to my family. Although I never got to talk about my passion for astrology, storytelling and feminism. better understanding and appreciation of part
". . .MOST OF ALL, WE WANTED TO CREATE A SPACE OF RECOGNITION,
youth initiative in Rotterdam where we immedimusic and pop culture. Later on, our conversaideals, queer identity and dating. Soon after curate The Last Room, we started exploring It turned out that we had a similar mission: relate to, that can hopefully take our comto healing. After a bit of brainstorming, we body hair. With so many beauty ideals when it’s something nearly everyone has to deal start a conversation about it and raise awarewe wanted to create a space of recognition, freedom and joy.
BEAUTY IDEALS WHEN IT COMES TO BODY HAIR,
EVERYONE HAS TO DEAL WITH."
parents, it just didn’t really happen. But when cool places there are, and what their imporof years and was involved in several social people and realized how important it is to cultural institutions. At the same time, I learned still influences how we think today, and our wanted to dig deeper into this and contribute a to do this with others who, each in their dedicated to more inclusive representation in up perfectly with my personal ambition.
where I always felt different. When I was in and out of reach. I did find being creative in art class that dream faded a bit. But this to explore different parts of my identity and for the first time, I could do that organically. old material (photos and magazines) belonging about it with her, one of my relatives shared feminism. I feel that’s helped to give me a of my roots.
WARMTH, ACCEPTANCE, FREEDOM AND JOY."
"IN TERMS OF PERSONAL EXPERIENCES, WE CAME TO A LOT OF REALIZATIONS BY THINKING ABOUT OUR ADOLESCENCE AND ALL THE AWKWARDNESS THAT CAME WITH IT. BY EXPLORING THE HISTORICAL ROOTS OF CAPITALIST AND RACIST STRUCTURES WE GAINED A BETTER UNDERSTANDING OF WHERE BEAUTY IDEALS COME FROM."
WHAT WAS THE MOST DIFFICULT PART OF THE PROCESS?
WHAT KIND OF PEOPLE, ART, MUSIC, EVENTS INSPIRED YOUR WORK IN THE LAST ROOM?
I think the most difficult part was in the beginning had so many different ideas. And it was the first ther of us had done anything like this, so it how big we could think. Then at some point we ‘music box’ that you could step inside, with lights, jections. But in the end, it wasn’t feasible. idea of a zine, but that was also new to both months on the content of the zine. We were lucky Pai as our artistic mentor, who helped us with of the zine. But it didn’t stop there, because imagine how the zine would take shape in the ply place the zine on a table for people to read, bigger? Our mentors Hodan Warsame and Priya Swamy to unleash our creativity. Working with interior Leysner and her team, we arrived at the final really happy with.
"THE
JOURNEY TO SELF-ACCEPTANCE MAY BE DEEPLY
WHAT DO YOU HOPE YOUR AUDIENCES TAKE AWAY FROM YOUR CONTRIBUTION?
During the process of making experiences with beauty participants to think confrontational and healing the exhibition said that table talking about body warmth and empathy and self-acceptance can be and have a longer social
Alok Vaid-Menon was a great inspiration to us. Alok is a writer, artist and activist and they wrote about identity and gender expression in such a clear and loving way. Also, music, especially R&B and Neo-Soul, was our feeling of coming home. That’s why, for our title we picked ‘Sometimes I shave my legs, sometimes I don’t’, from the song Video by India Arie. In terms of personal experiences, we came to a lot of realizations by thinking about our adolescence and all the awkwardness that came with it. By exploring the historical roots of capitalist and racist structures we gained a better understanding of where beauty ideals come from. We described this journey in the zine, looking at how this narrative subtly resurfaces in magazines and advertisements, for instance.
beginning because we first time that eiwas hard to imagine came up with a kind of lights, music and proThen we hit on the of us. We worked for lucky to have Chetana with the creative aspect because the next step was to space. Would we simread, or could we think Swamy encouraged us interior designer Sheryl form, which we’re
SELF-ACCEPTANCE CAN BE (VERY) BUMPY. SOME FEELINGS OF INSECURITY DEEPLY EMBEDDED AND HAVE A LONGER SOCIAL HISTORY."
making the zine, we asked people in our community to share their beauty ideals. We held a zine workshop in which Chetana Pai activated about identity and hair. Feedback from the group said that it was healing that so many people shared similar experiences. Visitors to that the zine sparked conversation, and that they felt more comforbody hair with partners and friends. We hope young people feel the know that it’s okay not to have all the answers. The journey to (very) bumpy. Some feelings of insecurity may be deeply embedded social history.
INTERVIEW
Melissa Chotoe
"MY
CONTRIBUTION TO THE LAST ROOM WAS TO BRING THE EXHIBITION TO LIFE BY ORGANIZING A BIG OPENING."
PLEASE INTRODUCE YOURSELF
Melissa Chotoe
M y name is Melissa Chotoe, I’m 25 years old, born and raised in the most beautiful city in the Netherlands, Amsterdam. I’m currently in my final year of studying Cultural and Social Development at the Amsterdam University of Applied Sciences. Over the years, I also gained valuable experience in the events industry, where I was involved in programming a variety of events.
M y contribution to The Last Room was to bring the exhibition to life by organizing a big opening. I gave young artists a chance to show their talents and brought a diverse group of people together. We celebrated the success of our project with the other curators.
CAN YOU DESCRIBE YOUR CURATORIAL VISION FOR YOUR PART OF THE LAST ROOM IN A FEW SENTENCES?
A s curator for The Last really quite simple: I space where young creative seen. I was able to do the opening of The Last space come alive.
T hese days, museums don’t tion with young creatives. an underrepresentation sectors and limits diversity tation in this industry. important for me to facilitate ration between the museum
WHY WAS PARTICIPATING IN THIS PROJECT IMPORTANT TO YOU/THE WORK YOU DO/ THE LIFE YOU LEAD?
"THESE DAYS, MUSEUMS DON’T HAVE A CONNECTION WITH
OF COLOR IN CREATIVE SECTORS AND LIMITS
Last Room, my vision was wanted to create a creative artists could be this while organizing Last Room, which made the
don’t have a conneccreatives. Which leads to underrepresentation of color in creative diversity and represenindustry. That’s why it was facilitate the collabomuseum and young people.
"AS CURATOR FOR THE LAST ROOM, MY VISION WAS REALLY QUITE SIMPLE: I WANTED TO CREATE A SPACE WHERE YOUNG CREATIVE ARTISTS COULD BE SEEN."
I t was important for me to participate in this project because I saw it as a great opportunity for myself to grow, to challenge my creative self, and to inspire. But, just as importantly, it was a chance to lead the way for creatives like me and the other co-curators who’ll work on projects like this after us.
T hough hair is a universal topic, it’s deeply personal for everyone. Hair is a reflection of identity, religion, and culture.That’s why it was essential for me to make sure that everyone felt represented. I wanted to create a space that projected a clear message of inclusivity and connectedness. With my contribution I aimed to create the unity that’s needed to achieve meaningful change towards inclusivity.
YOUNG CREATIVES. WHICH LEADS TO AN LIMITS DIVERSITY AND REPRESENTATION IN
WHAT WAS THE MOST DIFFICULT PART OF THE PROCESS?
T he most difficult part me was finding the connection of hair. It’s such a broad many meanings. Helping in a theme that’s incredibly very general, isn’t easy.
S elf-reflection, representation, sion were central to the event. I felt it was important all types of art on the ther important factor course, entertaining the
W ith all these elements, challenging to find a to choose between so many artists who could share with the museum and the
EVENTS INSPIRED YOUR WORK IN THE LAST ROOM?
part of the process for connection in the theme broad topic and has so everyone feel at home incredibly personal but easy. representation, and incluthe programming of my important to highlight the theme of hair. Anoof the evening was, of the visitors. elements, it was sometimes common thread, and many talented young share their creativity the audience.
T he experiences and people I’ve had the good fortune to meet over the years are my inspiration for The Last Room. I live and move in an environment where I’m surrounded by creative people with a passion for all forms of art and culture. All these different forms of expression fuel a constant flow of inspiration and new ideas; together with these people we strive to push the boundaries for the next generation. I live in Amsterdam, a city where I get a chance to connect with the most authentic, and creative people. Every day I’m reminded to challenge myself and grow my creativity.
M y personal story was also a major source of inspiration. My hair has always been one of my defining features, my curls were part of my identity. When you’re going to make an exhibition and are in a place where you have to think about the significance of hair and you hear other people’s personal stories, you can’t help thinking about your own story. If the topic of hair is no longer part of my identity, it leaves a void. And in that void, I have to rediscover and figure out what actually makes me who I am.
T his is what inspired my contribution to The Last Room.
"WHAT I HOPE AUDIENCES TAKE AWAY FROM MY CONTRIBUTION IS THAT IT’S ESSENTIAL THAT YOUNG CREATIVES OF COLOR GET THE SPACE AND CHANCE TO GROW AND LEAD WITHIN THE ART AND CULTURE SECTOR."
WHAT DO YOU HOPE AUDIENCES TAKE AWAY FROM YOUR CONTRIBUTION?
W hat I hope audiences take away from my contribution is that it’s essential that young creatives of color get the space and chance to grow and lead within the art and culture sector. I hope they get the opportunity to contribute their unique perspectives and stories to a diverse and inclusive art world where everyone feels represented.
I hope that I, together with the other curators, were able to inspire many people and create awareness around the topic of hair. I hope that The Last Room has left a valuable impact and hope that we opened doors for the next generation of young artists.
I was able to make the opening of The Last Room with people inside and outside my network, and for that I’d like to express my thanks to a few people: Eunice Weerwind, Zinath Niluka, Halil Kaya, Emma Liebrand, Miram Mejhed. Zinah Autar, Jente Diepstraten, Chiara Titahena, DJ Antunes, DJ Stephen, Fugly magazine; Morgane and Braiders, Nuesa and dancers, shaggy, Sabrunnisa Cakmak, Na’seah Bromet, Randy Da-Costa. Also, big thanks to everyone else who helped make it happen!
A nd without Priya Swamy, Hodan Warsame and the Wereldmuseum, this wonderful adventure would not have been possible.
featured artist
Sabrunnisa Cakmak
Ik draag een kroon en het is anders dan die van jou.
Maar het is een kroon.
Ik draag het met trots. Geen twijfel.
Ik wikkel het om mijn haar en voel me veilig en wel.
Mijn hoofddoek is mijn kracht.
Jij noemt het een theedoek, maar het is mijn identiteit.
Een geschenk van de hogere macht.
Teken van schoonheid, bedoeld om mij altijd puur te houden.
Niet met dwang.
Ik bedek uit liefde voor mijzelf.
Mijn geloof is een gedeelte van mij.
Geen ik zonder dit.
Ik ben me bewust van de moeilijkheden die je creëert,
maar ik loop nog steeds met mijn hoofd recht.
Mijn kroon kan ik niet laten vallen.
Ondanks alle haat.
Jij stoort je aan het imago van mijn hoofddoek, maar ik voel me warm van binnen.
Je bent bezig met het creëren van vrijheid, maar je neemt die van mij af.
Dus telt het nog?
Veiligheid is een prioriteit, maar ik voel me niet altijd veilig.
Ik raak geïrriteerd wanneer je me in de ogen kijkt en vraagt waarom ik mijn hoofddoek draag.
“Moest je het dragen van je ouders?”
“Vind je het niet erg?”
Het niet laten zien van mijn haar maakt mij
niet minder mooi,
Noch maakt het me minder vrouw.
Ik bedek mijn hoofd.
Niet mijn hersenen.
Ik bedek mijn oren.
Niet mijn gehoor.
Hoor elk woord uitgesproken met haat, verwoord om het dragen van een hoofddoek onmogelijk te maken.
Je vraagt je af of ik me niet onderdrukt voel, maar de enige dwang die ik meemaak komt van jou.
Wanneer je het onmogelijk maakt om mijn authentieke ik te zijn.
Wanneer je me vraagt om mijn kroon af te doen.
Vraag je dit ook aan de koninklijke familie?
Ondanks alle haat, bescherm ik mijn zuiverheid en beantwoord ik het met prestaties.
Mijn hoofddoek is een teken dat Hoewel de samenleving niet altijd met mij is, ik alles aankan.
Wat ik wil en hoe ik het wil, maak ik mogelijk met mijn hoofddoek gewikkeld om mijn haar. Ik ben geëmancipeerd. Ik draag wat ik wil, hoe ik het wil en waar en wanneer ik het wil. Mijn keuzes.
Mijn trots.
Mijn hoofddoek is mijn kracht.
Halil Kaya INTERVIEW
"IT IS
CAN YOU DESCRIBE YOUR CURATORIAL VISION FOR YOUR PART OF THE LAST ROOM?
"THIS QUEER-FRIENDLY BARBERSHOP WAS CREATED WITH MY INNER CHILD BARBERSHOP WAS A SAFE OR COMFORTABLE
M y name is Halil Kaya (they/them/he/him), and I was born on 17 May 1999, and I worked on The Last Room as co-curator and videomaker. I am engaged with social issues like social and economic inequality, gender, sexuality and decolonialization. As a Social Sciences student one of my key goals is to combine socially relevant knowledge with art. I’m curious about the underlying structures of social phenomena and issues, and try to visualize them through film, photography, and art in general. My goal is to help marginalized groups to contextualize their life experiences within a broader social and historical framework.
A PLACE OF COMMUNITY, LOVE, QUEER SELF-EXPRESSION AND FREEDOM."
M y goal was to develop an art installation that represents an inviting, queer-friendly barbershop. This queer-friendly barbershop was created with my inner child in mind, who didn’t always feel the barbershop was a safe or comfortable space. Unlike the barbershop of my childhood, this is a space where all our different identities can co-exist and connect. It is a place of community, love, queer self-expression and freedom.
T his space also became a tribute to queer-friendly barbershops that offer a safe place for queer BPOC (Black People and People of Color), like the barbershop Kindred Kuts. I also wanted to create this space with queer BPOC creatives who are at the start of their careers. It was important for me to show that people can create something unique and impactful without an abundance of (cultural) resources. This space featured Yasemin Demirözcan’s incredible photo series of the hairstyles of several queer BPOC, Sarah Ben’s handmade tapestry with imagery that disrupts traditional beauty ideals, and a documentary I co-created with Naomi Rijkaard about the only queer-friendly barbershop in Amsterdam called ‘Kindred Kuts’.
CHILD IN MIND, WHO DIDN’T ALWAYS FEEL THE COMFORTABLE SPACE."
"IT WAS IMPORTANT FOR ME TO SHOW THAT PEOPLE CAN CREATE SOMETHING UNIQUE AND IMPACTFUL WITHOUT AN ABUNDANCE OF (CULTURAL) RESOURCES."
WHY WAS PARTICIPATING IN THIS PROJECT IMPORTANT TO YOU/THE WORK YOU DO/THE LIFE YOU LEAD?
T aking part in this project was really important to me. It allowed me to prove, both to myself and those outside my immediate environment, that making, directing and curating art is not exclusive to people with access to a dominant form of cultural capital. As a queer person of color, raised working class with parents of a non-Western immigrant background, I was often told that the creative sector was not for me. Especially because of the financial insecurity some artists may experience and the lack of dominant cultural knowledge.
D espite my interest in videography and creative direction, for a long time I felt powerless and lacked the necessary resources and strength to create anything. But thanks to the support of Hodan and Priya and their faith in me, I had the opportunity to express my creative talent at the museum. This boosted my confidence and proved that even with limited resources, you can create something amazing and unique. This is an important message I want to share with my communities.
WHAT KIND OF PEOPLE, ART, MUSIC, EVENTS INSPIRED YOUR WORK IN THE LAST ROOM?
P eople who are close to queer community, were the tion for my work in The Demirözcan, Naomi Rijkaard, Messaoud, Sheryl Leysner, Zehra Göktas.
'Kindred Kuts', concept Halil Kaya, videography Naomi Rijkaard
WHAT WAS THE MOST DIFFICULT PART OF THE PROCESS?
to me, and the BPOC the biggest inspiraThe Last Room: Yasemin Rijkaard, Sarah Ben
Leysner, Aylin Ocalan,
B alancing the demands of work and study made time management a challenge for me. I have a lot of different interests and sometimes struggle to set realistic goals for projects in terms of time, money, and materials. Luckily, Priya and Hodan gave me a lot of support and mentoring in this area, which really helped. I also found the social aspect difficult at times: networking with people I didn’t know, building relationships with them, and so on. The queer community in the Randstad tends to be quite close-knit, and sometimes I felt like an outsider. So, at times it was a little intimidating to meet new, creative, and beautiful queer people.
"THAT QUEER BPOC ARTISTS AND CREATIVES CAN THRIVE IN THEIR CAREERS, WHETHER OR NOT THEY’VE GRADUATED FROM ART SCHOOL"
WHAT DO YOU HOPE YOUR AUDIENCES TAKE AWAY FROM YOUR CONTRIBUTION?
T hat marginalized groups, like the queer BPOC community, deserve to have their hair cared for in a safe and welcoming space
T hat ‘queer’ means different things to different people, and goes beyond the Western perspective on queerness
T hat this space fostered the queer BPOC audience’s sense of belonging within the wider queer community
E mpowerment (for queer BPOC)
T hat queer BPOC artists and creatives can thrive in their careers, whether or not they’ve graduated from art school
A n understanding of and recognition for safe spaces that are specifically created for marginalized groups
Sarah Ben Messaoud featured artists
Yasemin Demirözcan
INTERVIEW
CAME UP STANDARDS AND PLEASE INTRODUCE YOURSELF WHY WAS PARTICIPATING IMPORTANT TO
CAN YOU DESCRIBE FOR YOUR PART
"WHO
Emma Liebrand
M y name is Emma Liebrand, born in Doentinchem and studied Cultural Social Education in Amsterdam. This degree has changed my personal and professional life. It gave shape to my drive for justice and gave me tools and theory to work as a social worker. My contribution to the Last Room was a composition image depicting current stories of oppression of identity. I collaborated with three young people, who shared their own stories as well about how they grew up with the themes connected to Hair Power.
DESCRIBE YOUR CURATORIAL VISION PART OF THE LAST ROOM IN A FEW SENTENCES?
UP WITH THESE BEAUTY AND WHAT ARE THEY FOR?"
M y photo project explores four storylines. Each one looks at the complexity and impact of growing up with the dominant beauty ideals about hair. Here, I wanted to show how things can be different, how we can break free from colonial thinking rooted in a capitalist system. An ideal can be harmful if you don’t fit the stereotype. Ask yourself why you want or need to comply with these beauty ideals. Who came up with these beauty standards and what are they for? In the audio clips, you can listen to three young people who share their stories about the oppressive beauty ideals related to hair.
PARTICIPATING IN THIS PROJECT TO YOU/THE WORK YOU DO/THE LIFE YOU LEAD?
Liebrand
A s a youth worker, this project gave me the chance to educate young people and give them a platform at the Wereldmuseum. A child’s ideas about the world are formed by their surroundings and experiences. Since their brain is still developing, that makes them vulnerable during this stage. Children, just like adults, need reflection and moments of healing to feel safe. Art and culture offer a way to reflect and heal. That’s why this project resonates with me both personally and professionally, as a youth worker.
WHAT WAS THE MOST DIFFICULT PART OF THE PROCESS?
W e were mentored by Hodan and Priya, which made smoothly for me. They created a safe work environment lowed us to work almost effortlessly. They guided in a decolonial way as well. It was a unique I’m thankful for.
"TO EXIST IS TO HOLD SPACE FOR ALL OF US."
WHAT DO YOU
WHAT KINDS OF PEOPLE, ART, MUSIC, EVENTS INSPIRED YOUR WORK IN THE LAST ROOM? made the process go environment that alguided the process experience that HOPE AUDIENCES TAKE AWAY FROM YOUR CONTRIBUTION?
A lok Vaid-Menon. I discovered a lot of books through their Instagram. I began learning about decolonization. That’s the process of divesting from colonial power structures. Those power structures are everywhere. In my artwork, I visualize a journey through these power structures. I invite you to start a dialogue about it and share your knowledge with others.
"AS A YOUTH WORKER, THIS PROJECT GAVE ME THE CHANCE TO EDUCATE YOUNG PEOPLE AND GIVE THEM A PLATFORM AT THE WERELDMUSEUM."
E mbrace yourself. Reject conventional notions of beauty. This will help people be more forgiving of their own vulnerabilities, and more empathetic towards others. To exist is to hold space for all of us.
INTERVIEW
"I WANTED PEOPLE TO CONNECT THEM HAVING
Miryam Mejhed
"AS IF
CONNECT IN THEIR EXPERIENCE AND MAKE IT VERY INTIMATE WITHOUT TO BE IN THE SAME ROOM AT THE SAME TIME."
PLEASE INTRODUCE YOURSELF
CAN YOU DESCRIBE YOUR CURATORIAL VISION FOR YOUR PART OF THE LAST ROOM IN A FEW SENTENCES?
My name is Miryam. I am 28 years old. I am an activist and a teacher in training for Social Studies and Citizenship Education.
My vision for my part of The Last Room was that I wanted to create an interactive experience that wasn’t your standard “leave a note” review. I wanted people to connect in their experience and make it very intimate without them having to be in the same room at the same time.
WHY WAS PARTICIPATING IN THIS PROJECT IMPORTANT TO YOU/THE WORK YOU DO/ THE LIFE YOU LEAD?
I’ve always loved museums, ever since I was a little kid, but I never felt represented. As if I was a guest in this world that wasn’t made for me. So, when I got the chance to be part of a project that made the museum a place for people like me by people like me, I had to take it.
I WAS A GUEST IN THIS WORLD THAT WASN’T MADE FOR ME."
WHAT KINDS OF PEOPLE, ART, MUSIC, EVENTS INSPIRED YOUR WORK IN THE LAST ROOM?
I was inspired by so many different people and places, from my Surinamese hairdresser who did my hair as a kid, to the museum of sex work and the interactivity there, but I was most inspired by my fellow co-curators and the amazing people we got to work with. It was very healing and nurturing for me to be surrounded by so many creative, talented people.
WHAT WAS THE MOST DIFFICULT PART OF THE PROCESS?
Finding my concept took the longest and was pretty difficult. I got really stuck on wanting a creative, interactive concept but the question mostly was how. It hit me when we visited the space for the first time and after that everything came together very organically and smoothly.
"I HOPE OUR AUDIENCE TAKES AWAY THAT SHARING OUR HAIR EXPERIENCES BE VERY HEALING AND CAN ALSO HELP US TO SEE WHAT NEEDS TO OUR SOCIETY."
WHAT DO YOU HOPE AUDIENCES TAKE AWAY FROM YOUR CONTRIBUTION?
I hope our audience takes away that sharing our hair experiences can be very healing and can also help us to see what needs to change in our society. Because by speaking out about the challenges we face, someone facing those same issues might hear us and together we can find a way to ease those challenges for the next person.
EXPERIENCES CAN CHANGE IN
"THEY
SHARE RELATION SHOWING
Zinath Niluka
Previous page ‘Adoption’, concept by Zinath Niluka, videography Naomi Rijkaard. Stills from ‘Adoption’ on pages 57 to 60.
PLEASE INTRODUCE YOURSELF
My name is Zinath Niluka Zeenat Koornwinder, also known as Zinath Niluka. I am a cis woman of color with both an Indian and Dutch identity and I was adopted. During the making process of the exhibition Ha!r Power, I was still studying Cultural and Social Development at the Amsterdam University of Applied Sciences. Now, 2 years later, I’ve graduated and am working as a social cultural worker.
SHARE THEIR EXPERIENCES ABOUT THEIR HAIR AND IDENTITIES IN RELATION TO BEING ADOPTED AND TALK ABOUT WHAT IT MEANS TO THEM. THESE STORIES HELPS TO BRING VISIBILITY TO THE COMPLICATED ISSUES SURROUNDING ADOPTION."
WHAT DID YOU MAKE?
Zinath
For The Last Room, I made a short video featuring a diverse group of adoptees of color. They share their experiences about their hair and identities in relation to being adopted and talk about what it means to them. Showing these stories helps to bring visibility to the complicated issues surrounding adoption.
Together with my co-curators of color, we made The Last Room a success.
CAN YOU DESCRIBE YOUR CURATORIAL VISION FOR YOUR PART OF THE LAST ROOM IN A FEW SENTENCES?
The exhibition Ha!r Power presents cultural and aspects of hair. My video is part of that. As woman of color I never thought that I or my work play in a museum. And because I was given this other adoptees of color to have it too. I wanted on how adoption is perceived. We, adoptees of space to tell our story, our perspective. This white Western view of adoption. I wanted to give to be seen and heard. I did this by making a adoptees of color. I asked them to share their their own words, in a voice-over.
Adopted people of color are given almost no space and critically about our experiences. We’re always grateful for growing up here. There’s a taboo tion. Because of this, adopted people of color That’s why making this video was so important seen and heard in a powerful and authentic way.
"ADOPTED PEOPLE OF COLOR ARE GIVEN ALMOST NO SPACE TO SPEAK HONESTLY AND CRITICALLY ABOUT OUR EXPERIENCES. WE’RE ALWAYS EXPECTED TO BE GRATEFUL FOR GROWING UP HERE."
"THAT’S WHY IT WAS IMPORTANT FOR ME TO PROVIDE THE OTHER ADOPTEES
THE FORM OF A FOLLOW-UP INTERVIEW, IN COLLABORATION WITH ADOPTION
and decolonized a young, adopted work would be on disthis chance, I wanted wanted to focus attention color, don’t get much This just reinforces the give adoptees a space video with and about their experiences, in space to speak honestly always expected to be surrounding adopcolor feel a lot of shame. to me, so we can be way.
WHY WAS PARTICIPATING IN THIS PROJECT IMPORTANT TO YOU/THE WORK YOU DO/ THE LIFE YOU LEAD?
ADOPTEES WITH AFTERCARE IN ADOPTION COACH MARGUERITE."
For me it’s about fighting inequality. A lot of people, like me, are categorized from an early age. These categories stifle my development and growth. So, the fact that two people in particular, Priya Swamy and Hodan Warsame, believed in me and voiced their belief, was an extraordinary experience for me. They created space in power structures for me and my co-curators. That’s brave. It inspired me to create a platform for other adoptees of color. Community building was very important to me.
This opportunity boosted my creative ability, personal growth, and self-knowledge. I was able to experience what it’s like to see things through the eyes of a curator. That’s why it was important for me to provide the other adoptees with aftercare in the form of a follow-up interview, in collaboration with adoption coach Marguerite.
WHAT KINDS OF PEOPLE, ART, MUSIC, EVENTS INSPIRED YOUR WORK IN THE LAST ROOM?
For me, the beginning of the creative process ted. I had to think long and hard about my own theme of hair. Hair, something I always wear/experience times something beautiful and sometimes something I had to really shut myself off and turn inward riences felt good and which ones hurt? Being to reflect and share hair stories.
My video was inspired by my neighborhood. I live of Amsterdam, the Bijlmer. The streets are full from music to art. Then there are the buildings, places. And I know a lot of creative, beautiful had inspiring conversations with, and shared
WHAT WAS THE MOST DIFFICULT PART OF THE PROCESS?
WHAT DO YOU HOPE AUDIENCES TAKE AWAY FROM YOUR CONTRIBUTION?
"BECAUSE I OFTEN GET ASKED ABOUT IT, I HAD A STANDARD ANSWER AT THE READY. BUT NOW I ALSO STARTED TO DISCOVER NEW SIDES OF ADOPTION WHICH TRIGGERED A LOT OF THINGS I COULDN’T PUT INTO WORDS."
My video is about adoptees hard for me to identify mixed up, and then didn’t
I also noticed that the with the subject of adoption. at the ready. But now lot of things I couldn’t
"AND THAT PEOPLE OF ALONE. THAT PEOPLE WHO ON BOARD, AND PEOPLE
Awareness. Respect. That the theme through my video. tion differently. And they’re not alone. That this message on board,
Everyone knows someone important to acknowledge
With this video I actually children, and the general
was quite complicaown relationship to the wear/experience as somesomething I’m ashamed of. inward first. Which expevulnerable allowed me live in a creative part full of life, everything buildings, people, vibes, and beautiful people that I’ve knowledge with.
adoptees of color. I belong to that community myself. Sometimes it was identify both the needs of the target group, and my own. They often got didn’t really fit.
the topic came a little too close for comfort. I thought I was okay adoption. Because I often get asked about it, I had a standard answer I also started to discover new sides of adoption which triggered a couldn’t put into words.
COLOR WHO ARE ADOPTED AND WHO ARE STRUGGLING, KNOW THEY’RE NOT WHO WANT TO ADOPT CHILDREN FROM ANOTHER CULTURE TAKE THIS MESSAGE PEOPLE ARE AWARE OF THE DARK SIDE OF INTERCOUNTRY ADOPTION."
That is the bare minimum for me. I hope I can raise awareness of video. I hope that after they’ve seen the video, people see adopthat people of color who are adopted and who are struggling, know That people who want to adopt children from another culture take and people are aware of the dark side of intercountry adoption.
who is adopted and although it isn’t talked about very much, it’s acknowledge adoption, and have conversations about it.
actually want to reach everyone – adoptees, people wanting to adopt general public.
INTERVIEW Eunice Weerwind
"MY VISION YOU COULD
PLEASE INTRODUCE YOURSELF My name is Eunice. I am a creative and a student. I study Cultural Social Education. I also DJ.
YOU DESCRIBE YOUR CURATORIAL FOR YOUR PART OF THE LAST ROOM IN A FEW SENTENCES?
My vision for the space was to create a reading corner where you could be inspired and also empowered by audio narratives and stories from participants about Black hair. I also wanted to create a space where Black creatives had an opportunity to show their artwork and love and appreciation of Black hair. The main point was to focus on children and parents and design an inviting space where they could relax together and discover and be inspired by books about Black children and Black hair.
VISION FOR THE SPACE WAS TO CREATE A READING CORNER WHERE COULD BE INSPIRED AND ALSO EMPOWERED BY AUDIO NARRATIVES AND STORIES FROM PARTICIPANTS
ABOUT BLACK HAIR."
WAS PARTICIPATING IN THIS IMPORTANT TO YOU/THE WORK YOU DO/THE LIFE YOU LEAD?
Eunice Weerwind
I’ve always enjoyed having conversations with others and sharing perspectives with one another in a creative way. I also saw this as a great opportunity and challenge to explore my creative freedom. Although I don’t really have an art background, I loved having the chance to share my vision. I hope more creatives get a chance to create their own fun, interactive projects outside of this exhibition. This would draw in more young people and make the museum feel more inviting to them. Collaborating with young creatives on projects automatically makes the museum more appealing to a younger audience.
"IT WAS AMAZING TO SEE SO MANY CHILDREN AND THEIR PARENTS COMING TO HEAR AND ENJOY THE STORIES THAT SHAMMAH AND FOLASHADE READ."
WHAT KINDS OF PEOPLE, ART, MUSIC, EVENTS INSPIRED YOUR WORK IN THE LAST ROOM? My family, but especially hair is. Hodan helped zing to see so many children that Shammah and Folashade a fantastic reading afternoon, made the experience extra such amazing spaces and The speakers Mila, Kwame, create a place full of the bold, colorful styles
WHAT WAS THE MOST DIFFICULT PART OF THE PROCESS?
WHAT DO YOU HOPE A UDIENCES TAKE AWAY FROM YOUR CONTRIBUTION?
Creating a stylish design with an inviting area to relax, where people could enjoy the space with Black art and books on Black hair. In addition, creating a space specifically for the Black community, which was also accessible and enjoyable for everyone. Targeting a specific audience can be tricky, but I’m really pleased with how I executed it.
To create even more wonderful, powerful stories, and to give more young creatives a chance to make a small exhibition or project at the Wereldmuseum. There are so many amazing stories and works of art that deserve to be shown, no matter how big or small you are. And I think that more collaborations with young creatives will automatically bring in even more young visitors to the museum.
"...CREATING A SPACE SPECIFICALLY FOR THE BLACK COMMUNITY, WHICH WAS ALSO ACCESSIBLE AND ENJOYABLE FOR EVERYONE."
especially my nieces, so I could show them how beautiful natural Black me to organize a reading afternoon about Black hair. It was amachildren and their parents coming to hear and enjoy the stories Folashade read. A big shout-out to the two of them for giving us such afternoon, and to Paint and Sip NL for their incredible designs that extra special. It made me see how important it is to keep creating and to inspire the kids with how powerful and beautiful they are.
Kwame, Folashade, and the artists Arnetia and Tamara inspired me to energy and color. My inspiration for the design came mostly from styles of the 1970s.
featured artists
Arnetia Abbigail
My energetic hair
Tamara Vierbergen
Tamara Vierbergen
Beaded Rituals
Kwame Banfour
Untangle My Hair
colophon
Last Room Publication
Last Room co-curators
Zinah Autar
Melissa Chotoe
Jente Diepstraten
Halil Kaya
Emma Liebrand
Miryam Mejhed
Zinath Niluka
Eunice Weerwind
Editors
Hodan Warsame and Priya Swamy
Graphic design
Merel Meijer - Double M
Translation and copy edit
Lisa HoldenHolden Translations
Video
‘Meet the co-curators of the Last Room’: Naomi Rijkaard
‘Adoption’: concept
Zinath Niluka, videography Naomi Rijkaard
‘Kindred Kuts’: concept
Halil Kaya, videography
Naomi Rijkaard
Aftermovie Opening: Randy Da-costa
Photography
Mark Uyl: 4
Sean Hitchens: 22-25,28
Tengbeh Kamara: 8,13,21, 33,43,46,49,55,63
Today’s Brew: 11,31, 37,41,45,47,51,61
Miryam Mehjed: 52 personal collection
Zine “Sometimes I shave my legs, sometimes I don’t”: 15-18
Last Room Exhibition Space
Concept
Zinah Autar
Melissa Chotoe
Jente Diepstraten
Halil Kaya
Emma Liebrand
Miryam Mejhed
Zinath Niluka
Eunice Weerwind
Exhibition design
Sheryl Leysner Interior
Architecture & Project Management
Mentoring and project development
Hodan Warsame and Priya Swamy
Project support
Jovanka Gögös and Sèna Sidibe
Exhibition Technician
Jeroen van Doorne
Installation and Building management
André Kars
Co-organizer & mentor
opening Last Room
Chiara Titahena
Graphic design and DTP
Helmi Scheepers
Serana Angelista
Light design
Ruwe Bolster Licht armaturen
Edwin van Helden
AV & multimedia
Rnul Interactive
Vinny Tailor
Building & installation
Arthur van der
Heide Schilderwerk
Atelier Van Zijderveld
Geert Schuurmans Decorbouw
Hans Borggreven Laswerk
Maison & Company
Sabine Te Vrede
Textiles & More
Featured artists
Arnetia Abbigail
Kwame Banfour
Sarah Ben Messaoud
Sabrunnisa Cakmak
Yasemin Demirözcan
Tamara Vierbergen
Videography for “Adoption” and “Kindred Kuts”
Naomi Rijkaard
Artistic mentoring zine and collage
Chetana Pai
Music
ALL1NE
Carlotta Buyst (co-producer)
Denzio Ceder - Lesha Bans
Production
Jamairo Pique - JDMP
Production
P keyz
Collaborators and participants
With Melissa
Morgane Bakehe, Sèna Sidibe & Fugly Magazine
DollDynasty
Neusa Gomes
Jair Umarella & Silent Rave
Juma
Dj Antunes
Dj Stephen
Shaggy
Na’seah Bromet
With Halil
April
Gray & Kindred Kuts
Jay Reeberg
Kani Daban
Luca Nisi
Milena Silva Lopes
Naya Aljoudi
Savannah Wolin
Sharmila Vooren
Star
Zehra Goktas
With Zinath
Dalila Helfrich
David Esteban
Jarra Getachew Marrevee
Nasreen de Jonge
Sanja Elderhorst
Savannah Wolin
Zenebe Getachew Marreve
With Zinah and Jente
Annefleur Bakelaar
Mathieu Wijdeven
With Emma Ash
Maya Verean
With Eunice
Folashade Keerveld
Kwame Banfour
Mila Defares
Stichting Wereldmuseum has made every effort to trace the copyright holders of all audio and visuals. If you are a copyright holder and have not been contacted, please get in touch with us.
We thank the people named here and many others who have not been named, but without whom the project would not be possible; the friends, family and co-conspirators who supported all of us to produce this collaborative work and those who have done this work before and have made it possible for us to continue doing it.
The Last Room was an initiative of the Research Center for Material Culture at Wereldmuseum Rotterdam.
