The challenges of Afro art seen from the museum

The executive director of the Panama Canal Museum, Ana Elizabeth González, assures that they are working on a “more diverse, more open and more polyphonic” museum.

At a global level there is an increase in efforts to recognize, promote and preserve cultural diversity in art, including Afro-Caribbean and Latin American expressions.

This is witnessed by the current executive director of the Panama Canal Museum, Ana Elizabeth González, who attributes this phenomenon to “different movements of inclusion and diversity, which advocate for the diverse representation of previously invisible voices, in addition to spaces that advocate for decolonization and increasing awareness of cultural diversity.”

”It is important to note that, despite these advances, there are still many challenges and areas where work needs to continue to achieve more equitable representation and greater visibility for all artistic expressions,” says González, who was recently invited to the fair. of art PRIZM 2023 (Miami, United States) to be exhibited in a panel titled “Afro-Caribbean and Latin American art: the challenges of being recognized”

In an interview for this medium, González highlights the importance of cultural activism, since it can challenge dismantling deep-rooted stereotypes and prejudices associated with Caribbean and Latin American art.

“By challenging misperceptions, space is created for a more authentic and complete appreciation of these artistic expressions. Additionally, cultural activism advocates for inclusion and diversity in the artistic and cultural field, promoting the equitable representation of all communities,” says González.

In the Panamanian context, what are the challenges that Afro-Caribbean and Latin American art faces in terms of recognition and appreciation by the public?

It is often faced with deep-rooted stereotypes and prejudices that can affect public perception, derived from misconceptions or cultural simplifications that limit the understanding and appreciation of the richness and diversity of these expressions, valuing what is foreign and Western above our own expression. culture and identity. Furthermore, the lack of representation in cultural institutions and the absence of a significant presence in these spaces and in the media can make it difficult for artists to access opportunities and resources.

Limited access to resources for the production, promotion and exhibition of artistic work, and the limitations and lack of specialization in artistic education are just some of the challenges that Panamanian society must face together, including cultural, educational institutions, media. of communication and the artistic community in general.

In terms of museums and cultural spaces, what are the most significant obstacles to the inclusion and adequate representation of Afro-Caribbean and Latin American art in cultural institutions?

In our museums and cultural spaces we have biased historical collections, which reflect cultural, racial and ethnic discriminations that have permeated from the past to the present, which leads to a lack of representation in the history that we capture and consume as an audience.

Even the reluctance of certain institutions to address sensitive issues related to racism and discrimination that has permeated our society to this day results in an evasion of adequate representation in our spaces.

In your experience, how does Afro-Caribbean and Latin American art influence the cultural identity of Panama?

Afro-Caribbean and Latin American art plays a fundamental role in the construction of Panama's cultural identity, contributing to the richness and diversity of the country's cultural heritage. It serves as a means to express the history, traditions and vitality of the communities, enriching the understanding of Panamanian identity as a whole. Through Giana de Dier's artistic residency, for example, the Canal Museum was able to make visible the role of Afro-Antillean women in the Canal Zone in a space where they were previously only shown as instruments of work.

What are the predominant narratives that the Panama Canal Museum seeks to convey through Afro-Caribbean and Latin American art, and how do they contribute to the understanding of the history of the country and the region?