Decolonising and Deconstructing: “Family Albums” – a Photographic Journey of Self-Representation of the African Diaspora in Greater Lisbon, (from 1975 to Today)

Portugal, like other European countries, has been slow to address the restitution of artworks stolen during the colonial era. Despite growing international pressure to decolonize museums, there remains a lack of cohesive governmental policy to expedite these processes. The discourse on the decolonization of museums includes repatriating cultural artifacts, reframing dominant narratives, historical memory, self-determination, and political reparation. This paper examines the photographic exhibition “Family Albums: Photographs of the African Diaspora in Greater Lisbon (1975 to Today)” by Inocência Mata and Filipa Lowndes Vicente as a specific case of decolonizing historical memory and museums while deconstructing symbols of imperial power. Showcased at the Padrão dos Descobrimentos in Lisbon, the exhibition provides a platform for self-representation, displaying analogue photographs selected by members of the African diaspora, documenting their lives from 1975 to today. The exhibition allows visitors to engage with researchers in guided conversations, enriching their understanding of the decolonization process. By challenging the conventional narrative of the African diaspora in Portugal, it enables African voices to share their own experiences. This aligns with the critical perspectives of scholars like Achille Mbembe and Chimamanda Ngozi Adichie, who emphasize the importance of diverse perspectives to counter the dangers of a singular, dominant narrative. Additionally, the exhibition critiques symbols of imperial power, such as the Padrão dos Descobrimentos, by deconstructing the colonial use of photography as a tool of oppression and transforming it into a medium for self-representation and resistance.
This exhibition is a crucial step towards decolonizing historical narratives, fostering intercultural dialogue, and promoting social cohesion. It demonstrates the power of collaborative, participatory methodologies in reclaiming cultural identity and history.