Abstract
ABSTRACTThis article presents ways for researchers and cultural workers to find and examine versions of representation in cultural institutions through a postmigrant perspective. The starting point is Denmark—a European nation state with, like many others, a diverse composition of citizens. This diversity is, however, poorly represented in Danish cultural institutions and the problem is difficult for many cultural workers to discuss due to the hesitation large segments of the Danish population feel about using terms associated with race and religion. Since much of the research regarding representation is strictly critical in its approach, it is also challenging to find the proper tools and language to discuss and correct the current skewed situation. This article is intended to provide balance in representation, first by presenting a model of four levels for potential positioning of diverse representation in cultural institutions and, secondly, by addressing the problems of access and depiction in regards to representation.
Highlights
Representation of diversity is not yet the norm in Danish cultural institutions
The starting point is Denmark—a European nation state with, like many others, a diverse composition of citizens. This diversity is, poorly represented in Danish cultural institutions and the problem is difficult for many cultural workers to discuss due to the hesitation large segments of the Danish population feel about using terms associated with race and religion
Responses by the cultural institutions to the actual challenges of representation have been primarily to create seminars focusing on the subject of skewed representation, to issue charters that state their support for diversity, and/or to arrange for workshops for the under-represented.[2]
Summary
Representation of diversity is not yet the norm in Danish cultural institutions. Reports from the Danish Ministry of Culture in recent years describe the cultural landscape of Denmark as being filled with white, male bodies and voices, and note an interest in changing the current dominant perspectives.[1]. One problem with such inclusive initiatives is that the focus is on projects and talks of limited duration, rather than continuous diversity work with the aim of creating long-lasting structural changes This is not just the case with individuals marked as visible strangers, and with other structurally excluded groups, which becomes apparent when looking into the debates and actions connected to The Danish Film Institute’s (DFI) report about equality between male and female directors published in 2016.59. Whether this practice is a productive tool when striving for diversity, or a way of supporting group identities, as migration researcher Mark Terkessidi fears such initiatives do,[68] can only be validated when observational research of the work done by these committees is carried out Such considerations do, indicate that a desire for diversity is present, but fears associated with discussing race and religion in Danish public discourse, as documented by migrations professor Peter Hervik,[69] may make it difficult to expand the Art Foundation’s current considerations to include discussions about the representation of people labelled as visible strangers. If that is the case, cultural studies researchers with a postmigrant focus can provide cultural institutions with the language and models necessary to continue working towards achieving diverse representation at all levels, so that eventually the mark of the visible stranger seems less significant, and the complex individual becomes the centre of interest
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