In the 1889 series depicting the nations of the world, Egypt also appears:
Area: 11,000 sq. mi
Population: 6,806,381
Government: Turkish Vice Royalty
Scenes: Date Palm; The Obelisk of Luxor; Cotton Barges on the Nile
Category Archives: Orientalist Images
Tabsir Redux: Mocha Musings #1: Mecca and Arabia
Arbuckles’ Ariosa (air-ee-o-sa) Coffee packages bore a yellow label with the name ARBUCKLES’ in large red letters across the front, beneath which flew a Flying Angel trademark over the words ARIOSA COFFEE in black letters. Shipped all over the country in sturdy wooden crates, one hundred packages to a crate, ARBUCKLES’ ARIOSA COFFEE became so dominant, particularly in the west, that many Cowboys were not aware there was any other kind. Keen marketing minds, the Arbuckle Brothers printed signature coupons on the bags of coffee redeemable for all manner of notions including handkerchiefs, razors, scissors, and wedding rings. To sweeten the deal, each package of ARBUCKLES’ contained a stick of peppermint candy. Due to the demands on chuck wagon cooks to keep a ready supply of hot ARBUCKLES’ on hand around the campfire, the peppermint stick became a means by which the steady coffee supply was ground. Upon hearing the cook’s call, “Who wants the candy?” some of the toughest Cowboys on the trail were known to vie for the opportunity of manning the coffee grinder in exchange for satisfying a sweet tooth.
While sorting through a bevy of late 19th century advertising cards and magazine illustrations collected by my great, great aunt in several yellowing albums, I came across several for the Middle East that were published for Arbuckle’s coffee. Continue reading Tabsir Redux: Mocha Musings #1: Mecca and Arabia
Poster Orientalism
The most recent (April) issue of IMES (Issues in Middle East Studies), the new digital version of the former bulletin of MESA, features an article by Jonathan Casey on posters and old photographs in the National World War I Museum in Kansas City, Missouri. Among theses are two early 20th century era French posters on Algeria, as shown above. The poster on the left is a prime example of the Eurocentric colonialist gaze. Not only is the Algerian pressed into service, but he has a proper nuclear family of wife and child. Of course, as the donkey in the background serves to remind, Algeria is a backward country in need of being civilized. The poster on the right needs no ethnographic context; come to Algeria and be as free as the wind, where the Algerians ride their steeds resplendent in flowing robes. This right one could easily serve as a poster for the 1921 Valentino film, The Sheik.
Of the various photographs, the one that struck my attention was of a British soldier named George Mackenzie. This shows the young Lieutenant with his “chums” on the train from Beirut to Damascus. Once again the “Orient” is civilized via the gun. A world war (that did not unfortunately end all wars) that was not caused by anything in the Middle East would change the shape of the region in a dramatic way that is still playing out. To talk of an “Arab Spring,” it is important not to forget the wintry blast that carved up the Ottoman Empire into colonial pieces before oil and the modern state of Israel entered the mix.
Art not for art’s sake
Gérôme’s “The Slave Market,” left; Inanna in Damascus by Sundus Abdul Hadi, Iraqi artist, right
Before Edward Said revitalized the term “Orientalism” in his seminal 1978 book of the same title, the major use of the term was for a genre of Western art, centering on exotic depictions of an imagined or at least embellished beyond the real “Orient.” The Gérôme painting of “The Snake Charmer” of the paperback version perfectly captured the prejudicial element that Said rightly exposed in much of the literature and academic writing about the Middle East and Islam. Such a biased representation cannot be glossed as mere “art for art’s sake,” if indeed art is ever really only for “art’s sake.” I recently came across a painting by Sundus Abdul Hadi, an Iraqi female artist, that responds aesthetically to another famous Orientalist painting by Gérôme; these are the two images juxtaposed above. There is nothing inaccurate in either painting. Selling female slaves was a lucrative trade throughout the Islamic era and current sexcapades by wealthy Arab sheikhs are well known.
The response painting is a brilliant counter to Gérôme. Both highlight the exploitation of women as sex slaves, either in the older legal and literal sense or the modern illegal but still practiced nonsense. It is possible to look at either picture and focus on the naked body of a woman on display. This is the voyeur’s gaze, which is often the prime motive for creating as well as viewing such a work of art. But when placed side by side with the modern response painting, the very fact that the woman is still only an object for purchase overrides a one-directional voyeurism. This is not simply a scene of the imagination, but a reality that has outlived the 19th century Orientalist genre and indeed is hardly unique to a genre exposing the bodies of Oriental women. Continue reading Art not for art’s sake
Orientalist Cheesecake
Portrait of a lying woman, Antoine Sevruguin, Iran, 1901 (geheugenvannederland.nl).
If a picture is worth a thousand words, then one like this century-old photograph taken in Iran will leave the reviewer with no loss for words. Here is the quintessential native Ottoman Era odalisque to ogle at. A number of enticing props are they as well: the flowers in hand, the shoes on the bed at the end of a curvaceous bottom in corso flowing down the exposed torso, the half-hidden belly button, long pigtails and dark kohl-laced eyes. Not only is this figure exposed to the viewer, but she engages with a direct gaze, using a hand to cradle her head. Here, visually presented, is the Orient represented: a luscious and willing consort for the taking.
The photograph above is part of a series of Ottoman Era images from the Ottoman History Podcast, a radio program and Facebook site based in The Netherlands. The site has a splendid selection of photographs from the Ottoman Era, the vast majority of which are not odalisque cheesecake, and it is well worth perusing.
Regarding the photograph above, here is how the Facebook site describes it: Continue reading Orientalist Cheesecake
An Orientalist Coverup: Imagine that…
Cover of Milet’s book
In the Islamic Arts Museum in Qatar last December I bought a copy of a fascinating book of Orientalist Photographs by Éric Milet, who has worked as a tourist guide in Morocco for a number of years. The photographs, from both the 19th and 20th centuries, are accompanied by short vignettes. As Milet notes, “The ‘Oriental’ Maghreb was born in the darkrooms of Western photographers. A land of contrasts, revealed to the public at large by men and women who were delighted to have crossed to the ‘other side’ in their own lifetimes, constantly evoking the delights of this earthly paradise.” The book is well worth owning, not only to decorate your coffee table, but for easy, entertaining and informative reading.
As the author Malek Alloula has written, in his The Colonial Harem (1988), the ‘Oriental’ created by the photographer became “the oriental’ for the general public. The photographic lens is portrayed by Alloula as the structural enemy of the veil; capturing the image thus sought the removal of the veil and exposure of the female body as a voyeuristic object. Of course, the photographers who paid prostitutes to pose as “typical scenes” in the Maghreb were not the prudish Orientalist scholars, who would often render sexual argot in pseudo-scientific Latin (perhaps assuming that Victorian ladies did not know their Latin or at least that kind of vulgar Latin). But in the case of Milet’s book, the cover is a modern-day coverup that allows it to be sold in the likes of a bookstore of an Islamic Museum. The picture chosen for the cover has been altered so that the bare breast exposed by the photographer in this exquisite 1910 image (shown below) is lost in an arabesque and nipple-less swirl.
“Young Woman in Arab Costume, Algeria, 1910
The objectification of the female body, as shown by Alloula and many others, reinforced the image of the exotic and erotic harem girl open to the gaze of the European voyeur. True enough, although photographers of the time would expose the female body no matter what the nationality. Artistic nudes graced the major museums and were admired; the emerging visual realm of photographs quickly elided the erotic into the pornographic. But in the case of Milet’s book, undoubtedly due to the publisher rather than the author, there is a reversal, a kind of commercially smart prudery that removes the apparently offending body part, even though in so doing the very exposure for which such Orientalist photographs are critiqued is erased. It is not unlike sanitizing the Arabian Nights as children’s fairy tales.
In this case I am not suggesting we judge a book by its cover, but that we allow ourselves to be seduced into opening the book to see the range of images, some clearly bordering on the exploitative and others evincing a sensitivity usually reserved for poets.
Daniel Martin Varisco
Tabsir Redux: With Kitto Illustrating Bible History
As a child I spent many inquisitive hours leafing through the books in my grandmother’s parlor bookcase. One that especially attracted my attention was John Kitto’s An Illustrated History of the Holy Bible (Social Circle, Georgia: E. Nebhut, 1871). Rev. John Kitto, recognized on the title page as author of the London Pictorial Bible, the Cyclopedia of Biblical Literature, ETC, ETC, retells the entire history of the Old and New Testament, from creation to the destruction of Jerusalem. Kitto was born into poverty in 1804 in Plymouth, England and due to an unfortunate accident ate age thirteen became entirely deaf and was forced into the poor house at the age of fifteen. This is quite an inauspicious beginning for a waif who went on to be a respected theological scholar. Through the local humanitarian efforts of several men in Plymouth, Kitto became a lay missionary to Malta and then for three and a half years in Baghdad. “While residing in that city,†writes Alvan Bond in the preface to Kitto’s book, Cairo “was visited by the plague, the terrific ravages of which swept off more than one-half the inhabitants in two months. Amidst this fearful desolation he remained calm and active at his post.†Once back in England he married and produced a travel account and several pictorial histories of the Holy Land. In 1844 the University of Giessen conferred upon him the degree of D.D. His ill health forced him to seek help in the spas of Germany, where he died after a mere half century in 1854. Continue reading Tabsir Redux: With Kitto Illustrating Bible History
The Orient comes to Bergen
While in Bergen to lecture at the university I came across a couple of signs that begged to be photographed. It seems like kebab and pizza are always together here, even under the mantra of nirvana.