Decolonizing Narratives: AMNH and "Apocalypse Now"

Decolonizing Narratives

By: Lani Byrne

Hi Everyone!

For today’s blog post, we are going to take a deep dive into the concept of decolonization through efforts made by the American Museum of Natural History (AMNH) and the film “Apocalypse Now,” directed by Francis Ford Coppola and adapted from the book “Heart of Darkness.” Both the museum and film illustrate a shared commitment to dismantling oppressive figures, challenging established norms, and elevating the experiences of impacted communities.  

Colonialism has been and continues to be an ongoing major historical event that has shaped the world, for better or worse, as we understand it today. The power-driven practices of colonialism have left lasting negative impacts on many communities. They have ultimately painted a picture of history that has favored the oppressors and, in the process, have institutionally silenced authentic experiences and histories of communities in order to promote colonial, Western narratives.  

A Closer Look at the Decolonization in AMNH:

The AMNH stands as a historical institution that, in recent years, has undergone a significant transformation in its approach to exhibit curation. This shift towards decolonization, notably marked by the removal of the Theodore Roosevelt statue and the reconstruction of the Northwest Pacific Coast Hall, demonstrates a broader social acknowledgment of the harmful effects of colonization. In the reconstruction of the hall, the museum collaborated with indigenous communities to redefine the Western narrative; traditional stories, artifacts, and voices previously silenced now take center stage.

Another stride towards decolonization includes the installation of signs and prompts throughout the museum that urge viewers to “Reconsider the Museum’s displays.” 

See below:

The presence of these signs is certainly a step in the right direction, signifying a departure from the traditional, one-sided storytelling often found in museums. Instead, they encourage visitors to engage with the exhibits through a lens that recognizes the complexities of history, challenging preconceived Western notions.

“Apocalypse Now” in Dismantling Colonial Illusions:

Now, let’s turn our attention to the jungles of “Apocalypse Now” as it can be interpreted as a powerful critique of colonization and imperialism. This anti-war film vividly portrays the dehumanization that accompanies war, particularly shown through the character Colonel Kurtz, the main antagonist, descending into madness. Kurt’s descent into madness and rejection of the military hierarchy can be viewed as a rejection of colonial values and structures. By going rogue and establishing his own authority, he symbolizes a break from traditional Western military norms, challenging the colonial mindset that often underscored military interventions. 

Symbolic elements, such as the water buffalo sacrifice and the French plantation scene, serve as visual allegories that critique the dehumanizing impact of war and the enduring legacy of Western imperialism. Furthermore, the film exposes the destructiveness of Western military intervention, challenging the justifications for imperialistic conquests. 

Parallels:

The removal of the Roosevelt statue from the AMNH and the symbolic demise of Colonel Kurtz in “Apocalypse Now” are both acts of dismantling oppressive figures. These acts challenge the accepted norms and signify a rupture with historical misrepresentations of oppressed communities. These examples not only question the prevailing narratives shaped by colonial ideologies but actively contribute to reshaping the understanding of the past. 

In the Northwest Pacific Coast Hall, artifacts and stories now illuminate the richness of indigenous cultures. Visitors are provided with a nuanced and more accurate understanding of the interconnectedness of these communities. It is not just about changing exhibits; it is about fostering an appreciation for cultural diversity and dismantling the colonial shadows that have obscured these narratives.

In "Apocalypse Now," the water buffalo scene highlights the destructive impact of colonialism. By presenting the sacrificial act so vividly, Coppola forces the audience to confront the brutal consequences of unchecked power. It is a cinematic example of dismantling illusions and exposing the harmful narratives perpetuated by colonial ideologies.

Final thoughts:

As we unpack the specific examples from the AMNH and "Apocalypse Now," the connection between decolonization and the rejection of colonial ideologies becomes even more evident. Both the museum and the film are engaged in a dynamic process of actively challenging, questioning, and reshaping historical narratives. The removal of statues and the cinematic symbolism of dismantling oppressive figures contribute not only to a broader societal shift but also to a more inclusive and authentic understanding of history.

Until next time,

Lani