Othering or Representation

Exploring what message ILN images send about the cultures within them - and whether that message is dependent on who is viewing them

Orientalism

The inspiration for this exhibit came from Edward Said's concept of "othering" in his 1978 book, Orientalism. In this work, Said explores the term Orientalism through his post-modernist perspective, explaining that it is, "a collective notion identifying ‘us’ Europeans as against all ‘those’ non-Europeans… in addition the hegemony of European ideas about the Orient, themselves reiterating European superiority over Oriental backwardness” (Said, 15). Said makes the argument that these othering European ideas and beliefs about the people of the East, or the 'Orient,' lie in the narratives and assumptions they create, not in real observation or conversation with those individuals. In his words:

the phenomenon of Orientalism as I study it here deals principally, not with a correspondence between Orientalism and Orient, but with the internal consistency of Orientalism and its ideas about the Orient … despite or beyond any correspondence, or lack thereof, with a ‘real’ Orient, (Said, 13).

He claims that because of their power over the 'Orient,' the 'Occident,' or Western countries, were able to fabricate these false descriptions and depictions. While this othering may be an attempt to make the Orient seem below the British, Said states that it can also come in the form of exoticism of cultures that are different from the Western ideals. In tying Said's work to the Illustrated London News, when creating a newspaper and its images, the artists and writers would create articles and illustrations that send their personal ideas, stereotypes, and curiosities about the "other" countries to British readers.

Peter Sinnema in "Reading Nation and Class in the First Decade of the Illustrated London News" states similar arguments to the ones written in Orientalism, while tying it directly to images from the British periodical. He explains in the article, British illustrations carry, "a fairly explicit meaning as a paradigm of Orientalism, relying as it does on a rigidly ontological distinction between the perceiving self (presumably English) and the objectified Other, frozen into the permanent stasis of a denigrating representation" (Sinnema, 140). He goes so far as to say, "English-ness, a national identity, is thus promoted by condescension and mockery of otherness” (Sinnema, 142). Both Said and Sinnema believe the British do not portray the Eastern countries, people, and culture as they truly are, and choose instead to draw and describe them to fit into their narratives of the 'Orient.'

Ornamentalism

On the other hand, David Cannadine's Ornamentalism: How the British Saw Their Empire, published in 2001, places class issues and social status into dialogue with Said. Cannadine argues that wealth and status came before issues of race and ethnicity, and therefore, individuals of a certain class and power would be featured in the press, regardless of the country to which they belonged. Within the culture of the empire, the British public saw the world, "through the prism of their class and status system, rather than seeing it as structured by racial difference" (Price, 620). Following Cannadine's analysis, "othering" would occur because of class inferiority, not because of the race of an illustration's subject. Cannadine also explains, "In certain contexts and situations, the British did regard the dark-skinned members of their empire as more admirable, more important and more noble than white men. This is not the whole truth of things. But it is a substantial, a significant and neglected truth." (Cannadine, pg. 125). If a person was of greater status and honor, they would earn their respect in British imagery, regardless of the country they belonged to, according to Ornamentalism.

Some images of The Illustrated London News show clear signs of 'othering' of the Eastern colonies. However, upon further consideration, especially in light of Cannadine’s arguments, the othering representation may not be entirely intentional. Were all of the artists aiming to draw the Indian, Asian and African subjects as less than the British people? Or were some of the artists simply trying to draw events as they saw them, attempting to create a proper representation of events and cultural practices of the East? While observing some images, the positioning of 'Orient' next to 'Occident' send a clear message about 'us' versus 'them.' However, there are other illustrations that can been seen as attempts at accurate. In the examples below, how much of othering is the intent of the artist, and how much is in the eyes of the beholder? Do cultural representations reinforce prevailing attitudes, whether they are intentional or not?

Framing Superiority (click on the corner of an image to magnify in new tab)

The Zulu War: Fort Ekowe - April 1879

The inclusion of the British man in all his attire, positioned next to the African man makes this images appear more intentional in its 'othering.'

The Zulu War: The Heliograph at Work, Flashing Messages to a Beleaguered Force - April 1879

The African men in the left of the frame, gawking at the technology of the British seems to portray superior Western intelligence.

King's Dragoon Guards on the March

King Cetewayo's Cooks - June 1879

The placement of the two different cultures, white versus black, on the same page makes othering appear more intentional. The Zulu cooks in crouched positions while the British are standing with their horses offers a clear comparison between the two cultures, with the Westerners in a more civilized position and the African representing an imagined primitiveness.

Sketches in South Africa - June 1879

The othering in these images become apparent when reading the captions for each illustration. Specifically, the bottom left and right Zulus in Western clothing are called, "Civilised", while the others in more traditional clothing are not.

Does this collection of images also implicitly justify colonialism by showing the possibility of civilizing them?

Chinese Artillerymen and Gun - 1842

While this images does not look too malicious, it is the accompanying description that enforces Orientalism. Peter Sinnema explains, "English nationalism is manifested as militarism (Occidental superiority and know-how), and is connoted in both the slightly ridiculous and inept Chinese artillerymen and in the smug, condescending tone of the verbal description (‘there is certainly nothing very terrifying in the appearance of the warriors,’ ‘a Chinese gun appears more dangerous. . .to friends than enemies’)” (Sinnema, 140).

Opium Smoking in China - Dec. 1858

In his writing, Empire Ways: Aspects of British Imperialism, Bernard Porter explains that, "drugs taken for recreational purposes were mainly associated with the ‘Orient’" (Porter, 42). The ILN contributes to this stereotype, devoting two full-page illustrations of Chinese smoking opium, as well as drawing their faces and posture in positions of suffering.

The Chinese Ambassador

The Marquis of Westminster - 1842

Once again, the layout of Orient next to Occident makes the othering appear more purposeful. It is particularly evident when looking at the caricatured features of the Ambassador, while the Marquis is realistic.

Purchasing Eggs and Fowls of the Natives - Oct. 1860

The first observation of othering is the lack of detail given to the Chinese subjects of the image in comparison to the white men. The second is the activities the Chinese are engaging in. Stegemeyer explains these steroetypes, stating, "opium smoking was a widespread and easily observed practice among the Chinese. Writers mentioned it frequently, although mostly they just noted it as a typical Chinese activity, like eating rice” (Stegemeyer, 39).

Chinese Criminal Led to Execution

Gabotting a Chinese Criminal

Head of a Chinese Criminal Exposed in a Cage to His Children - April 1857

Stegemeyer makes the argument in his writing that, "descriptions of Chinese trials and punishments clearly indicated the need for western institutions… Since the Chinese always tended toward corruption and cruelty, western intervention would naturally be necessary to achieve the reconstruction" (Stegemeyer, 43 & 44). When looking at this illustration, is that analysis applicable?

(click on the corner of an image to magnify in new tab) Cultural Curiosity or Exoticism?

Zulus and Kaffirs of South Africa - Feb. 1879

Recall the statement made by Cannadine, author or Ornamentalism, "In certain contexts and situations, the British did regard the dark-skinned members of their empire as more admirable, more important and more noble than white men."(Cannadine, pg. 125).

In the image, take note of the representations of primitive culture, exoticism, as well as symbols of social status

Chinese Rebels - March 1857

Unlike some of the previously shown illustrations of Chinese people in the ILN, this image is not an a cartoon or caricature style. Instead, the men appear serious and possibly even threatening. If readers continue onto the article underneath the image, they will learn about "rebels" committing "murder" and "insurrectional movements" against the British and French authorities. While the article describes these men as enemies, does the image alone portray an evil people?

Engineer's Camp, on the East Indian Railway - April 1857

This image shows a scene from a railway camp, with Indian characters in the foreground, and Western individuals placed in the background. Is this depiction exotic primitiveness or is it showing power and social status?

Indian Cook-House - July 1858

Historian Megan Owens makes the analysis that, "The post-Mutiny government took on a new outlook that referenced the paternalism of the late eighteenth and early nineteenth centuries, but with a sense of racial superiority rather than any kind of genuine fondness for the Indian people." (Owens, 1257). Does this paternalism come through in this image, or does it reflect genuine curiosity from the Western on-lookers?

The Rutt Jatthra, a Hindoo Festival

A Swinging Festival in India - Nov. 1857

These two full-page images show festivals of the Indian culture. The question is whether it is celebration of their practices, or if it is othering of the different culture. As Owens states, "Many of the features observed in British art of India reflect this Orientalist fascination with the exotic and unfamiliar" (Owens, 1256). Is this an example of depictive scenes that also would have excited the exotic imaginations of the British audience

Interior of a Jain Temple at Dailwarra, Mount Aboo - Nov. 1857

Beautiful, exotic, other. Again, Owens explains, "Although British perceptions of Indian culture and people shifted throughout the nineteenth century, the India depicted in British art tended to be static and timelessly beautiful… India’s countryside, people, and history were exoticized in artistic depictions that fulfilled the Orientalist 'cult of the picturesque.'” (Owens, 1257).

Peking Cab

Amusements on the Ice - Feb. 1861

These two images show everyday events and activities of Chinese people. While Said would point to the exoticism of the image, Cannadine would likely see this as more educational, and representing Chinese culture and social status as it is.

Visual Representation of the dialogue between Cannadine and Said -- interest or othering

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