Glossary

5.3 The role of art in the construction of colonial identities and power structures in Asia and the Pacific

9 min read•august 13, 2024

Art played a crucial role in shaping colonial power in Asia and the Pacific. It was used to construct identities, assert dominance, and legitimize rule. Colonial powers used paintings, sculptures, and exhibitions to portray themselves as civilized and superior.

Indigenous artists also used art to resist colonial authority and maintain cultural identities. They subverted colonial styles, continued traditional practices, and created anti-colonial art movements. This resistance challenged dominant narratives and asserted the resilience of colonized peoples.

Art for Colonial Power

Constructing Colonial Identities

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  • Colonial powers utilized art as a means of visually representing and reinforcing the hierarchical relationships between colonizers and colonized peoples in Asia and the Pacific
  • The creation and dissemination of portraits, landscapes, and genre scenes depicting colonial life served to construct and normalize the identities of colonizers as superior, civilized, and rightfully dominant
    • Portraits of colonial officials and their families presented an image of refinement, authority, and moral uprightness
    • Landscapes depicting orderly plantations, bustling ports, and grand colonial architecture conveyed a sense of progress and civilization brought by colonial rule
    • Genre scenes of colonial life, such as social gatherings and hunting parties, reinforced notions of colonial privilege and leisure
  • Colonial art often portrayed colonized peoples as exotic, primitive, or inferior, thereby reinforcing racial and cultural stereotypes that justified colonial rule
    • Indigenous peoples were frequently depicted as uncivilized savages, in need of the guiding hand of colonial authorities
    • Representations of indigenous cultures as static, timeless, and unchanging denied the dynamism and agency of colonized peoples
    • The exoticization of indigenous bodies, particularly women, served to objectify and dehumanize colonized subjects

Asserting Colonial Power

  • The display of colonial art in public spaces, such as government buildings, museums, and exhibitions, served to assert the power and prestige of colonial authorities and institutionalize colonial hierarchies
    • Grand portraits of colonial officials and monarchs in government buildings visually reinforced their authority and legitimacy
    • The inclusion of colonial art in metropolitan museums and exhibitions positioned colonized cultures as subordinate and peripheral to Western artistic traditions
    • The staging of colonial exhibitions and world fairs, showcasing indigenous art and artifacts, served to assert the cultural dominance and curatorial authority of colonial powers
  • The teaching and practice of Western artistic traditions in colonial schools and academies functioned as a tool for assimilation, encouraging colonized peoples to adopt European cultural norms and values
    • The establishment of colonial art schools, such as the École des Beaux-Arts in Indochina, promoted the superiority of Western artistic techniques and styles
    • The training of indigenous artists in Western artistic traditions served to undermine and devalue indigenous artistic practices and knowledge systems
    • The production of art by colonized subjects in Western styles was often seen as a marker of their "civilization" and assimilation into colonial culture

Art as Legitimizing Force

Civilizing Mission

  • Colonial powers commissioned and promoted art that depicted their presence in Asia and the Pacific as a civilizing mission, bringing progress, order, and enlightenment to supposedly backward or savage societies
    • Paintings and sculptures depicting colonial officials as benevolent rulers, dispensing justice and wisdom, served to legitimize their authority
    • Representations of colonial schools, hospitals, and churches portrayed colonizers as selfless providers of education, healthcare, and spiritual guidance
    • Images of indigenous peoples gratefully receiving the benefits of colonial rule reinforced the notion of colonialism as a moral imperative
  • Representations of colonial infrastructure projects, such as railways, bridges, and public buildings, were used to showcase the technological and organizational superiority of colonial powers
    • Paintings and photographs of impressive feats of engineering, such as the Burma-Siam Railway or the Victoria Terminus in Bombay, conveyed a sense of colonial modernity and progress
    • The depiction of colonial cities as orderly, sanitized, and efficient served to contrast them with the perceived chaos and squalor of indigenous urban spaces
    • The iconography of colonial maps and surveys asserted the scientific and administrative mastery of colonial powers over colonized territories

Appropriation and Supremacy

  • Colonial art often appropriated and reinterpreted indigenous artistic traditions, presenting them as primitive or inferior while asserting the supremacy of Western artistic canon
    • The incorporation of indigenous motifs, styles, and techniques into colonial art served to exoticize and aestheticize colonized cultures while denying their artistic autonomy and innovation
    • The presentation of indigenous art as "craft" or "folk art," in contrast to the "fine art" of the Western canon, reinforced hierarchies of cultural value and sophistication
    • The adaptation of indigenous art forms to suit Western tastes and markets, such as the production of "tourist art," served to commodify and decontextualize indigenous cultural expressions
  • The collection, classification, and display of indigenous art objects in colonial museums and exhibitions served to assert the cultural authority of colonial powers and justify their role as stewards of colonized peoples' cultural heritage
    • The removal of indigenous art objects from their original contexts and their display in colonial museums served to sever them from their cultural and spiritual significance
    • The classification and categorization of indigenous art according to Western taxonomies and value systems imposed colonial epistemologies and aesthetics onto colonized cultures
    • The presentation of indigenous art as "primitive" or "traditional" denied the contemporaneity and adaptability of indigenous artistic practices

Historical Narratives

  • Colonial powers employed art to construct narratives of historical inevitability and moral righteousness, presenting their rule as a natural and necessary stage in the evolution of colonized societies
    • Paintings and sculptures depicting key moments in colonial history, such as the signing of treaties or the "discovery" of new territories, served to legitimize colonial claims to power and ownership
    • The representation of colonized peoples as passive recipients of colonial benevolence and enlightenment denied their agency and resistance in the face of colonial oppression
    • The use of classical and biblical allegories in colonial art, such as the portrayal of colonizers as gods or saints, served to imbue colonial rule with a sense of divine sanction and inevitability

Art and Public Perception

Stereotypical Representations

  • Colonial art played a crucial role in shaping metropolitan public opinion and perceptions of colonized peoples and cultures, often through the dissemination of stereotypical or exoticized images in popular media such as newspapers, magazines, and postcards
    • The circulation of images depicting colonized peoples as primitive, savage, or childlike served to justify paternalistic and racist colonial policies and practices
    • The portrayal of colonized women as sexually available and submissive fueled fantasies of colonial masculinity and power
    • The representation of colonized landscapes as untamed wilderness or exotic paradises served to romanticize and naturalize colonial conquest and exploitation
  • Representations of colonized peoples as primitive, childlike, or sexually promiscuous in colonial art served to justify paternalistic or exploitative colonial policies and practices
    • The infantilization of colonized peoples in art, such as the depiction of grown men and women as children, served to legitimize colonial authority and deny indigenous autonomy
    • The sexualization of colonized bodies, particularly women, in art and popular media fueled colonial fantasies of sexual conquest and domination
    • The portrayal of colonized peoples as lazy, irrational, or violent served to justify colonial policies of forced labor, corporal punishment, and cultural suppression

Exhibitions and Spectacles

  • Colonial exhibitions and world fairs, which featured displays of indigenous art and culture, functioned as powerful tools for shaping public perceptions of colonized peoples as curiosities or spectacles
    • The staging of "native villages" or "human zoos," featuring live displays of indigenous peoples, served to dehumanize and objectify colonized subjects for metropolitan audiences
    • The presentation of indigenous art and artifacts as exotic curiosities, divorced from their cultural and historical contexts, reinforced stereotypes of colonized peoples as primitive or uncivilized
    • The juxtaposition of indigenous displays with exhibits showcasing colonial progress and modernity served to reinforce hierarchies of cultural and technological development
  • The circulation of colonial art in metropolitan markets and collections contributed to the commodification and decontextualization of indigenous cultural productions, obscuring the complex histories and meanings attached to these objects
    • The sale and display of indigenous art objects as decorative or exotic curiosities in metropolitan homes and museums served to trivialize and aestheticize colonized cultures
    • The removal of indigenous art from its original contexts and its circulation as commodities in colonial markets served to sever objects from their cultural and spiritual significance
    • The appropriation of indigenous art styles and motifs by metropolitan artists and designers served to decontextualize and exoticize colonized cultural expressions

Artistic Discourses

  • The influence of colonial art on metropolitan artistic movements, such as and , helped to shape broader cultural discourses and perceptions of colonized peoples and cultures
    • The appropriation of indigenous art styles and forms by European artists, such as Pablo Picasso and Paul Gauguin, served to reinforce notions of colonized cultures as primitive, exotic, or mystical
    • The romanticization of colonized landscapes and peoples in Orientalist art, such as the paintings of and , fueled fantasies of colonial adventure and conquest
    • The incorporation of colonial themes and imagery into metropolitan art and popular culture, such as in advertising and fashion, served to normalize and glamorize colonial power relations

Art as Resistance

Subversion and Critique

  • Despite the dominant role of colonial art in reinforcing power structures, colonized peoples also used art as a means of resisting colonial authority and asserting their own cultural identities and agency
  • Indigenous artists often appropriated and subverted the techniques, styles, and iconography of colonial art to critique colonial rule and assert the validity and vitality of their own cultural traditions
    • The use of Western-style portraiture by indigenous elites to assert their social status and political authority challenged colonial hierarchies and claims to superiority
    • The incorporation of indigenous motifs, symbols, and styles into colonial-style paintings and sculptures served to assert the resilience and adaptability of indigenous artistic traditions
    • The production of satirical or critical art that parodied or questioned colonial authority and values served as a form of visual resistance and critique
  • The continuation and adaptation of indigenous artistic practices, such as weaving, carving, and tattooing, served as a means of maintaining cultural continuity and resisting the assimilationist pressures of colonial rule
    • The persistence of indigenous art forms and techniques, often in the face of colonial suppression or denigration, served to assert the enduring value and vitality of colonized cultures
    • The adaptation of indigenous art to new contexts and audiences, such as the production of textiles for tourist markets, demonstrated the creativity and resilience of colonized artists
    • The transmission of indigenous artistic knowledge and skills across generations served to maintain cultural identity and resist the erosion of traditional practices

Anti-Colonial Movements

  • The emergence of anti-colonial or nationalist art movements in Asia and the Pacific, often inspired by indigenous cultural traditions and symbols, played a significant role in mobilizing resistance to colonial rule and asserting the right to self-determination
    • The use of indigenous cultural symbols and motifs, such as the Indian tricolor or the Javanese batik, in anti-colonial art served to rally support for nationalist movements and assert cultural pride
    • The production of art that celebrated indigenous heroes, histories, and cultural achievements served to counter colonial narratives of inferiority and backwardness
    • The development of anti-colonial art collectives and exhibitions, such as the in India or the Santiniketan school of art, provided platforms for the expression of nationalist and anti-colonial sentiments
  • The postcolonial reclamation and reinterpretation of colonial-era art by indigenous artists and scholars has served to challenge dominant narratives of colonial history and assert the enduring resilience and creativity of colonized peoples
    • The critical analysis and deconstruction of colonial art and its underlying ideologies by postcolonial scholars has exposed the ways in which art served to reinforce and legitimize colonial power relations
    • The repatriation and restoration of indigenous art objects from colonial collections to their communities of origin has served to reconnect colonized peoples with their cultural heritage and assert their ownership and control over their artistic traditions
    • The contemporary production of art that engages with and reinterprets colonial histories and legacies, such as the work of artists like Yinka Shonibare and Kehinde Wiley, serves to challenge and subvert colonial narratives and assert the agency and creativity of colonized peoples

Key Terms to Review (22)

Berlin Conference: The Berlin Conference, held from 1884 to 1885, was a diplomatic meeting where European powers negotiated the partitioning of Africa, establishing rules for colonization and trade. This conference symbolized the height of colonial ambition, solidifying the divide of African territories among European nations while ignoring the existing cultures and societies in Africa.
Calcutta Group: The Calcutta Group was an informal collective of artists, intellectuals, and writers formed in the early 20th century in Kolkata (formerly Calcutta), India, with a mission to critique colonialism and promote Indian culture and aesthetics. This group played a crucial role in shaping modern Indian art by embracing traditional Indian artistic practices while also engaging with contemporary issues related to colonial identity and power dynamics.
Colonial Revival: Colonial Revival refers to a cultural movement that emerged in the late 19th and early 20th centuries, characterized by a renewed interest in the art, architecture, and aesthetics of colonial periods, particularly in America. This movement often sought to reconnect contemporary society with its historical roots, reflecting a nostalgia for the past while simultaneously reinforcing existing power dynamics and national identities. Colonial Revival manifested in various art forms, influencing artistic production and shaping perceptions of cultural heritage.
Contemporary indigenous art: Contemporary indigenous art refers to the diverse and dynamic artistic practices created by Indigenous artists today, drawing on traditional cultural themes, contemporary issues, and innovative techniques. This form of art not only serves as a means of self-expression but also acts as a tool for cultural preservation, social commentary, and resistance against colonial narratives.
Cultural Appropriation: Cultural appropriation refers to the unacknowledged or inappropriate adoption of the customs, practices, or symbols of one culture by members of another culture, often without permission and typically involving a power imbalance. This concept highlights how dominant cultures exploit marginalized cultures, especially in the context of colonialism and its ongoing effects on art and cultural expression.
Decolonization of Art: Decolonization of art refers to the process of challenging and dismantling the colonial narratives, power structures, and aesthetic frameworks that have historically shaped artistic practices and representations. This term highlights the importance of reclaiming indigenous identities, voices, and cultural expressions that were suppressed or marginalized during colonial rule, fostering a more inclusive and equitable art world. It also addresses how the legacies of colonialism have influenced contemporary art and aesthetics, necessitating a critical re-evaluation of artistic traditions and their socio-political contexts.
Eugène Delacroix: Eugène Delacroix was a prominent French Romantic painter known for his expressive use of color and dramatic compositions. His work often reflected themes of freedom and exoticism, closely linking him to the artistic responses to European colonial expansion, especially in relation to the representation of colonial identities and Orientalist imagery.
Exoticism: Exoticism refers to the artistic and cultural fascination with the unfamiliar or 'other' cultures, often emphasizing their perceived strangeness and allure. This term highlights how colonial attitudes shaped perceptions of non-Western societies, leading to romanticized and often stereotypical representations that reflected a Western desire for novelty and difference.
Hegemony: Hegemony refers to the dominance of one group over others, often maintained through cultural, ideological, or economic means rather than direct coercion. This concept is crucial for understanding how power operates in society, especially in colonial contexts where dominant cultures assert their values and beliefs over marginalized groups, shaping perceptions and representations of the 'Other', and influencing art and visual culture.
Homi k. bhabha: Homi K. Bhabha is a prominent postcolonial theorist known for his concepts that examine the complexities of cultural identity and the effects of colonialism. His work emphasizes the hybridization of identities, the significance of the 'third space,' and how art and culture reflect and shape colonial and postcolonial power dynamics.
Hybridity: Hybridity refers to the blending and mixing of cultural elements from different origins, often resulting from colonial encounters and interactions. This concept highlights how cultures are not static but evolve through exchanges, adaptations, and transformations in colonial contexts, influencing art and visual culture significantly.
Jean-Léon Gérôme: Jean-Léon Gérôme was a French painter and sculptor known for his academic style and meticulous attention to detail, particularly in the context of Orientalist art. His works often depicted scenes from the Middle East and North Africa, reflecting the Western fascination with these regions during the 19th century. Gérôme's art played a crucial role in shaping perceptions of colonial identities and power structures, as it both influenced and mirrored Western views on the exoticism and otherness of colonized societies.
Narrative control: Narrative control refers to the ability to influence and shape the story that is told about a particular event, group, or culture. This concept is especially significant in the context of colonialism, where the dominant powers often constructed and maintained narratives that legitimized their authority and suppressed alternative voices. Through various forms of art, such as paintings, literature, and public monuments, colonizers were able to establish a specific identity for themselves and the colonized populations, reinforcing existing power structures and cultural hierarchies.
Orientalism: Orientalism refers to the depiction and representation of Eastern cultures by Western artists, scholars, and writers, often characterized by stereotypes and exaggerations that serve to emphasize a sense of Western superiority. This concept reflects a complex relationship where art becomes a tool for colonial power, shaping perceptions of the 'Orient' as exotic, backward, and fundamentally different from the West.
Pacific Voyages: Pacific voyages refer to the exploratory journeys made across the Pacific Ocean, primarily during the Age of Discovery, when European explorers sought new trade routes, territories, and resources. These voyages played a crucial role in shaping colonial identities and power structures as European powers expanded their empires and influenced the indigenous cultures of the Pacific Islands and beyond.
Postcolonial critique: Postcolonial critique refers to a critical approach that analyzes the effects and aftermath of colonialism on cultures, societies, and identities, emphasizing the power dynamics, representation, and voices of colonized peoples. This framework not only challenges the narratives established during colonial rule but also seeks to understand how colonial legacies continue to shape contemporary art, architecture, and identity in postcolonial contexts.
Primitivism: Primitivism is an artistic movement that seeks inspiration from the art and culture of non-Western or pre-industrial societies, often idealizing their simplicity and perceived authenticity. This movement reflects a complex interplay between colonial attitudes and European artistic expression, showcasing how colonial power structures influenced representations of 'the primitive' as a means to define modern identity and cultural superiority.
Said: Said refers to Edward Said's influential concept of Orientalism, which critiques the way Western cultures depict and understand the East. This framework highlights how art and literature have been used to construct colonial identities and reinforce power structures, framing the East as exotic, backward, and fundamentally different from the West. By analyzing these representations, one can see how art serves not only as a reflection of colonial attitudes but also as a tool for asserting dominance over colonized societies.
Sculpture in colonial contexts: Sculpture in colonial contexts refers to the various ways that three-dimensional artworks were created, displayed, and utilized during colonial periods, reflecting the power dynamics, cultural exchanges, and identities formed through colonial encounters. This art form often served to propagate colonial ideologies and assert dominance while simultaneously providing a medium for indigenous expression, resulting in a complex interplay of influence between colonizers and colonized societies. The use of sculpture became a means for both asserting authority and expressing resistance within the diverse landscapes of Asia and the Pacific.
Subaltern Representation: Subaltern representation refers to the ways in which marginalized or oppressed groups express their identities, experiences, and histories, particularly in contexts where they have been silenced or misrepresented. This concept is crucial in understanding how art can serve as a medium for these groups to assert their agency, challenge dominant narratives, and reclaim their voices, especially within colonial and postcolonial frameworks.
The empire strikes back: The phrase 'the empire strikes back' refers to the phenomenon where colonial powers reassert their dominance and control in response to resistance from colonized populations. This concept emphasizes the role of art as a tool used by empires to legitimize their authority, shape colonial identities, and maintain power structures, particularly in regions like Asia and the Pacific.
Watercolor painting: Watercolor painting is a technique that uses pigments suspended in a water-based solution, allowing artists to create delicate and transparent effects on paper. This method has been popular for centuries and is known for its ability to produce vibrant colors and subtle gradations, making it a favored choice for capturing landscapes, portraits, and various scenes. The fluidity and unpredictability of watercolors also connect to cultural expressions, especially within colonial contexts where identity and power dynamics were explored through art.
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