What is it about?
The article examines the role of the Zimbabwe Military Museum (ZMM) in creating and portraying Zimbabwe's national identity in the post-colonial era. It argues that, despite independence, the museum continues to reflect colonial perspectives through its collections, exhibitions, themes, and interpretation, limiting its ability to represent Zimbabwean heritage and identity. The researchers used a qualitative approach, collecting data through interviews, focus group discussions, and desktop research. Participants included museum staff, members of the Zimbabwe National Army, Police, Air Force, war veterans, teachers, students, and members of the public. The findings showed that while museum curators believed the museum had made progress by including liberation struggle figures and African artefacts, most other participants felt that colonial narratives still dominated the exhibitions. The study highlights that many displays focus on colonial military equipment, such as rifles, armoured vehicles, and Rhodesian history, while African contributions receive limited interpretation and are often presented only in English. Temporary exhibitions also continue to emphasize colonial military history rather than themes that promote Zimbabwean national identity. The literature review explains that many African museums were established during colonial rule, when colonial governments controlled what was collected and displayed. These museums often promoted European superiority while marginalizing African cultures. Although Zimbabwe gained independence, many museum practices have changed very little, leaving colonial ideologies embedded in exhibitions. The researchers found that different groups held varying opinions. Museum curators believed that the inclusion of liberation heroes such as Mbuya Nehanda, Sekuru Kaguvi, and Mkwati demonstrated national identity. However, war veterans, uniformed forces, teachers, students, and the general public argued that these additions were insufficient because colonial collections still dominate the museum. Many visitors viewed the museum as a place to see weapons rather than to learn about Zimbabwean identity and history. The study concludes that museums have an important responsibility to build national identity by collecting, interpreting, and displaying objects that reflect the country's diverse heritage. The Zimbabwe Military Museum has not fully achieved this goal because colonial influences remain strong. If these issues are not addressed, public interest and engagement with the museum are likely to continue declining. The authors recommend that the museum: Balance colonial and African historical narratives in its exhibitions. Increase the collection and display of African artefacts and liberation history. Improve interpretation by providing more information on African collections and using accessible languages. Involve communities and stakeholders in developing exhibitions. Secure additional funding to update exhibitions and support programs that promote Zimbabwean national identity. Overall, the study argues that the Zimbabwe Military Museum should undergo further decolonization so that it better reflects Zimbabwe's history, culture, and identity, making it more relevant and meaningful to contemporary audiences.
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Why is it important?
Although Zimbabwe gained independence decades ago, the study found that many of the museum's exhibitions, collections, themes, and interpretations continue to reflect colonial perspectives rather than representing Zimbabwean history and heritage from an African viewpoint. The study is significant because it: 1. Evaluates the museum's contribution to nation-building by assessing how its exhibitions shape visitors' understanding of Zimbabwe's identity, history, and cultural heritage. 2. Identifies colonial bias in the museum's collections, interpretation, and exhibition practices, highlighting areas where colonial ideologies continue to influence public history. 3. Provides recommendations for decolonising museum exhibitions, including balancing representations of African and colonial histories, improving interpretation of African collections, and using languages that are accessible to a wider audience. 4. Guides policy and practice for the Zimbabwe Military Museum and other state museums by offering evidence-based recommendations on how exhibitions can better reflect Zimbabwe's cultural heritage and national identity. 5. Improves public engagement by identifying what visitors and stakeholders expect from museums, helping museums develop exhibitions that are more relevant, inclusive, and meaningful to Zimbabwean communities. 6. Contributes to academic knowledge on museums, heritage, and national identity by adding to discussions on the role of museums in post-colonial African societies and the need to transform colonial institutions. 7. Supports cultural preservation by encouraging museums to collect, preserve, and interpret African historical objects and narratives that strengthen national pride, cultural identity, and a sense of belonging. Finally, this research is important because it evaluates the extent to which the Zimbabwe Military Museum contributes to the creation and portrayal of national identity in the post-colonial period. By identifying the persistence of colonial ideologies in the museum's exhibitions, collections, themes, and interpretation, demonstrating the need for decolonised museum practices that better represent Zimbabwean history and culture. Its findings provide practical recommendations for improving museum policies, exhibition design, and public engagement while contributing to broader debates on heritage management, cultural preservation, and nation-building in post-colonial Zimbabwe.
Perspectives
Decolonial Perspective of the Article The article adopts a broadly decolonial position by arguing that the Zimbabwe Military Museum (ZMM) continues to reproduce colonial narratives through its collections, exhibitions, interpretation, and public programmes. It contends that although Zimbabwe achieved political independence in 1980, the museum has not undergone sufficient epistemic and institutional transformation. Instead, colonial ideologies remain embedded in what is collected, how history is interpreted, whose stories are privileged, and which languages are used to communicate heritage. This reflects the decolonial argument that coloniality persists even after the end of formal colonial rule. The study demonstrates that coloniality is evident in the dominance of Rhodesian military artefacts, exhibitions centred on settler military history, and limited representation of African resistance, indigenous technologies, and liberation movements. From a decolonial perspective, museums are not neutral institutions but sites where power shapes historical memory. By privileging colonial collections and narratives, the museum reinforces colonial knowledge systems while marginalising African epistemologies and lived experiences. The article also reflects the decolonial principle of epistemic justice, arguing that museums should privilege indigenous knowledge, oral histories, local languages, and community memories rather than relying predominantly on colonial archives and interpretations. Participants criticised the use of English as the dominant language of interpretation and the limited contextualisation of African collections. This illustrates how colonial languages and interpretive frameworks continue to shape public understanding of Zimbabwe's history. Another important decolonial element is the emphasis on community participation. The research recommends involving war veterans, local communities, teachers, students, and other stakeholders in collecting, interpreting, and presenting museum exhibitions. This aligns with decolonial scholarship, which rejects top-down, expert-driven museum practices inherited from colonial administrations and instead advocates participatory heritage management that recognises communities as producers rather than consumers of knowledge. The article also challenges the colonial hierarchy of heritage. It argues that African weapons, traditional regalia, spiritual practices, resistance leaders, and indigenous technologies should receive equal or greater prominence than colonial military equipment such as rifles, armoured vehicles, and Rhodesian military memorabilia. This reflects the decolonial objective of recovering historically marginalised histories and restoring the dignity of African cultural heritage. However, from a stronger decolonial standpoint, the article also has several limitations. A decolonial museum would recognise multiple identities and historical experiences rather than promoting a single, fixed national narrative. Furthermore, the article focuses mainly on balancing African and colonial representations instead of fundamentally questioning the colonial museum model itself. Decolonial theory argues that transformation requires more than adding African artefacts; it requires rethinking how museums classify objects, define expertise, organise exhibitions, and determine authority over heritage. Decolonial approaches increasingly argue that communities should exercise meaningful authority over how their heritage is collected, interpreted, and displayed rather than simply being consulted. Finally, the article provides a strong foundation for a decolonial critique of the Zimbabwe Military Museum. It argues that coloniality continues to shape museum collections, exhibitions, language, and interpretation despite political independence. It calls for museums to become spaces that centre African histories, indigenous knowledge, and community participation in constructing national memory.
Mr Nevermore Sithole
Africa University
Read the Original
This page is a summary of: The Role of Zimbabwean Museums in Creating National Identity during Post-Colonial Era: A case study of Zimbabwe Military Museum, Multilingual Academic Journal of Education and Social Sciences, April 2016, Knowledge Words Publications,
DOI: 10.6007/majess/v4-i1/2047.
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