?
Репрезентация культуры финно-угорских народов Югры в музейных экспозициях: переход от дискурса советской модерности к деколониальной оптике
The article presents the analysis of changes in the logic of representation of the culture of indigenous peoples living on the territory of Khanty-Mansi Autonomous Okrug (Khanty-Mansiysk) in ethnographic expositions of the Museum of Nature and Man (Khanty- Оводова С.Н., Моисеева Д.В., Поршунова Л.С. Репрезентация культуры финно-угорских народов 268 Mansiysk). Contemporary researchers fix the crisis of ethnographic museums, which consists in the inconsistency of the narratives broadcast by the museum with contemporary discourse and is based on such processes as globalization and urbanization. Museums are facing questions about the need to reconsider their approaches to exhibiting. Using postcolonial methodology in the analysis of the experience of creating ethnographic exhibition projects allowed to distinguish colonial and postcolonial narratives, the authors based on the decolonial lens problematized the postcolonial narrative and identified in it the subjects, which could become possible scenarios for the development of future exhibitions. The ethnographic collection of the Museum of Nature and Man (Khanty-Mansiysk) consists of more than 5000 unique artifacts of Khanty, Mansi, Forest Nenets, Komi-Zyrian, as well as a great number of related photographs, film and video footage, documents and DPI objects. From the moment of its creation and up to the end of the 1990s the ethnographic expositions of the museum were a reflection of the Soviet modernist discourse exoticizing the culture of the indigenous peoples. In the early 2000s the museum underwent a complete change in its ethnographic exposition. Created under the leadership of A.V. Golovnev, the innovative exposition “Mythological Time”, based on the mythology of the indigenous peoples of the North, was a breakthrough in the museum business in Russia. The new exhibition, which is available to visitors today, marked a transition to the postcolonial logic of exhibiting. The creative approach to creating ethnographic exhibitions was preserved and developed by the museum staff in the following exhibition projects: Cape of the Sacred Dog (2014–2019, curator L.V. Porshunova) and Ringing of the Dancing Fate (2017–2018, curator I.Yu. Kopyltsova). These two projects already contained elements of decolonial discourse. In modern conditions, the development of new ethnographic exhibition projects should be based on close interaction with the local community of bearers of national culture.