Having looked at the Art Newspaper’s report on the withdrawal of the ‘Medicine Man’ gallery at the Wellcome Museum and its replacement with shamanistic performances by Grace Ndiritu, along with her biography on Wikipedia, I think I now understand what’s happened there. One of the names that leapt out at me reading the Art Newspaper article was Dan Hicks. He was one of the lecturers in the Archaeology and Anthropology Department at Bristol University when I was there. This is going back over a decade, and when I saw him, he was young and hip. I think his speciality is Historical Archaeology, and from what I remember he has co-edited a series of papers about it. Over here, Historical Archaeology is merely that branch of archaeology concerned with monuments and artefacts from historical times, rather than prehistory. Over the Pond, however, it is very definitely ideologically loaded, and concerns itself with colonialism, the oppression of the indigenous peoples, slavery and the emergence of capitalism. And this focus can be very clear in the work of some lecturers and academics. It’s not all like this – some of the historical archaeological research is less left-wing. While doing my Ph.D., one of the papers I consulted was about the building of 18th century Annapolis and how it conformed to 18th century ideas about architecture and society. For example, the buildings were deliberately constructed with large windows so that outsiders could look in. This came from the view that business should be conducted as far as possible in public view, so that public scrutiny would make sure that everything was correct, orderly and legal. Hicks’ doctoral student studied the archaeology of Long Kesh, the Maze Prison, in Ulster. She gave a seminar one lunchtime about her research, and she was very, very good. She presented an excellent case for its preservation and exhibition from a non-sectarian perspective as somewhere that was vital to the heritage of the people of Northern Ireland.
Archaeology has also expanded its scope in recent decades. When most of us think of archaeology, I’m pretty sure it’s of prehistory and ancient civilisations like Egypt, Greece and Rome. But it can also be much more recent, taking in not just the Middle Ages but also recent history up to the Second World War and beyond. One of the lads I knew was studying World War II tank defences around Bristol and Somerset. There was even a pillbox study group, which catalogued and documented the various WWII pillboxes left along the country’s coasts and beaches to protect us from invasion. There has, like Ndiritu at the Wellcome Museum, also been artistic events performed or staged around pieces of archaeology. In one of these in America an historic barn or house was allowed to decay, with photographs taken and finally displayed showing its gradual destruction. When I was there, the archaeology department had been part of a similar project concerning the various objects at Severn Beach, a holiday resort near Bristol. From what I dimly recall, this photographed and decorated such historic monuments as the public benches and decaying boats. This was too ‘arty’ in the pejorative sense for some of the people at the seminar on it I attended. They saw themselves very definitely as scientists. It was too arty for me, and I see myself much more as coming from the arts rather than the sciences.
There was, at the time, a general movement towards drawing different disciplines together, and especially the arts and sciences. Interdisciplinary subjects were in vogue, and there was much talk about overcoming C.P. Snow’s ‘two cultures’ arts and science, in which people from one side of the cultural divide had no knowledge or interest in the other. One such artistic project based in science I read about in New Scientist featured genetically modified organisms. One of these was a cactus, whose DNA had been tinkered with so that instead of prickles, it grew hair. Ndiritu’s performances at the Wellcome Collection come from archaeology and anthropology, rather than genetic engineering, but they are part of the same project of mixing science and art.
Her Wikipedia entries also mentions work at the AfricaMuseum in Belgium. Way back when I was at the Empire and Commonwealth Museum I got material from Belgium about some of their museums looking at their countries imperial history. One of these was a series of artistic projects and performances in the country’s museum about the Belgian Congo. As I’m sure readers are well aware, King Leopold’s personal rule in the Congo is one of the bloodiest holocausts in African history. About 8 million people are supposed to have been murdered by his Force Publique in order to produce rubber for export. I’ve been told that the country tried to forget about it all, until the first years of the 21st century when these events were staged at the museum as part of the confrontation with this infamous period in Belgian history.
There have also been other archaeological and anthropological events and displays in which indigenous peoples have performed their religious rituals. A few years ago, if I recall correctly, there was one where Amerindian shamans performed their people’s rites. When the exhibit is of those peoples, then it is only fair to include the people themselves. I think this is what was going on in the Wellcome Museum with Ndiritu and her shamanism. It looks like it’s an attempt by indigenous African culture to claim a proper place in the exhibit as a counterpoint to western rationalism.
This does not mean, however, that it should be free from criticism or that such criticism is right-wing. The decolonisation movement does indeed have as its goal the decentring of western science and historiography. It goes far beyond the usual explanation about including overlooked non-western and indigenous perspectives. The ‘Science Must Fall’ movement really existed. And some of the critical of modern postcolonial theory are left-wing feminists. Asian feminists, for example, have complained that they are given no support by western postmodern feminists in their struggle against their cultures’ own restrictions on women, because postcolonialism is only interested in such problems if they are caused by the West. This is described by Bricmont and Sokal in their 90’s attack on Postmodernism, Intellectual Impostures. And Sokal is, or was, very much a man of the left. He was a physicist who gave up his career to teach maths in Nicaragua under the left-wing Sandinista regime.
I also wonder how this all fits with Edward Said’s critique of western views of the east, Orientalism. His book was a polemic arguing that the west since ancient Greece had regarded the east as the Other, and produced images to justify its conquest and domination. Western travellers and explorers had therefore presented it as backward, irrational and feminine and somehow unchanging. But Nditiru’s performances are based on the non-scientific irrational and traditional, which are now presented as positive. This is indeed a challenge to the view of magic in indigenous cultures that I remember from my childhood. I can remember watching a BBC documentary about African shamanism when I was in my early teens, in which the voiceover concluded that while western science had succeeded in discovering so much about the world and made so many advances, while magic had reached an end and could produce no such advances. The great British scientist and broadcaster, Jacob Bronowski, said something similar in his TV series and book, The Ascent of Man. He looked at the traditional culture of one of Iran’s nomadic people, and considered that it similarly locked them in a stifling, unchanging world. Bronowski was no man of the right. He was a member of the Fabian Society at a time when that actually meant something, before it was taken over by the Blairites.
I am also very much aware of the crisis that has affected many indigenous society with the collapse of their world of meaning through contact with western modernity and the legacy of colonialism and imperialism. But there are also dangers in idealising indigenous societies. I mentioned in my previous article that in Nigeria, priests from one of the country’s pagan religions had been involved in the acquisition of slaves, and that a South African anthropologist had attempted to defend muti human sacrifice at a convention in this country, as well as witchcraft and witch hunting in Africa. Those aspects of indigenous religion and spirituality shouldn’t be ignored. I am not saying they should be stressed to restore the old image of Africa as a backward continent needing western civilisation, but not all the continent’s ills should be ascribed to western rationalism either. Hence it should be perfectly legitimate to question this latest policy by the Wellcome Museum, regardless of whether one is politically right or left.