Understanding Museums Beyond Display Spaces, in the Context of Migration, Mobility, Heritage, and Identity Through Autoethnography

Museums as Dynamic Spaces of Interaction:

Traditionally, museums have been viewed as custodians of historical artifacts, safeguarding objects of the past. However, contemporary scholarship, including the work of Clifford (1997) on ‘Museums as Contact Zones, redefines museums as spaces where different cultures, identities, and historical narratives intersect. Museums are no longer passive repositories but dynamic forums that facilitate learning, dialogue, and social transformation.

In this study, “My Home—My Museum”, the researcher employs autoethnography to trace their family's migratory journey across Persia (Iran), Afghanistan, British India, and later Pakistan. By doing so, they connect personal heritage with larger narratives of displacement, mobility, and identity formation. This approach resonates with Stuart Hall’s (1990) perspective on cultural identity, which emphasizes that identity is not fixed but rather a product of historical, political, and social transformations.

Autoethnography, as an academic research method, serves as a powerful tool for analysing personal narratives within broader socio-cultural and historical contexts (Ellis, Adams, & Bochner, 2011). Unlike traditional ethnography, which focuses on observing others, autoethnography allows the researcher to explore their own lived experiences, positioning the self at the centre of the study. This method is particularly useful in migration studies, where personal histories, material culture, and identity formation intersect (Chang, 2008).

Cultural and Ethnic Entanglements: 'A Hybrid Legacy'

The researcher’s ancestry reflects a complex interweaving of Iranian-Azeri Turkic Qizilbash and Pashtun (Beni Israel) influences. The Qizilbash, historically associated with the Safavid Empire, were instrumental in shaping Persian and South Asian socio-political landscapes (Newman, 2009). Meanwhile, the Pashton (Beni Israel) lineage, often linked to diasporic Persian and Pashton (Sematic) traditions, adds another layer of transnational heritage to the researcher’s family identity (Parfitt, 2013).

This hybrid cultural inheritance is both tangible and intangible—manifesting through objects, languages, and rituals that have persisted across generations despite geographical shifts. For instance, Levitt (2009) introduces the concept of ‘cultural remittances, where migrants carry traditions, knowledge, and symbolic artifacts that redefine cultural belonging across borders. In this case, heirloom objects such as the iron-plated wooden box and porcelain dinnerware from British India serve as material testimonies of mobility and historical transitions.

Moreover, the linguistic diversity within the family—Persian, Pashto, Saraiki, Urdu, and English—illustrates the enduring legacy of cultural hybridity. As Bhabha (1994) argues in ‘The Location of Culture, cultural identity is not singular but exists in a constant state of negotiation. The author’s family, shaped by Persianate (Iranian), Pashton (Beni Israel), and colonial British (British and Indian) influences, exemplifies Bhabha’s notion of the “third space,” where identity is neither fixed nor confined to national boundaries but rather fluid and adaptive.

Material Culture as a Vessel of Memory and Identity

This study explores the idea that homes—especially those belonging to migrant families—serve as living museums. The objects within these homes are not just everyday possessions; they hold stories of migration, cultural transitions, and family histories. Each item carries memories, embodying personal narratives and reflecting the broader socio-historical journey of a family across generations.

By examining specific objects, this study identifies three key phases of migration and the cultural significance embedded within them:

First Phase: Migration from Iran to British India

During the initial migration, a large iron-plated wooden box was used to transport winter clothing, representing both the physical journey and the emotional weight of leaving behind a homeland. Another cherished item, a small Blue Iron Box, was originally given as a wedding gift and has been passed down through generations. This heirloom symbolizes the continuity of cultural heritage and the deep emotional bonds carried across borders.

Second Phase: Life in Colonial British India

The family’s time in colonial British India is reflected in objects that signify both their social standing and political ties. Porcelain Dinner Plates from the 1800s, remnants of the colonial period, and a Bottle of Irish Whiskey from the early 1900s illustrate the intersection of colonial influence and social prestige. Additionally, Official Correspondence Letters from the British Royal Court highlight political engagement and connections, offering a glimpse into the family’s influence and role within the colonial administration.

Third Phase: Post-Partition Pakistan

After the partition of British India, the family carried forward a collection of meaningful objects that continued to shape their identity. A Rug made of camel hair, gifted in gratitude by a tribal leader from Sindh, represents an act of mutual support and respect. A German-made Pedestal fan from the mid-1900s, inherited through generations, signifies endurance and adaptation over time. Lastly, a Wooden Easy-chair from East Pakistan (now Bangladesh) serves as a tangible link to the shifting political landscapes and personal histories shaped by the post-colonial era.

Beyond Objects: The Power of Memory and Identity

These objects are far more than antique relics; they embody memories, emotions, and an enduring sense of cultural belonging. Material culture plays a crucial role in preserving and transmitting identity across generations. As anthropologist Arjun Appadurai (1986) argues, objects are not passive remnants of the past but active participants in shaping social meanings and personal identities. In this case, the iron-plated wooden box, inherited documents, and textiles act as cultural anchors, preserving stories of migration, resilience, and adaptation.

Furthermore, the presence of British-influenced objects—such as Correspondence Letters, Porcelain Plates, and an Irish Whiskey Bottle—reflects not only colonial encounters but also the family's negotiation of power and social mobility within the colonial framework. These items illustrate the historical entanglements between South Asia and the British Empire, as explored by Metcalf & Metcalf (2006).

Through autoethnographic reflections, these heirlooms offer deeper insight into how material culture nurtures a sense of intergenerational belonging. As Albano (2007) suggests, museums—and by extension, personal collections—act as "memory sites," helping migrant families maintain a sense of continuity while also adapting to changing times. In this way, objects become bridges between past and present, carrying not only history but the emotions, struggles, and triumphs of those who owned them.

Intangible Heritage: Rituals, Religion, and Language:

Beyond material culture, the family’s intangible heritage—wedding traditions, religious syncretism, and daily rituals—embodies the continuity of identity despite displacement. The Israelite wedding tradition of the “Chuppah,” and “Aarsi Mushaf (Mirroring of the Bride and the Groom)” practiced alongside Persian customs, exemplifies how diverse cultural influences are integrated within the family structure. These practices align with the argument made by Assmann (2008) regarding ‘Cultural Memory, where inherited traditions function as dynamic systems of identity retention rather than static relics of the past.

Additionally, the family’s engagement with multiple faith traditions like Sacred Fire, Niddah and Tazgi, Pashtunwali and Hachnasat Orchim, Repetition of Ancestoral Names—Zoroastrianism, Sematic (Beni Israel) customs, and colonial-era Anglican and Indian influences—demonstrates the fluidity of spiritual identity. This resonates with Orsi’s (2005) discussion on ‘Lived Religion, where religious identity is not confined to rigid institutions but is shaped by historical contingencies, inter-generational storytelling, and daily practices.

Homes as Living Museums, 'Tracing Migration Through Everyday Objects'

This research explores how homes, particularly those belonging to migrant families, serve as 'Living Museums'—repositories of history, migration narratives, and cultural evolution. The objects within these homes are not merely personal belongings; they are 'Silent Storytellers, encapsulating generations of movement, adaptation, and identity. Through a selection of significant artifacts, the study examines three distinct phases of migration and the way these objects preserve both tangible and emotional connections to the past.

Phase One: 'The Journey from Persia to Afghanistan to British India'

The first migration is embodied by a large Iron-plated Wooden Box, originally used to transport winter clothing across borders. This sturdy chest not only signifies the physical journey but also represents resilience and continuity. Another artifact, a small Blue Iron-Box, once given as a wedding gift and passed down through generations, symbolizes the deep-rooted emotional ties and enduring cultural traditions that traveled alongside its owners.

Phase Two: 'Colonial British India and Shifting Identities'

The colonial era introduced objects that reflected social status and political engagement. Porcelain Dinner Plates from British India became symbols of power and influence, often displayed in homes as markers of prestige. A bottle of Irish Whisky from 1900 hints at transnational connections, possibly linked to diplomatic exchanges or elite social gatherings. Furthermore, Official Correspondence from the British Royal Court serves as a testament to political influence, highlighting the family’s role in navigating colonial bureaucracy and governance.

Phase Three: 'Post-Partition Pakistan and New Cultural Landscapes'

Following the Partition of British India, migration took on new dimensions, with families redefining their sense of home. A Rug woven from camel hair, gifted in gratitude for assisting a tribal leader’s daughter from Sindh, British India represents reciprocal relationships and new cultural affiliations. A German-made Pedestal fan, carefully preserved, speaks to inheritance and survival, a relic of an era when possessions were not just practical but carried deep sentimental value. Lastly, a Wooden Easy-Chair from East Pakistan (now Bangladesh) serves as a tangible link to a once-unified region, embodying the memories and transitions of post-colonial South Asia.

Each of these objects extends beyond its physical form; they carry emotions, memories, and the silent echoes of history. They serve as artifacts of migration, testaments to cultural belonging, and witnesses to generations of change. In this way, homes are transformed into intimate museums, preserving the ever-evolving story of movement, adaptation, and identity.

The Role of Museums in Migration Narratives: 'Towards Inclusive Representation'

Museums have long been perceived as institutions that curate and safeguard national heritage, often reinforcing dominant historical narratives. However, contemporary museology increasingly recognizes the importance of migration histories as integral to collective memory, reflecting the dynamic and pluralistic nature of societies (Macdonald, 2003). The traditional role of museums as spaces of cultural preservation and education is evolving to accommodate the lived experiences of migrants, diasporic communities, and transnational identities. This shift aligns with Clifford’s (1997) notion of “Museums as Contact Zones”, wherein diverse cultures intersect, fostering interactions that challenge static representations of heritage.

One of the most impactful ways museums can engage with migration narratives is through the display of personal objects and oral histories, allowing migrants to share their lived experiences in a tangible and relatable manner. Material culture—such as heirlooms, letters, clothing, and religious artifacts—functions as a repository of memory, identity, and migration trajectories (Albano, 2007). These objects do not merely exist as relics of the past but actively participate in the construction of belonging and cultural continuity across generations (Levitt, 2009). Exhibiting such artifacts within museum spaces fosters an inclusive historical discourse, ensuring that migration stories are not marginalized but rather celebrated as an essential component of national and global histories.

The concept of community-based museums, where migrants actively contribute to exhibitions by showcasing their own family objects, represents an innovative approach to participatory museology. This model democratizes the museum space, shifting away from top-down curatorial narratives to an interactive, co-creative process (Simon, 2010). Such initiatives empower migrant communities by giving them agency over their representation, creating a shared platform for dialogue on migration, identity, and citizenship (Sandell, 2007). Moreover, community-based museums can challenge exclusionary narratives of nationalism by emphasizing the fluidity of cultural exchange and hybridity, demonstrating that migration is not an anomaly but a historical constant that enriches societies.

By integrating migration narratives into museum spaces, institutions can cultivate a sense of 'Global Citizenship, where visitors—both migrants and non-migrants—engage with diverse perspectives, fostering cross-cultural empathy and understanding. Museums that embrace these narratives not only preserve history but also serve as catalysts for social cohesion, bridging the gap between past and present, native, and migrant, local, and global (Bennett, 2005). As migration continues to shape contemporary societies, the role of museums in documenting, interpreting, and celebrating these movements will be pivotal in shaping more inclusive and representative cultural institutions.

The Transformation of Citizenship and Belonging:

The relationship between migration, citizenship, and belonging is an evolving discourse that challenges the traditional understanding of national identity as a fixed and territorially bound concept. Contemporary migration studies emphasize that citizenship is no longer confined to legal and political frameworks but extends to cultural belonging, historical narratives, and social participation (Levitt, 2004; Ong, 1999). This transformation is particularly evident in “My Home—My Museum”, where the inter-generational transmission of heritage, multilingualism, and hybrid cultural influences demonstrate a form of global citizenship that transcends national borders.

The researcher’s family migration journey—spanning Persia (Iran), Afghanistan, British India, and later Pakistan—illustrates how identity is not static but shaped by mobility, intercultural exchange, and adaptation (Hall, 1990). The integration of Persian, Pashton (Beni Israel), British, and Pakistani influences in family traditions, religious practices, and linguistic diversity exemplifies Bhabha’s (1994) concept of hybridity, where identities are continually renegotiated in response to historical and socio-political shifts. The family's engagement with multiple languages—Persian, Pashto, Urdu, Saraiki, and English—demonstrates how linguistic adaptability plays a crucial role in negotiating belonging across generations (Blommaert, 2010).

In “My Home—My Museum”, the role of material culture in sustaining identity and citizenship is central. The family’s heirlooms—such as the iron-plated wooden box symbolizing migration, porcelain dinner plates from British India, and a Blue Cloth-covered Quran reflecting Israelite-Muslim intersections—serve as tangible evidence of diasporic identity and transnational heritage (Albano, 2007). These objects function as cultural archives, reinforcing Assmann’s (2008) concept of cultural memory, where material culture plays a crucial role in maintaining a sense of belonging across time and space.

Additionally, the inter-generational transmission of religious and cultural traditions—from Persian and Israelite wedding customs to British colonial influences—reflects how heritage is continuously reshaped rather than merely inherited. As noted in Anderson’s (1983) concept of imagined communities, identities are constructed through shared narratives, rituals, and objects, rather than solely through state-defined citizenship. The family's multicultural and transnational experiences align with Levitt and Schiller’s (2004) argument on transnational citizenship, where individuals maintain affiliations across multiple nations, challenging the notion of exclusive national belonging.

Moreover, the community-based museum concept proposed in the essay offers a transformative space where migrants/refugees can publicly exhibit their histories, thereby democratizing citizenship and heritage narratives (Sandell, 2007). Traditional museums have often reinforced nationalistic perspectives of history, but by incorporating diasporic narratives and migration objects, museums can foster a more inclusive and globalized representation of citizenship (Macdonald, 2003). The exhibition of home artifacts in a museum not only validates personal migration stories but also serves as a collective memory space for other migrants who share similar historical trajectories.

Ultimately, the transformation of citizenship in the context of migration highlights that belonging is not limited to a single state or ethnicity but is a fluid and continuously evolving process. “My Home—My Museum” illustrates that heritage and citizenship are deeply interconnected, shaped by historical migrations, colonial legacies, and contemporary global mobility. By embracing a transnational perspective on identity, the study reinforces the idea that citizenship is more than legal status—it is a lived experience, expressed through cultural practices, language, and the preservation of migratory histories.

Museums as Bridges of Migration, Identity, and Belonging

Museums, once seen as static institutions preserving national heritage, have evolved into dynamic spaces that actively engage with the lived experiences of migration, mobility, and identity. This transformation aligns with Clifford’s (1997) concept of ‘Museums as Contact Zones, where diverse cultural narratives intersect, facilitating dialogue and mutual understanding. By embracing migration histories, museums expand beyond their traditional role of historical curation to become inclusive platforms that bridge personal and collective memories, shaping how identity and citizenship are conceptualized in a globalized world.

Through the autoethnographic approach in “My Home—My Museum”, the author effectively illustrates how personal migration stories contribute to the broader discourse on transnational heritage and global citizenship. The material culture of migration, reflected in heirloom objects passed across generations, highlights the role of tangible artifacts in preserving familial and communal identity. These objects do not merely represent the past; they are active participants in the negotiation of belonging, reinforcing Assmann’s (2008) theory of cultural memory and Hall’s (1990) argument that identity is continually reshaped through historical and political transformations.

Furthermore, the study reinforces the idea that homes function as living museums, where personal possessions narrate stories of migration, adaptation, and resilience. Just as museum exhibits curate collective heritage, family objects serve as microcosms of migration, encapsulating histories that span Persia, Afghanistan, British India, and post-Partition Pakistan. This perspective challenges conventional museum practices and underscores the need for community-based, participatory models, where migrants contribute their own narratives and artifacts, fostering a more democratized understanding of heritage and citizenship (Sandell, 2007; Simon, 2010).

In an era marked by global displacement and cultural hybridity, the inclusion of migration narratives in museums is not merely a theoretical proposition—it is an urgent necessity. Museums that integrate migration histories enhance cross-cultural empathy, creating spaces where visitors—both migrants and non-migrants—can engage with diverse perspectives. By documenting migration as a fundamental human experience, museums serve as catalysts for social cohesion, dismantling exclusionary narratives of nationalism and reinforcing a more pluralistic, interconnected world (Macdonald, 2003; Levitt, 2009).

Ultimately, “My Home—My Museum” exemplifies the transformative power of museums in shaping contemporary understandings of citizenship and belonging. Migration is not an anomaly but an enduring reality, and museums have a vital role in capturing its complexities. By re-imagining museums as inclusive spaces of learning, dialogue, and representation, the study paves the way for a more nuanced and globally conscious approach to heritage—one that acknowledges and celebrates the fluidity of identity, the resilience of migrants, and the inter-connectedness of human histories.

Building on the concept of "My Home—My Museum," future research could explore how migrant and refugee communities in Austria since 2000 have used personal objects to navigate identity, belonging, and cultural continuity. Given Austria's role as a key destination for migrants from the Balkans, the Middle East, the south Asia and beyond, investigating the significance of household artifacts, heirlooms, and everyday objects could provide deeper insights into the lived experiences of displacement and adaptation. How do these objects function as anchors of memory, resilience, and identity in a new homeland?

Furthermore, Austrian museums and cultural institutions could play a more active role in documenting and exhibiting migrant heritage, fostering inclusive narratives that recognize migration not as an exception but as a fundamental aspect of Austria’s evolving cultural landscape. This research could contribute to broader discussions on citizenship, integration, and historical representation, ultimately shaping a more pluralistic and empathetic understanding of migration in contemporary Europe.

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