Museums and other heritage producers are motivated by different reasons, varying from the portrayal of national narratives and the education of the general audience to the overdue representation of previously underrepresented groups and goals of a commercial nature. In the 1990’s, UNESCO started encouraging heritage producers to break the silence around colonial slavery. Since then an increasing amount of heritage producers with an array of different perspectives and goals have produced new presentations of slavery. This development is taking place on both sides of the Atlantic: in Suriname and Curaçao as well as in Ghana and South Africa. Who are the visitors of these presentations? The various population groups in these countries, descendants of enslaved, enslavers and other groups, relate to colonial slavery in different ways. As do various groups of international tourists, that in some of these countries are considered very important heritage visitors. Based on research at eight presentations in four countries, this paper will shed light on the audiences that visit presentations of colonial slavery, the motivation for their visits and their reactions to the presentations. It will focus on the productions which are successful in attracting new audience groups and analyze which strategies in marketing and outreach have worked.
|Keywords:||Slavery, Heritage, Museums, Visitors|
Journalist and Researcher, Netherlands Antilles
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