Written by Sara Alnashi
Methodology:
Duncan (historical) and Bennet (theoretical)
The discussion in this blog post is framed by a historical and theoretical methodology. It begins with the origins of the museum, tracing its evolution, and gradually delves into the specific cultural contexts of Abu Dhabi and Doha. This approach allows for a deeper understanding of the museum’s role, function, and how it reflects the power dynamics in the Gulf region.
To examine the role and function of art museums in the Gulf, a context-based approach is applied. Through comparative analysis, we evaluate two prominent museums in the Gulf—Louvre Abu Dhabi and the Museum of Islamic Art (MIA) in Doha—highlighting their distinct functions and the political and cultural forces behind their establishment.
Introduction
In recent years, the Gulf region has seen a significant expansion in cultural projects, particularly in the realm of art museums. Countries like Qatar and the UAE have placed cultural development high on their agendas, seeking to establish themselves as global cultural hubs. Qatar, for instance, has invested heavily in the National Museum of Qatar, while the UAE has invested in large-scale museums such as Louvre Abu Dhabi and the Guggenheim Abu Dhabi. These projects are part of the broader ambition to enhance their cultural profiles, drawing comparisons to major art cities like Paris, London, and New York.
In this context, art museums in the Gulf are not just cultural institutions but powerful instruments of state-building, projecting an image of modernization while maintaining a connection to heritage. This chapter aims to analyze how these institutions assert their political power while shaping the identities of their visitors.
The Role and Function of Museums: Duncan and Bennett’s Frameworks
The concept of the museum’s role and function can be understood through two key texts: Carol Duncan's Civilising Rituals: Inside Public Art Museums and Tony Bennett’s The Exhibitionary Complex. Duncan’s work offers a historical perspective, analyzing the museum as a "ritual" that aligns visitors with national and civilizing ideals. According to Duncan, museums are akin to stages, where visitors enact a ritual within a predetermined narrative, reflecting the values of the nation. Museums, therefore, serve as instruments for the dissemination of state power and cultural ideals.
On the other hand, Bennett’s theoretical framework expands on Foucault’s panopticon by integrating the spectacle. The panopticon, a model of surveillance, is contrasted with the spectacle of public display, which Bennett sees as integral to the museum’s function. The Exhibitionary Complex combines both the spectacle and surveillance, creating a space where the public both watches and is watched, reinforcing power structures in society. Through this lens, museums act as spaces where citizens regulate themselves, adhering to societal norms.
Louvre Abu Dhabi
Louvre Abu Dhabi and the Civilizing Project
Louvre Abu Dhabi serves as a perfect example of how the museum can assert both political power and cultural significance. The museum’s design and its connection to the Louvre in Paris serve to imbue it with the cultural capital of the West, presenting a universal museum that transcends geographical and cultural boundaries. In many ways, Louvre Abu Dhabi represents the UAE's attempt to position itself as a global city, fostering ties with the West and enhancing its international reputation.
Ajana’s analysis of the Louvre highlights the museum’s role in nation-building—from celebrating democracy in the West to asserting a modern, progressive identity in the Gulf. Louvre Abu Dhabi, by housing artworks from various cultures, aligns with a mission to assert the UAE’s role in global cultural discourse, while also maintaining a connection to Western civilization. This creates a hybrid identity, linking Abu Dhabi’s modern aspirations with its historical ties to the Silk Route and its crossroads between East and West.
Through its partnership with France, Louvre Abu Dhabi also benefits from the prestige associated with the Louvre’s brand. The UAE gains legitimacy and cultural recognition, while France reaffirms its status as the custodian of high civilization. This relationship underlines the power dynamics inherent in the museum, with cultural capital being transferred through brand association.
Museum of Islamic Art, Doha.
Museums in Doha: Nationalism and Orientalism
In contrast to the universal approach of Louvre Abu Dhabi, the museums in Doha—such as the Museum of Islamic Art (MIA) and Mathaf (Arab Museum of Modern Art)—are more focused on preserving and showcasing Arab and Islamic heritage. These museums cater to a pan-Arab and pan-Islamic narrative, presenting art and history through the lens of national identity and cultural pride.
The Museum of Islamic Art in Doha, for example, plays a crucial role in preserving Islamic history and art, positioning Qatar as the epitome of Eastern civilization. It contrasts with the Western narrative of civilization by representing the "Other," emphasizing Islamic cultural contributions and challenging Orientalist stereotypes. Through its permanent collection and exhibitions, MIA addresses themes of nationhood and identity crisis, with an emphasis on how these issues resonate in a globalized world.
In parallel, Mathaf offers an Arab perspective on modern art, showcasing contemporary works that engage with themes of identity, nationalism, and the challenges of globalization. Qatar Museums, through these institutions, plays a pivotal role in constructing a Qatari national identity, positioning Qatar as a leader in preserving and celebrating Islamic and Arab heritage while embracing modernity.
The Civilizing Powers of Museums: A Comparison
Both Louvre Abu Dhabi and the museums in Doha serve as civilizing sites—institutions that not only display objects but also shape identities. However, the methods through which they achieve this goal differ. While Louvre Abu Dhabi embraces the ideals of universalism and globalism, Doha’s museums focus on nationalism and cultural pride.
The Gulf’s new art institutions are not merely about showcasing art; they are about constructing identity—both for the local populace and for the region at large. These museums serve as state institutions, reflecting the ruling families' vision for the future and positioning the Gulf as a center of culture, knowledge, and power in a global context.
The Exhibitionary Complex and State Power
Drawing upon Bennett's Exhibitionary Complex, we see how the museums in the Gulf—like those in Paris, London, and New York—serve as instruments of power, broadcasting messages of authority, progress, and cultural superiority. Through their design, collections, and narratives, these museums are not only sites of cultural exchange but also of statecraft. They embody the state's ability to regulate public opinion and construct a national identity through the display of art.
By embodying the ideals of the Exhibitionary Complex, Gulf museums encourage a self-regulated public, who through their engagement with these institutions, internalize the values of the state. The visitor’s role in these spaces—whether in Abu Dhabi or Doha—becomes that of a citizen of a new global order, shaped by the national narratives conveyed through the museum.
Conclusion: The Role of Museums in Shaping National Identity
In both Abu Dhabi and Doha, the role of art museums extends beyond mere display; they are integral to shaping the national identity of these Gulf cities. While Louvre Abu Dhabi aligns itself with the West, embracing a universal approach, the museums in Doha focus on Arab and Islamic heritage, positioning Qatar as a leader in preserving cultural traditions while navigating the challenges of modernity.
Ultimately, these art museums serve as tools of state power, shaping visitors into global citizens by equipping them with the knowledge, values, and cultural capital necessary to navigate the evolving landscape of the Gulf. In this way, the museum becomes an essential site for the transmission of national and global ideals, reinforcing the power of the state and the vision of the ruling families.
By analyzing the historical and theoretical frameworks of Duncan and Bennett, we gain a clearer understanding of the evolving role of museums in the Gulf, revealing their function as both cultural institutions and political tools, crucial in shaping both local and international identities in the modern world.
