Confronting Colonial Pasts, Envisioning Creative Futures

Project Online Archive

The Museums Association of Namibia (MAN) collaborated with the National Museum of Namibia (NMN) and the University of Namibia (UNAM) on the Confronting Colonial Pasts, Envisioning Creative Futures (CCP, ECF) project, which started in 2019. The Gerda Henkel Foundation funds the multifaceted project.

This collaborative project sought to unlock the healing and creative potential of the colonial collections from Namibia held at the Ethnographic Museum in Berlin (EM), Germany, and the Ethnographic Collection at the NMN. It reconnects the collections with each other and with their communities, researchers, and artists in Namibia.

Based on collaborative provenance research between Namibian and German scholars, cultural belongings and cultural assets from the EM were returned to Namibia in May 2022 and put into dialogue with the NMN's historical collections. This formed the basis for training sessions in provenance research, conservation, documentation, digitisation, and curation.

As part of the project, staff of the NMN and MAN, scholars and students from UNAM facilitated workshops and engagements with heritage experts and researchers, community representatives, and artists to engage with the NMN collections and conduct fieldwork with digitised collections in heritage communities throughout the country.

The project aimed to reactivate knowledge about cultural belongings and cultural assets, to document immaterial cultural heritage, and to provide a vital source of inspiration for artists and designers. The knowledge thus created, including oral histories and artworks, will be shared with the wider public in an online database, a publication, and in this museum, as well as in an exhibition at the National Art Gallery of Namibia in Windhoek in the second phase of the project.

By reconnecting stakeholders in Namibia with colonial collections from Berlin and Windhoek, the project sought to engage with colonial trauma, spur new cultural production, and envision decolonial, creative futures. With this online archive, you can read more, watch videos, and access the different press releases about the project and its different activities.

Terminology

The museum space is complex, and this project catalyses the Namibian sector’s conversation around terminology. Since the project started in 2019, there has been much debate in Namibia about the most dignified and accurate manner to refer to the “collections” from Namibian communities in museums in Namibia and countries other than Namibia, including Germany.

This conversation was fuelled by different aspects, such as post-colonial theory, decolonial theory, and Afrocentrism, especially considering the method and period of acquisition of these “collections.” Where historically, terms such as “artefacts” and “objects” were used, the conversation has shifted between those “artefacts and objects” in Namibian museums in comparison to those in European museums, including those that have since returned to Namibia. The questions we have been left with are “Do we call them artefacts?” “Do we call them cultural belongings or assets, or do we still refer to them as 'artefacts and objects,' which many now argue diminishes their value, origins, and significance?

While some museums have meticulous records that detail the acquisition source and method and can easily pull up a record of whether this pair of shoes is a museum object purchased in a market or commissioned for a Namibian museum and independent Namibia or whether the blood-stained sihoho (headdress) in question was submitted to a European museum by a soldier who had acquired it in a raid, most cultural belongings have little to no information.

Therefore, taking into consideration all of these arguments, this archive uses cultural belongings and cultural assets throughout as a way to ensure that not only are we paying homage to those we have information about, but also keeping space for those for whom no information exists. Those that may have a history that we can trace, even if only partially, and those with a long, complicated history that we do not know and will possibly never know.

Press Releases

Publications (Open Access)

23 Cultural Assets/Cultural Belongings Return to Namibia

The selection of Cultural Belongings and Cultural Assets to be returned to Namibia from the Ethnographic Museum in Berlin followed a comprehensive, multi-stage process involving diverse voices from a wide range of Namibian contributors, including museum staff, heritage experts, curators, academics, and government representatives.

The Selection Criteria

Cultural Belongings and Assets had to be in suitable conservation condition, which would allow them to remain intact as they travelled to Namibia.
Priority was given to rare or no longer circulating Cultural Belongings and Assets.
Preference was given to Cultural Belongings and Assets with well-documented provenance or cultural stories.
Where duplicates existed, visual quality and craftsmanship were considered.
Contributions to research on Namibia’s material history and heritage were prioritised.
If possible, at least one Cultural Belonging or Asset should be selected to demonstrate the significance of the return of Cultural Belongings and Assets collected within the context of the Ovaherero and Nama Genocide.
With the development of the Museum of Namibian Fashion in mind, a strong focus was placed on clothing, accessories, and the cultural experience of children.
The final selection should reflect Namibia’s broad cultural diversity.

The Selection Process

Firstly, a Namibian research team conducted an in-person examination of the Berlin collection, which contains over 1,400 Cultural Belongings and Assets from Namibia. Due to the importance of the process, it was necessary to spend sufficient time with each Cultural Belonging or Asset. This resulted in only 8–20 Cultural Belongings and Assets being inspected per weekly session. This review produced an initial shortlist of 150 Cultural Belongings and Assets.

This shortlist was further refined to 76 Cultural Belongings and Assets based on their relevance, significance, and condition. A workshop held on 19th August 2019 at the National Museum of Namibia, involving the Project Advisory Board, was tasked with selecting 20 Cultural Belongings and Assets. Voting resulted in a preliminary list of 23. The team also compared the Cultural Belongings and Assets under review with the existing collection in the National Museum of Namibia was essential to avoid duplication.

Finally, a partner’s meeting on 10th January 2020 reviewed all input and refined the list, keeping 11 of the original 23 Cultural Belongings and Assets and suggesting an alternative shortlist of 17. This was followed by a final decisive meeting held on the 20th January 2020, at the National Museum of Namibia, with members of the CCP, ECF Project Advisory Board and a final selection of 23 Cultural Belongings and Assets was agreed.

The Exhibition in Berlin

Following the research process with the collections from Namibia at the Ethnologisches Museum, the Namibian-German team curated an exhibition on their collaboration, shown at the Humboldt Forum in Berlin. Rather than the traditional display of cultural belongings and cultural assets, the exhibition focuses on people's relationships with cultural belongings and assets and emphasises the plurality of knowledge that enabled the research.

It features two artworks created for the project: a film on the research process and the ongoing effects of German colonial history in Namibia, and an installation by Namibian fashion designer, the late Cynthia Schimming. Her artwork transforms research into a multilayered reflection on colonialism’s impact on women's bodies and land.

The exhibition serves as a pilot for rethinking museum formats, shifting from “object”-centred displays and authoritative labels to processual, open spaces that bring diverse voices and perspectives into dialogue to envision creative futures.

Our 23

Where Are They Now?

The question we receive more often than not is: Where are our 23 now, and are they accessible to the Namibian public? They are currently housed at the National Museum of Namibia, within the Anthropology Collection, and are open to the public.

The collection is located in Windhoek, Namibia, and apart from the visual gallery above, you’re welcome to visit in person and view them any time during opening hours.

The Documentary

Launched on Friday, the 27th of June 2025.

UNAM Scholarships

Tapping into the Confronting Colonial Pasts' aim of the project, in phase 1, through multiple capacity-building programs tailored specifically for Namibian museums, over 30 museum professionals acquired the expertise needed to document and conserve their valuable collections. For the National Museum of Namibia, where the 23 cultural belongings reside, the project facilitated the employment of a conservator and two documentalists. Renovations and the purchase of equipment and storage, which facilitated the documentation and digitisation of the national collection. On the academic front, the first phase of the project facilitated three postgraduate research internships, two scholarships for a Master of Arts in Material Culture, and one Postgraduate Diploma in Heritage Conservation and Management at the University of Namibia.

Building on these achievements, the project evolved into its second phase from July 2022 until June 2025, leaning further into the Envisioning Creative Futures aspects of the project. Capacity-building initiatives expanded even further, employing another conservator, two research interns, and two research assistants and providing six scholarships for a Postgraduate Diploma in Heritage Conservation and Management at the University of Namibia.

Master of Arts in Material Culture

Ndamian Hangula – Omwele Gwoshipika: Restitution and cultural symbolism of a ceremonial knife of Aawambo kings.
Albertina Muruti – Ekori headdress of the Ovaherero: Material culture as archival record and symbol of identity.

Postgraduate Diploma in Heritage Conservation and Management

Naem Nakapandi – Cultural significance and craftsmanship of dolls in the Ondonga community.
Serak Shidhudhu – Namibia’s preparedness to preserve and conserve repatriated cultural materials.
Julius Shangeipo Johannes – Effectiveness of teaching the Herero and Nama genocide through the Independence Memorial Museum.
Evangeline Nghifikwa – Cultural significance and preservation of Eelongo, a triple cup returned from Berlin.
Mercia Kamburona – More than a Necklace: Documenting the Intangible Cultural Heritage of Ombongora amongst the Ovahimba.
Eustasius Mushongo – Current Issues in the Restitution of Cultural Belongings and Human Remains from Germany to Namibia: The Case Study of the CCP-ECF Project.

The Museum of Namibian Fashion

Museums are the custodians of our cultural heritage. For the Museum of Namibian Fashion, MAN believes that it is important to preserve the artefacts in this museum because their meaning and design can and will inspire young Namibians working in the creative industries.

It is for this reason that MAN held a stakeholders’ workshop to discuss the concept of establishing a Museum of Namibian Fashion. The idea is that the museum will provide an opportunity for visitors to view historical items of clothing and accessories, as well as contemporary designs inspired by Namibia’s rich history and cultural diversity. The workshop produced some lively discussions about the definition of Namibian Fashion, which will be important to determine the scope of the museum. Participants also urged collaboration with archaeologists and rock art specialists so that the pre-photography history of Namibian clothing can be included in the museum.

A competition was also launched to design a logo for the Museum of Namibian Fashion. The successful designer won a stay at a Lodge sponsored by the Gondwana Collection and a Safari Sweater and Card Holder sponsored by Couture by Kim.

Another workshop held by MAN in the process of the development of the Museum of Namibian Fashion was the Mudwaro workshop, which invited Namibian fashion designers, seamstresses and tailors making clothes and accessories to participate. The workshop gave individuals working in the industry the opportunity to interact with historical artefacts. The workshop aimed to inspire young Namibian creatives to draw on our cultural roots to develop products that can be worn and will have a uniquely Namibian identity. After the workshop, participants were invited to submit ideas for making an item or accessory. Several participants were commissioned to produce products for show and sale in the Museum of Namibian Fashion.

The Museum of Namibian Fashion showcases past, present and future fashion artefacts from Namibia. The Museum has and intends to continue creating more workshops, residencies and other activities that will benefit fashion designers and seamstresses in terms of training and income-generating opportunities.

The Virtual Museum of Namibian Fashion

MAN believes that museums should be living organisms that should be updated regularly and be able to easily adapt to change. Museums have realised that the COVID-19 pandemic requires museums to adapt and to do things differently. As a result, the idea of a Virtual Museum of Fashion was born, and with funding from the United Nations Educational, Scientific and Cultural Organisation (UNESCO), the development, launch and establishment of the virtual museum was successful.

The website enables visitors to view items, but also to interact with them by adding comments as well as submitting photographs for possible display in the virtual museum. Ndapewoshali Ndahafa Ilunga from MAN said, “We believe that in these times of the COVID-19 pandemic, we have to do things differently. A virtual museum of fashion could create an interactive educational space where we can also showcase Namibian culture to both local and international audiences”.

2024 Update and Fashion Show

The Museum of Namibian Fashion recently collaborated with the Directorate of Education, Arts, and Culture in the Otjozondjupa region to review the Museum of Namibian Fashion’s exhibition. Heads of departments, teachers, and community leaders were invited to review the exhibition and evaluate the translations from English to various community languages. This process took place between April and November 2023. Participants were encouraged to assess the exhibition collection and suggest additions. Godfried ǂKhariseb from the Hai //Om community reviewed the exhibition and proposed several changes. He recommended correcting the names of various galleries, including Reception, Craftshop, Beads and Shell, Metal Work, Hair and Headdress, Tattoo and Body Scarification, People’s Gallery, and Deep Roots/New Fashion Gallery.

Additionally, he suggested adding tortoise shells, highlighting their significance as accessories and storage in various Namibian communities. Cilsa Rukuro, a teacher from Karundu Junior Secondary School in Otjiwarongo, also participated in the Mudwaro Workshop, which focused on translating the Otjiherero sections of the exhibition. She recommended renaming the Beads and Shells, Hair and Headdress, and Leather and Skin galleries. Additionally, she suggested translating the dress from the Ovaherero communities into Otjiherero.

From the Damara community, Welfriedtine Naobes and Jullenou Garises Kampanga proposed changing the names of the Beads and Shells, Plants, Bones and Rocks, and Textiles sections. They also suggested adding the Otjiwarongo Damara dress and Damara cosmetics to the exhibition. Moreover, Beau-Ann Ferris, representing the Baster community, contributed insights about Baster attire and the symbolism behind the clothing’s red, white, and black colours. In addition to these community contributions, the Museum of Namibian Fashion’s Advisory Board held two Zoom meetings on January 30, 2024, and July 9, 2024, to review the exhibition updates and provide further input to ensure that the exhibitions are updated adequately.

On Tuesday, the 22nd of October 202,4 at around 15h00, the Deputy Mayor of Otjiwarongo, Honourable Julienda Kampungu, warmly welcomed 122 attendees to the Opening of New Exhibitions at the Museum of Namibian Fashion in Otjiwarongo. The launch was followed by the 34th Annual General Meeting (AGM) at the same venue. Click here to download and read the full report.

Although the exhibitions have been updated in 2024, we believe that a Namibian Museum should be organic and regularly updated. Therefore, we encourage all visitors to provide us with feedback, corrections and recommendations once they have viewed the exhibitions. This is your museum. We look forward to hearing from you.

The Mobile Exhibition

MAN Website Post cover 8000 x 2708 px

This mobile exhibition is a snapshot into the galleries in the Museum of Namibian Fashion and therefore, only shows a little of what the Museum of Namibian Fashion has to offer. For the full experience and access to the full interactive, multimedia galleries and displays, visit the museum in Otjiwarongo, Namibia. You can loan the mobile exhibition for free from MAN or the Museum of Namibian Fashion itself.

To loan the exhibition from the MAN mobile exhibition catalogue, you can click here.
To get a PDF Version of the mobile exhibition (subject to copyright), you can click here.

Location

Street Address: Erf 235 Park Road, Otjiwarongo, Otjozondjupa Region, Namibia

Opening Hours

Monday: 08h00-13H00, 14H00-17h00
Tuesday: 08h00-13H00, 14H00-17h00
Wednesday: 08h00-13H00, 14H00-17h00
Thursday: 08h00-13H00, 14H00-21h00
Friday: 08h00-13H00, 14H00-17h00

Contact

Sophia Nuuyuni: +264 81 345 2756
Email: sophianuuyuni@gmail.com
Facebook Page: https://www.facebook.com/profile.php?id=100077681842285
Instagram: @museumofnamibian
Website: https://www.namibianfashion.com/

ARCK

A remarkable offshoot of the journey of the project Confronting Colonial Pasts, Envisioning Creative Futures is the Artistic Research Communal Knowledge: Reconnecting with returned cultural belongings (ARCK) project, in short. Co-funded by the Heinrich Böll Foundation and implemented by the National Art Gallery of Namibia and the National Museum of Namibia, the ARCK project brought together cultural knowledge keepers, five artists, namely Tuauovisioua Katuuo, Keith Vries, Nesindano Namises, Prince Kamaazengi Marenga, and Vitjitua Ndjiharine worked closely alongside seven community researchers: Munu Godfrey Kuyonisa, Immanuel Xamro !Keib, Ngombe Ngarerue, Iyaloo Moshana, Tamace Rabbie Naici, Riana Vries and Bonifasius Mushongo, who served as researchers and translators of communal knowledge, commonly understood as oral histories, performative knowledge, and artisanal skills, preserved and cared for within communities despite their violent suppression during colonialism and continued marginalisation after Namibia’s independence.

The findings culminated in an exhibition featured at the National Art Gallery of Namibia, which reawakened and reinterpreted the narratives embedded within the 23 repatriated cultural belongings and assets.