Beyond 8M: For a culture that represents us all
Beyond 8M: For a culture that represents us all
By: Ana Elizabeth González
Executive Director and Chief Curator of the Canal Museum
When we talk about culture, we talk about identity, memory, and collective history. However, what happens when an essential part of that history remains hidden or invisible? This March, in commemoration of International Women's Day (8M), we reflect on the gender gap, a reality that still persists in many areas, including the cultural sector. It's not simply about pointing out inequalities, but about recognizing the transformative power of the real and effective inclusion of women in all cultural spaces.
Traditionally, world-renowned institutions have been predominantly led by men. Iconic museums such as the Prado Museum in Spain or the British Museum in England have never had a female director in more than two centuries of existence. However, today we celebrate important changes in this trend.
In 2021, Laurence des Cars broke a historic barrier by becoming the first female director of the Louvre Museum, marking a turning point for one of the most visited and renowned museums in the world. Furthermore, in recent years, the number of women taking up key positions in world-renowned institutions has accelerated significantly: influential museums such as the Tate and the National Portrait Gallery in England, the Vatican Museums, the National Gallery of Art in Washington, the Philadelphia Museum of Art, and the Saint Louis Art Museum.
In Panama, fortunately, the situation is encouraging and exemplary in this regard. Several of our most important cultural institutions boast strong female leadership, contributing new visions and enriching our cultural life through diversity and innovation. However, inequality does not only reside in leadership positions. Women artists also face disadvantages in terms of recognition, visibility, and representation in collections and exhibitions.
Historically, great artists such as Artemisia Gentileschi, who faced severe prejudice in her time due to her gender and whose work was often wrongly attributed to male artists; Frida Kahlo, whose work was initially overshadowed by her relationship with Diego Rivera and underestimated for its personal and intimate approach; or Camille Claudel, whose sculptural genius was minimized for years due to her association with Auguste Rodin, had to overcome countless obstacles to gain recognition, while many others were forgotten for decades or even centuries. Women artists today continue to struggle for representation in global collections.
In response to this problem, various initiatives have emerged to correct historical injustices and make the valuable artistic work of women visible. For example, the exhibition "Revelations" by Marina Vargas, curated by Semíramis González at the Museo Nacional Thyssen-Bornemisza, foregrounds contemporary women artists from a critical gender perspective. Also noteworthy is the exhibition "Musa: Female Perspectives in the MAMM and MAC Panama Collections," curated by Juan Canela, Dora Escobar, Liz Lasso, and Emiliano Valdés. It brings together works from the collections of the Museum of Modern Art of Medellín and the Museum of Contemporary Art of Panama, highlighting the historically marginalized artistic work of women.
Another key example is the French association AWARE (Archives of Women Artists, Research and Exhibitions), which since 2014 has recovered and disseminated biographies and works of 20th-century women artists, restoring their rightful place in art history. The book "Women in the Arts of Panama in the 20th Century," edited by Dr. Mónica Kupfer, bears witness to the work of hundreds of Panamanian women in the arts, a necessary investigation due to the lack of documentation of prominent figures in our country.
These initiatives remind us of something essential: that the commitment to gender equality cannot be limited to commemorating a date or using a symbolic color in March. The fight for equity must be reflected daily in our actions, decisions, and institutional policies. At the Canal Museum, I personally and firmly assume this daily commitment, working to ensure that inclusion, diversity, and gender equity are not just words, but concrete actions. I recognize that in our own collections and archives, there is still work to be done to fully showcase the work of so many women who have decisively contributed to our history. We are trying to address this challenge through initiatives such as our FARO artist residency, which in 2023 featured the distinguished participation of Giana De Dier. Her work, "Radical Communal Care and Liberation," addressed the historical representation of Afro-descendant women in the Canal Zone, providing vital perspectives on their everyday experiences and contributions and seeking to fill a gap in the photographic archives documenting the experience of Afro-Antillean women within the Canal Zone and in Panama City. This is an ongoing challenge, but also an inspiring opportunity to transform our institution into an increasingly just and representative space.
Finally, I want to address the girls and young women who dream of a future in the arts, humanities, education, science, or culture. I deeply believe in their potential to transform our society and build a more equitable future. Your talent, energy, and perspective are essential to transforming our society. Know that every idea, every dream, and every step you take is invaluable. We need your unique perspectives, your creativity, and your courage. Don't let anything or anyone silence your voices or limit your aspirations. Dare to challenge, to disrupt, to question, to innovate, and to break new ground. We write history every day, and you are a fundamental part of it.
We need you as protagonists, creators, and leaders. From here, from this museum that is also yours, I tell you with absolute certainty: you have the power to build the future, and we will always be here to support you.
