Shadows on the Atlantic – Telling the Untold Stories

I was invited to shape the narrative of Shadows on the Atlantic at the National Maritime Museum because of my expertise in Caribbean heritage, colonial and postcolonial histories, and experience-driven exhibitions. I ensure that exhibitions go beyond objects. I bring in the voices, stories, and artists that transform museum spaces into immersive experiences that challenge dominant narratives. This exhibition allowed the museum to tell the other side of the story: without ships, there would have been no colonialism.

In the 17th century, the Atlantic was the world’s highway, but alongside traders and colonists traveled another history one of exploitation, forced displacement, and environmental destruction. Shadows on the Atlantic brings these realities to the forefront, combining historical objects, personal narratives, and contemporary art to expose the ongoing impact of colonial history.

A two-meter-long model of the ship D’Keulse Galy illustrates how enslaved people were transported across the ocean. But objects alone don’t tell the full story. Together with research curator Suze Zijlstra, who specializes in colonial maritime history, we placed these artifacts in context connecting them to expert insights, video testimonies, and contemporary artistic perspectives.

With artists like Lisandro Suriel, Atong Atem, Manuwi C Tokai, Robin Hoed, and Wouter Pocornie, we ensured that Shadows on the Atlantic not only reflects on the past but confronts how colonial histories shape our present. Their works amplify voices long silenced and offer new perspectives on a history that must be told.

Through this exhibition, the National Maritime Museum anchors this narrative for years to come. Step inside and experience how maritime history and colonial violence are inseparable.

Voices of the Past, People of Today

For the Kòrsou – Curaçao exhibition, I was hired as a guest curator. We successfully captured the essence of Curaçao, intertwining its stories, culture, and identity. This essence, deeply rooted in the experiences of its people, formed the exhibition’s foundation, offering a multifaceted view of the island from the colonial era to the present.

The exhibition combined archival materials, photographs, and maps, presenting different perspectives on the island. Exhibition designers Harm Rensink and Judith Muijs beautifully brought it to life, ensuring every element resonated meaningfully with visitors. The exhibition highlights archival documents from the colonial era, alongside songs from the Zikinzá collection, offering insights into the daily lives of Curaçaoans from the past.

Artists
Photographer and culturalist Selwyn de Wind’s work is featured, alongside contributions from ten artists reflecting on themes like Qúracao, slavery, resilience, society, and governance.

Guest Curator
As guest curator, I helped shape the exhibition, drawing on my expertise in heritage and public engagement, with input from experts in both Curaçao and the Netherlands.

A highlight was when Queen Máxima visited, and I had the privilege of guiding her through the exhibition.

The exhibition was on display from December 15, 2021, to November 21, 2022.

The Mondriaan Fund enables professionals in the cultural sector to achieve their goals and further their development, contributing to the vibrant world of art and culture. In January 2018, I was appointed as one of the youngest advisors at the fund. After a one-month guidance period, a reappointment, and eventually being selected as a permanent chair for the advisory committees on visual arts and cultural heritage, I had the privilege of playing a key role in strengthening the connection between the field and the fund.

Serving first as an advisor for three years and later as chair for another three. This role sharpened my perspective, expertise, and knowledge within the visual arts and cultural heritage field. Through my work at the fund, I contributed to shaping policies and supporting initiatives that foster inclusivity, artistic innovation, and the preservation of heritage.

I was affiliated with the Mondriaan Fund from February 2018 to April 2024.

The Fund for Cultural Participation set up a special subsidy scheme during the Commemoration Year of Slavery Past to support initiatives that highlight the history, impact, and legacy of slavery. For this scheme, I was hired as an expert on colonial and post-colonial history, specifically focusing on the Caribbean region. Together with two staff members from the fund, I developed the scheme from scratch, with a strong emphasis on accessibility and inclusiveness, ensuring that affected communities of color—descendants of enslaved people and contract workers—could easily access the subsidy.

In addition to developing the scheme, we actively worked on Aruba, Curaçao, Bonaire, Saba, Sint Eustatius, and Sint Maarten to spread as much knowledge as possible. This included not only information about the scheme itself but also guidance on the application process and broader knowledge about the world of subsidies, so local communities could better navigate these types of funding opportunities. The scheme and communication were also translated into English, Papiamentu, and Papiamento, and it was possible to submit applications in any of these languages with the help of a translator.

The scheme was a great success: initially, €1 million was made available, but due to the large number of applications, this was increased by an additional €2 million from the government, supplemented by €1.2 million from the Fund’s own resources. In doing so, we helped fund a wide range of initiatives that not only commemorate history but also promote healing, education, and community-building.

At the end of 2019, the Reinwardt Academy set a new course with two guest curators for the Heritage Arena and the annual Reinwardt Lecture. I was invited by Nel van Dijk, the director of the Reinwardt Academy, along with Lina van den Idsert, to take on the role of curator. The mission was to involve more students and junior heritage professionals and to connect the broader field of heritage to the Reinwardt Academy through current and urgent societal themes, with inclusivity as the core goal. The evenings were moderated by Stephanie Afrifa and Yahmani Blackman.

The 4 themes we covered were: Dilemmas of the Diversity Officer, Gripped by Gentrification, Game Changers, and the Reinwardt Lecture – OK Boomer. Thanks to all the visitors, speakers, and moderators! According to the guests, we left a lasting impression. A successful mission, in our view! We are more than proud of what we achieved together. The evenings were full, active, and connected to urgent societal themes, but we are especially proud of the many young professionals and students who felt invited to attend! The result was an engaged and diverse audience!

In 2019, I worked as a community coordinator and program maker for the Dutch edition of Caribbean Ties, a travelling exhibition that explored the deep cultural and historical connections across the Caribbean region. The exhibition opened in twelve countries throughout the Caribbean and in The Netherlands, and was on view at Museon in The Hague from May 25th to June 21st, 2020.

Caribbean Ties asked a powerful question: “Who stood on the shore when Columbus arrived?” Through archaeological discoveries, hands-on activities, and a massive wall map, visitors were invited to explore the rich cultural diversity of the pre-Columbian societies that existed long before European colonization began in 1492. These societies, often referred to as Amerindian communities, played a foundational role in shaping the Caribbean’s history.

The exhibition launched with a vibrant and free public festival a dynamic afternoon of culture and science. The program, which I helped design and coordinate, included lectures, creative workshops, Caribbean food and product stands, live music, and a talk show focusing on Caribbean identity. A special highlight was a performance and opening ritual by the Ka’lina Indigenous community in the Netherlands, known as Kaikoesie. This celebratory gathering honored the shared roots and connecting threads among communities from across the Caribbean diaspora past and present.

Challenging Histories: An Inclusive Workshop at Paleis Het Loo

In collaboration with Dineke Stam, Barbara Essenboom, and Else Gootjes, I led an inclusivity workshop for the staff of Paleis Het Loo, commissioned by Erfgoed Gelderland. Erfgoed Gelderland initiates and coordinates training sessions on the legacy of slavery and colonialism in the region, helping heritage professionals navigate complex histories with nuance and depth.

The goal of this workshop was to address difficult and often uncomfortable topics—colonial history, slavery, and their lasting impact—and explore how these themes could be integrated into Paleis Het Loo’s permanent exhibition. Rather than sidestepping these histories, we focused on making them visible, ensuring they were embedded in all layers of information presented to visitors, and bringing in a wider range of voices and perspectives.

Together with the museum staff, we examined objects from the collection that carry difficult histories, discussing key questions: What story is being told? How is information communicated to visitors? Which perspectives are missing? And crucially—what do we say about the Golden Coach? Instead of treating these discussions as obstacles, we approached them as opportunities for growth, engagement, and deeper understanding.

Our methodology is rooted in critical heritage analysis and participatory dialogue, creating a space where museum professionals can reflect on their role as storytellers and bridge-builders. The staff at Paleis Het Loo embraced this approach with openness and curiosity, leading to a dynamic and constructive session. It was a morning filled with meaningful conversations, insightful questions, and a collective effort to create a more inclusive museum experience.

This workshop exemplifies how institutions can move beyond traditional narratives and embrace multiple perspectives, making history more relevant, complete, and engaging for all visitors.

Expert by experience and consultancy in intangible cultural heritage

I am regularly invited by heritage institutions and the Ministry of Education, Culture and Science (OCW) to provide advice on both tangible and intangible heritage.

The Dutch government invested in heritage initiatives that specifically focused on cultural expressions from all communities living in the Netherlands, from young and old, from traditional crafts like millwrighting to large-scale events like the Rotterdam Zomercarnaval. With this policy, the government aimed to encourage and support the active involvement of people in the preservation and development of heritage. After all, heritage forms a vital link between generations and connects diverse communities within society.

I had the opportunity to participate in two roundtable discussions for the funding scheme of the Cultural Participation Fund (Fonds voor Cultuurparticipatie). These discussions were initiated in response to the policy letter Culture in an Open Society by Minister Ingrid van Engelshoven of OCW. In this letter, the Minister emphasized the importance of intangible heritage and allocated additional funding through the Cultural Participation Fund.

The letter highlighted intangible heritage as a meaningful contributor to conversations around identity and diversity in an increasingly pluralistic society, one where both the cultural backgrounds of citizens and the preferences of new generations were shifting.

Today’s youth often gravitate towards different genres, narratives, and modes of expression. This makes it all the more important that art and culture remain accessible, inclusive, and representative of everyone who calls the Netherlands home.