Hiller - The Myth of Primitivism. Perspectives on Art - Esoteric Online

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Ethnography and the formation <strong>of</strong> national and cultural identities 159 with the inevitable restrictions imposed by the architecture itself, the museum guided its public through its collections in a specific though not always linear narrative, encouraging implicit if not explicit associations (Figure 9.1). In view <strong>of</strong> ethnographic curators’ claims to the popular (albeit ‘scientific’) accessibility <strong>of</strong> the presentation inside the building, it is significant that the external ‘shell’, in the case <strong>of</strong> the larger municipal and national collections, was the ‘temple’ type. <strong>The</strong> imposing and distancing connotations <strong>of</strong> this type <strong>of</strong> public building were fully appreciated by many contemporary curators and resulted in a series <strong>of</strong> novel architectural schemes which were designed to overcome this obstacle. 9 <strong>The</strong> Colonial exhibitions, on the other hand, were notable for precisely the absence <strong>of</strong> such a monolithic structure and an apparent lack <strong>of</strong> rigorously imposed control over the viewing space (Figure 9.2). This semblance <strong>of</strong> endless choice and unrestricted freedom was an important factor in the effectiveness <strong>of</strong> these exhibitions in obtaining a broad basis <strong>of</strong> consent for the imperial project. Through the rhetoric <strong>of</strong> ‘learning through pleasure’, the exhibitions achieved the sort <strong>of</strong> popular appeal that the museums dreamed <strong>of</strong>. Far more successfully than the museum whose exhibits could only signify the colonized subject, the exhibitions literally captured these potentially dangerous subjects and reproduced them in a ‘safe’ and contained, and yet accessible and supposedly open, environment. This usually meant constructing mock ‘villages’ stocked with items that were purportedly characteristic and representative <strong>of</strong> a particular culture. Often peopled by troupes <strong>of</strong> pr<strong>of</strong>essional performers from different African societies, Ceylon, or other participants from Ireland and Scotland, these ‘villages’ were always favourites for press attention. Railway and other transport networks within the exhibition grounds had the effect, reinforced by the text in the guidebooks, <strong>of</strong> allowing the visitor metaphorically to travel from one country to another without ever having to leave the site. 10 Consequently, they cultivated, at one and the same time, both a sense <strong>of</strong> the availability and the containability <strong>of</strong> those societies represented. <strong>The</strong> ‘villages’
<strong>The</strong> myth <strong>of</strong> primitivism 160 9.2 Plan showing the extensive site and attractions at the Franco-British Exhibition at the White City, London, 1908 (A.D.Brooks and F.A.Fletcher, British Exhibitions and their Postcards, privately printed, 1973, pp. 36, 37).
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PART I Contents List of</st
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Illustrations Display case, Berlin
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10.2 A blend of sa
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Display case, Berlin Ethnographical
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little pictures inserted me neatly
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10 Christian Metz (Fall 1985) ‘Ph
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assumptions of the
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PART I
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Outsiders or insiders 19 Th
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Outsiders or insiders 21 content it
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Outsiders or insiders 23 honoured i
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Outsiders or insiders 25 If the con
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Outsiders or insiders 27 of
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Outsiders or insiders 29 free-range
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Outsiders or insiders 31 which the
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Outsiders or insiders 33 Melly, Geo
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‘Remember, you are the stranger.
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Editor’s introduction The
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5 Emil Nolde’s ‘ethnographic’
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Unofficial version
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Unofficial version
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Page 134 and 135: The resurgence <st
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Page 200 and 201: 10 Art and meaning SIGNE HOWELL In
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Page 204 and 205: Art and meaning 183 overall social
Page 206 and 207: Art and meaning 185 woven into syst
Page 208 and 209: Art and meaning 187 anthropologists
Page 210 and 211: Art and meaning 189 and visited Mus
Page 212 and 213: Art and meaning 191 ultimate ‘oth
Page 214 and 215: Art and meaning 193 10.5 Jah Hut me
Page 216 and 217: Art and meaning 195 The</st
Page 218 and 219: Art and meaning 197 without models
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Leonardo’s ‘Last Supper’ in F
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PART IV
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14 Unsettled accounts of</s
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15 Locality fails IMANTS TILLERS Al
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16 Aboriginal representation and ki
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17 Born from sharp rocks Edgar Heap
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Notes on contributors 294 P.S.122.
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Index aboriginality, as Australian
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Brecht, Bertholdt 53, 56 Breton, An
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Index 300 Eurocentrism 14-15, 21, 8
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Kirchner, Ernst Ludwig 99, 144, 240
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School Museum Committee 204 mutilat
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Index 306 ‘soft
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Tower monument 126 technology, and
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Hiller - The Myth of Primitivism. Perspectives on Art - Esoteric Online

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