DIAGHILEV & THE GOLDEN AGE OF THE BALLETS RUSSES, 1909-1929

'There's no interest in achieving the possible, but it's exceedingly interesting to perform the impossible'

Serge Pavlovich Diaghilev (1872-1929) believed his dream and purpose in life was to work in the field of art and I believe he over achieved his goal. He was a unique and elusive man that absorbed art and music like no other and is best known for revolutionising ballet and early 20th century arts with his dance company - the Ballets Russes. As a man who embraced the modern and exploited the avant-garde, he was however conservative and lived his life on the road making his dance company his dear friends and family. He successfully transformed dance with exotic, dramatic performances, reawakening interest in ballet across Europe and the United States. His exhibition at the V&A showcases a wide variety of original memorabilia from set designs and backdrops, fashion and costume, to personal belongings and memories of the glory days. The objects on display tell the story of a company that began in the social and political upheaval of pre-Revolutionary Russia and created sensational performances that had never been seen before.

Described by the critic Joan Acocella as the man who not only 'jump-started Western ballet' but 'staffed it', Diaghilev showcases ballet as the most magical art form, a place where sculpture and space, music and movement, painting, design, love and passion comes together to create a rhythmic and energetic performance. 


The First Seasons


It all started in Paris, when on 19 May 1909 Diaghilev launched his first season of the Russian ballet. His audience received dazzling dances choreographed by Mikhail Fokine, striking designs, avant-garde costumes and breathtaking music by Igor Stravinsky. The path had been paved for success and with the help of exotic Art Nouveau designs by Leon Bakst whose garments read like works of art, bejewelled, decadent, erotic, vibrant and spectacular, Russian ballet was soon to become the fore-front of the art world. Over the next few seasons he continued to triumph thus in 1911 he began to take the Ballets Russes on a tour of the world, allowing international connections and leaving a trail of magic wherever he went. 


Nijinsky: A force of Nature

Vaslav Nijinsky (1889-1950) was a man known by a jump, a jump that defied gravity in the costumes that he wore and such that all those who saw him never forgot him. Trained in the Russian Imperial Ballet, Nijinsky was a charismatic man who transformed himself for every role he performed. He had no equal, a superhuman, who was the epitome of youth and manliness thus when he debuted in the Ballets Russes first season in 1909 he was a roaring success. He was a phenomenal dancer and choreographer who created radical styles of movement that differed from the norm. He also became Diaghilev's lover in 1908, yet it didn't last long as Nijinsky married and was thus dismissed in 1913 by Diaghilev.

Creating ballet

Ballet and dance are art forms that use the human body as a way to express story and emotion. Diaghilev drew upon this concept and gathered together a wide range of composers, choreographers designers and performers to create the greatest stories ever told. He superbly integrated story, music, dance and design resulting in never before seen ballets that had a profound impact on their audiences. He brought together the highest calibre of dancers from Karsavine to Nijinsky, commissioned the greatest choreographers, Fokine, Massine, Nijinsky and Balanchine and worked alongside painters like Picasso, Matisse, designers like Coco Chanel and composer such as Stravinsky, Debussy and Poulenc. His performances were world class, never before had a collaboration included so many remarkable innovators and been so concise and conceptualised.  
    The costumes themselves were also works of art. The colour schemes that ran throughout his stage sets and interior decor echoed through the garments, each rich with clashing colours and encrusted with jewels and embellishments. The colours were bold and dominant erasing the Edwardian grey, cream and white fluffy tutus of tradition. It is intriguing to think how the dancers managed to walk, never mind bend themselves into fantastical positions due to the rigid and outrageous weights of the costumes they wore. The Ballet Russes were thus extremely influential; and with these colour schemes, sensual and brilliant performances, Diaghilev established the physicality of the Ballets Russes into a scandalous, yet glamourous ballet.

 Costumes for brigands in Fokin'es Daphnis and Chloe. Designed by Leon Bakst. 1912

Group of costumes for The Sleeping Princess. Designed by Leon Bakst. 1921

 

 Costumes for Polovtsian Warriors in Prince Igor. Designed by Nicholas Roerich. 1909

The exhibition on display at the V&A incorporates his whole legacy in music, dance, painting, literature and fashion and I have selected a few items on display that I feel provided the vision for dance, art and music to become what they are today. The exhibition opens with a few personal objects from the man himself; a top hat, opera glasses through which he watched his triumphant pieces and a travelling clock. It then takes us on a journey throughout the company's history, highlighting certain themes like cubism and surrealism and pinpointing certain individuals. There is a whole section dedicated to the wonder that is Nijinsky and costumes made by Picasso, Matisse, Chanel etc. The exhibition acts like a stage with moodily lit rooms and striking wall hangings. There are hundreds of representatives from legendary productions such as 'The Rite of Spring', 'Scheherazade' 'The Firebird', 'Le Coq D'or' aswell as the magnificent drop curtain designed for 'Le Train Bleu' by Picasso.

 

 Le Train Bleu - Picasso

This massive curtain painted for 'Le Train Bleu' (above) depicts two women, hand in hand bounding along a beach without a care in the world, hair flying behind them. The front cloth measuring 10.4m by 11.7m stands at the front of the exhibition reminding the audience of the moment they sit in their seats, waiting in anticipation for the curtain to come up. The piece was typical of Picasso's early 1920s work because of its monumentality and neoclassicism. Up close it features the wears and tears suggesting the joy and pleasure it gave to audiences and the hundreds of times it was used. 

Not only did Diaghilev succeed in getting a renowned artist to paint his front cloth for 'Le Train Bleu' but he had French designer Coco Chanel on hand to create the costumes. She produced knitted sports clothes from her atelier collection in order to portray the reality of adventure in Diaghilev's story.  Many of the costumes on display also have noticeable rips, however I feel it adds to the charm, showing they were lived and breathed in thus adding to the revival of Diaghilev's beautiful productions. Diaghilev spotted talent like no other and superbly organised each individual allowing them to contribute to the success of each show. 
Costumes designed by Coco Chanel for Le Train Bleu
1924 (all images sourced from www.vam.ac.uk)

The Picasso is also hung alongside Russian artist Natalia Goncharova's spectacular back cloth which was designed for the final scene of the 1926 performance of 'Firebird'. 'Firebird' displays a scene of densely populated buildings that symbolise Holy Russia in pre-Revolutionary time. The colours are sumptuous and rich only adding to the great repertoire of Diaghilev's work. On further inspection you can see the creases and holes in the hanging which is testament to the hard-working life of the his troupe.

'Firebird'

Along with all the monumental pieces of art within the exhibition there are other, smaller items, the behind the scenes items such as scribbled manuscripts, stained and broken satin ballet shoes, that remind us of the labour that went into creating the Ballets Russes. I particularly loved the 1920 fashion illustrations; the Bakst designs for oriental costumes and the Art Nouveau posters announcing the dates of all his shows. I feel each piece contributed to the fabulous artistry of  Diaghilev and wonderfully unites all of the arts. There is still evidence of his work in cultural activity today; the music he commissioned is still being played in numerous concert halls, choreographers still rely on repertoires of the Ballets Russes and the designs and colours used have led the way in creating a new aesthetic for fashion and interiors. The Ballets Russes showed a company with tremendous exuberance, everyone involved worked with vigour and passion and in sync with each other showing that Diaghilev really was a man of magic.

Exoticism in Design around 1900

Lecturer: Dr Clare Rose. Week 8

Orientalism in Fashion

Orientalism is a term used to describe the imitation or depiction of aspects of Eastern Cultures in the West by many designers and artists. It is the study of the Orient and in the 19th century many writers from the West were influenced by the social, historical and geographical landscapes of the East. Up until 1900 there were many different kinds of Orientalism. There were different attitudes based on what is known and what isn't known. These were affected by the terms of trade between the East and Europe and the type of goods they produced for trade. Attitudes were based on European fantasies as well as reality. Some oriental cultures (China/India) were seen in terms of art and valuable products. Some (Japan/S.E.Asia) were seen in exotic ways whereas others were seen as sexual playgrounds (Muslim/Middle East).

Edward Said's 'Orientalism' (1978) has proved to be a powerful, foundational text for the shaping of scholarship and fictional literature. He states that 'Anyone employing Orientalism, which is the habit for dealing with questions, objects, qualities and regions deemed oriental, will...fix what he is talking or thinking about with a word or phrase...'. His book explores the stereotypes, and colonialism of the Orient portrayed by the Franco-British empires of the 18th and 19th centuries. He argues that Orientalism is an over generalisation and that the concept of 'the Orient' is simply a build up of academic and literary 'discourses', thus merely an invention showcased through Eurocentric eyes.

The West were extremely influenced by the East due to the huge import of goods from the Orient. This trade enforced a new style of decorative arts in the West that became known as Chinoiserie. Chinoiserie; a French term, alludes to the reflection of Chinese influences throughout European artistic styles in the 17th century. Many British designers were inspired by the fanciful imagery, decoration and whimsical styles of Chinese art/architecture and so began to imitate their sophisticated designs illustrating a mixture of Eastern and Western elements.  

  There are many cases of Chinoiserie-elite Exoticism that can be seen in Britain today, for example the Pagoda (Kew-1761) which can be found in the Royal Gardens. Sir William Chambers, creator of the Pagoda, was inspired by the fashion for Chinoiserie in English garden design and created a decorative and intricate building that contrasted to the 'natural' lines of original architecture. It was however disliked by a large number of people, yet I feel many were probably not used to the idea of something new and different and were thus unwelcoming towards it.  

 

 Pagoda - Kew - Royal Gardens. 1761

Japanese Exoticism in Art and Design

 

Self portrait with Japanese Print, 1889 - Vincent Van Gogh 

Japanese design also strongly influenced British art. Many of Van Gogh's paintings suggest a strong element of Japanese designs copied from Japanese prints he owned. In a letter to his brother Theo, he wrote about the excitement of Japanese art stating, 'I envy the Japanese, the extreme clarity of everything in their work. It is never dull and it never seems to be done in to much of a hurry. Their work is as simple as breathing, and they do a figure in a few sure strokes as if it were as easy as doing up your waistcoat'. His Seld Portrait with Japanese Print, clearly showcases his love and influence for Japanese art. He further reinforces this view in another quote which states, 'all my work is founded on Japanese art...Japanese art decadent in its own country, takes root again among the French Impressionist artists'. Van Gogh, however was also keen to suggest that French artists could paint Japanese art better, however I feel that if it wasn't for their influence then British artists would never have begun to adapt their style. 

 

Orientalism & the Origins of the Veiled Woman

In 1800, Europeans saw middle Eastern cultures as Orientalist. 'Oriental' people were said to be 'more passionate' than Europeans and thus Europeans were intrigued by women who covered themselves up in public and hid themselves in the 'harem'. In all world religions (Hinduism, Christianity, Judaism, Buddhism etc), there are scriptures that suggest how women ought to dress and behave. Most have to be modest and cover their head or hair as a sign of respect and obedience to G-d. Up until the 1830s however, transport was minimal and so a lot of what was said about cultures was hearsay. With the development of canals and railways many artists and designers began to travel around the world in search of new cultures, subjects and ideas. They were fascinated by what they found in the middle East and began to record what they believed to be the typical culture of Eastern lifestyles. The Orient was an unknown territory that brought about excitement and a buzz for change. 

 

Eugene Delacroix a French, Romantic artist had a great passion for the exotic and attempted to find and illustrate the women of the harem. He relished the atmosphere of this forbidden place and found the East and its people to be hugely exotic and inspiring. His painting 'Women of Algiers' (1834) displays three women or concubines (a woman with an on-going matrimonial relationship with a man she cannot marry) reclining on the floor of a Harem. The women are displayed as idle; lounging around waiting for their man, but in truth the harem would be busy with children and other activities. It is an unrealistic portrait and I feel showcases the West’s desire for a more sordid imagination.

 

'Women of Algiers' - E.Delacroix 

The painting is notable for its sexual connotations and is known for its Orientalism. There is also opium evident in the painting which is often accompanied by paintings of prostitutes. Upon entering the harem Delacroix states that 'The eye if truly dazzled by the bright light, the fresh faces of the women and children amidst a mass of silk and gold,' and that 'For a painter, it is a moment of fascination and strange happiness'. Many artists fantasised about the interior or a harem and thus painted extravagant, sexual images.

Veiled, Un-corseted women & European Fashion

Middle Eastern women's clothes were seen as being the opposite to European women. Their clothes were loose and ill fitting preventing an onlooker from seeing their true body shape of face. European fashion allowed for curves and with the invention of the corset, a woman's figure was seen to be celebrated and thus enhanced. British artists used genre paintings to analyse and depict everyday life, however when it came to understanding the middle East, British artists felt excluded and so were compelled to either imagine life in the harem or focus on the male dominated spaces of which they visited. The portraits of these areas are therefore not always true observations, but over-exaggerated displays of desire and fantasy. William Holman Hunt, a founder of the Pre-Raphaelite Brotherhood and great believer in symbolism painted 'The Lantern Maker's Courtship' which shows a young lantern maker feeling the face of a veiled girl. The girl's modesty is compromised and I feel it conveys her vulnerability as she has to allow him touch. Many artists saw the Middle East through distorted, romanticised lenses, portraying a world of fantasy, a primitive world that they knew nothing about. Hunt's painting captures the mystery of middle Eastern clothing and suggests the male's intrigue at the female body and thus what is underneath the girl's outer clothing.

 The Lantern Maker's Courtship' - Street scene in Cairo, Egypt. 1854

Exoticism and the Russian Ballet

Exoticism, by definition, is ‘the charm of the unfamiliar’; it implies an exotic, wild and perhaps unnatural style in comparison to classical art.  Similar to Orientalism, Exoticism suggests the influence of other cultures and ethnic groups within the art and design era. In the early 19^th century the Ballet Russes were established and marketed a change in ballet. Unlike the normal, white graceful ballet, this ballet was vibrant and intense. 

In this scene from 'Scheherazade' (above) you can see the bold, Turkish style drapery evident in their clothing and the Aladdin style pants suggestive of a rich, opulent and erotic fantasy. Likened to Arabian Nights 'Scheherazade' composed by Nikolai Rimsky-Korsakov combines a dazzling orchestration with oriental fashion which is in stark contrast to the classical and minimalist ballet of earlier centuries. Rimsky-Korsakov was also heavily influenced by the East and alongside Sergei Diaghilev; a Russian art critic, patron and founder of the Ballet Russes, created a huge musical sensation that brought about a whole new style of performance, dance and theatre.

Orientalism in Dress 


Leon Bakst; a Russian painter and costume designer was a member of Diaghilev's 'Ballet Russes' and began to make exotic, lavish and richly coloured sets reminiscent of the Orient. Paul Poiret (1879-1944), alongside Bakst is seen as being the originator of Orientalist style, remembered for freeing women from the restricting corset and creating the pantaloon. he liberated women by pioneering a radical approach to dressmaking that relied on draper rather than tailoring. For Poiret and other modernists, the imagery of Eastern cultures offered an escape from the traditions and conventions of the West and allowed for mythical creations. Poiret's Orientalism first manifested itself in his use of colour and in his memoir he exclaims, 'The taste for the refinements of the 18th century had led all women into a sort of deliquescence. Nuances of nymph's thigh, swooning mauves, tender blue hortensias, all that was soft, washed-out, and insipid was held in honour. I threw into this sheepcote a few rough wolves; reds, greens, violets, royal blues, that made all the rest sing aloud.' Thus Poiret successfully introduced the Western world to his ingenius originality.

 

'Sorbet' - chiffon, satin, fur skirt and tunic. 1912. Paul Poiret

The mannequin is dressed in a turban with kimono cut sleeves, cross over waist and decorative embroidery echoing the oriental style of the East. 

 

Orientalism still exists today with many designers using the lavish and opulent colours of the Orient within their work. I believe it is the allure of the unknown East that attracts and challenges the West. Thus it is the Eastern culture that makes the Western culture appear complete. 

 

Textiles and Worldwide Trade, 1600-1900

The Textile Trade

 
In 1600 East India allowed for trade. Indian textile workers had produced a brilliant new way of dyeing, named mordant dying that allowed colours to stay vibrant even after washing. They were much more advanced in technology than Europeans and therefore began to trade to the EU in return for money. India was therefore soon to become the greatest exporter of textiles the world had ever seen. 

Hanging of painted and dyed cotton made in western India for the British market, late 17th or early 18th century. Museum no. IS.156-1953. (click image for larger version)




Why Europeans wanted Indian Textiles:

Indian textiles were of great value to Europeans and were incidental in the trading of commodities like spices and silk. South East Asia traded Indian textiles for spices, coffee and tea and West Africa exchanged them for gold and ivory. Other goods like hemp, silk and cotton had to imported because Western Europe were unable to produce them. Europeans used these textiles to act as luxury goods because they were unable to grow cotton and cashmere. They were also sought after because unlike painted European linens, Indian cotton could be washed and their colours would not fade. Indian textiles were extremely popular and special; they were made of an incredibly fine cotton known as muslin that was much lighter and softer than European linen. Their woven cashmere shawls were also much softer and finer and thus more covetable. 

Bullion coins were sent to India in exchange for printed textiles. These textiles were then shipped to Indonesia and traded for spices which in turn were sold with the leftover fabric in London for bullion, allowing for a three-way trade. Goods were sent in their thousands to England, often in the form of 'piece goods' a short piece of fabric that could easily be shaped and sewn into hanker-chiefs or dresses.

  

Textile sample, Bellary, Karnataka, India, mid-19th C, Cotton, Museum no. Series 1, Vol 10, No 372. Printed cotton described by Forbes Watson as 'piece goods, used for petticoats'. The boteh (flower pattern that evolved into a pine cone or mango shape; also known as Paisley pattern) is usually associated with North India, especially Kashmir, rather than the South. Purchased for just over 13s (15.5p).

The influence of Indian textiles is still apparent in England today. Words like calico, dungarees, gingham, khaki and pajama all originated in India. The furnishing fabric 'Chintz', known for its floral pattern and stained fast colours can be seen in most European households, however it was initially founded in India. Coming from a Sanskrit word meaning spotted or coloured, chintz was originally made for the English market because it was light and colour-fast. By 1620, 50 000 pieces of chintz were imported to England as it was cheap enough for the emerging middle classes to buy them. Indian textiles became so lucrative that interaction between trading companies, exporting manufacturers and the buying public developed. Numerous requests were sent to India enquiring about specific patterns, colourways and images, thus influencing Indian design. It was at this point that many manufacturers in Europe began to copy Indian patterns thus attempting to fade out India's importance and seizing their European markets. Many different markets began to adapt their designs, producing imitations that they attempted to sell and trade. They were soon caught out as they did not have the 'blue stripe' that appeared on all Indian textiles and were thus sold for less money.


Chintz designs:

 

Textile piece, Masulipatam (Machilipatnam), Andhra Pradesh, India, 1880, cotton, Museum no. IS.1728-1883. Block printed design includes a repeating floral pattern on a white ground, boteh patterns and men bearing swords. Although described as 'printed chintz', by the 19th century this term was commonly used to describe any block printed cotton textile.  

 

Bed covering, Masulipatam (Machilipatnam), Andhra Pradesh, India, mid-19th C, Cotton. Museum no. Series 1, Vol 12, No 475. Cover or 'small glazed Palampore or bed covering'; printed cotton cover described as chintz. Originally chintz was Indian cotton cloth with a pattern applied with a bamboo pen or kalam and by dyeing with mordants and resists. Later block printing was introduced and eventually took over, as with this example. The surface of the fabric was burnished with a shell or other implement to create a shiny surface. Machilipatnam on the east or Coromandel coast of India, was the export centre for locally produced chintzes which became highly fashionable in Europe in the 17th and 18th centuries. Pieces with this type of design were often exported to Iran where local imitations were also made.

Trade after 1770: Imitation Industry

Indian textiles showed great examples of material resources and intricate design, they gave inspiration to manufacturers and consumers and were given great status when worn by the British Royal family at state events. The light silks allowed for exquisite drapery and were soon introduced as hangings and coverings in bedrooms, juxtaposing the heavily, upholstered Victorian furnishings. Europe having seen India's success encouraged a direct imitation industry and began to produce machinery that could take over from India. After 1770 trade was not as vital; a weaver and carpenter named James Hargreaves patented the 'spinning Jenny' - a multi-spool spinning frame that enabled the spinner to use more spools thus decreasing time and labour. Water power was then used to drive these spinning machines and by 1783 roller printing was developed allowing for a faster and more efficient production line. Soon steam power took over and in the 1800s with newly developed synthetic dyes, Britain had overtaken India as a major world exporter of printed cotton. By 1857 the British Crown took direct rule of the governing of India and in 1858 the East India company that had controlled a large part of India was abolished. 

In 1850/1860 Britain began producing textiles for India. British manufacturers and traders studied Indian and Asian consumer taste and by 1860 had designed and made printed cotton to sell to India, Burma, China and West Africa. 

On a visit to the V&A, the differences in quality between the imitations and the real Indian prints were visible, with the Indian muslin being much finer than the slightly rougher European muslin. 

The exhibit showcased Indian gowns based on Japanese kimonos, Indian print squares with designs based on French poetry and many other identical imagery inspired by Indian motifs. I thought it was interesting to see the Indian prints and techniques used on many Japanese designs conveying the mixture of cultures and talents. However I feel that the mixture of Indian, Chinese and Japanese designs have led to Western countries creating a rather bizarre, almost backwards style of clothing. Although the development of mass produced cotton textiles in Britain has meant that our economy has boomed and flourished, and it is our admiration that has led to such imitations, I feel we have forced many local markets out of business.

Blouse piece, Bombay (Mumbai), India, 1880, Silk, Museum no. IS.2050-1883. Uncut and shaped piece for a girl's blouse (jubla). Coloured embroidery on white silk depicting coloured birds among foliage. Reminiscent of Chinese embroidery.

(small text retrieved from the V&A website - www.vam.ac.uk)  

Nowadays I feel that British manufacturers regard Indian textiles as an archive of useful designs in a competitive market instead of seeing them as the creator. We have produced exact replicas in order to export them to the subcontinent and used our machine printing technology to imitate the hand block, tie dye and embroidery patterns originally invented in India. Consequently, I feel that Indian textiles are a great inspiration to most designers today and their beautiful and elaborate designs have become the basis of many fashionable pieces.

Collecting things, Collecting People, Collecting...

After listening to the lecture 'Collecting Things, Collecting People' by Dr Clare Rose we were taken to the British Museum to see if the way in which collections are displayed alter our understandings. Some collections are important because they tell us about a vital part of history or record specific dates and happenings. Some collections are recorded for religious motivation or purely for scientific research. However it is always the way in which they are displayed that have the biggest effect upon the viewer.
   The British Museum founded in 1753, houses one of the largest collections of historic, archaic and contemporary goods in the world - over seven million to be precise. The African Art collection encompasses over 200,000 objects from everyday bric-a-brac objects to works of art and expensive possessions. When the British Museum was founded things were collected from around the world and 'curiosities' were bought back from exotic cultures. The collections displayed at the British Museum allow us to understand other countries, tribes, religions, beliefs and native cultures.

The things we collect are invaluable because they remind us of people or come from people, therefore when viewing this collection I was reminded about the context and information that accompanied each display and whether my perception was altered.


TASK: 

From the collection what is different about the way in which it is presented. What contributing factors alter its meaning? Are there any relevant topics that are not addressed in the displays? Can the way in which an object be presented alter its meaning?


Room 24 (Living and Dying)

Before approaching the Africa collections we walked through the 'Living and Dying' room where immediately my eyes focused on the long rectangular tables in the centre of the room.

The displays in Room 24 explore the different approaches to life, death, birth, illness, and danger. The exhibition shows how different cultures deal with all these problems and how they attempt to maintain a healthy life regardless. The displays show how relationships are a vital part of peoples' lives, be it the love for their family, friends, the animal world or the spiritual world.

 

The centrepiece of which I was drawn to is that of 'Cradle to Grave - Pharmacopoeia' by textile artist Susie Freeman, Dr Liz Lee and David Critchley. The two textile pieces created by the trio are each 1.5m wide and 13,000m long. They are hand knitted out of a pale, grey, nylon filament with individual pockets encapsulating a variety of drugs and lozenges - small, round, oval, pinks, greens, mixed colours of red and yellow, blue and white, wrapped in foil or unwrapped etc. Each pieces contains over 14,000 drugs - supposedly the average amount of drugs prescribed to every person in Britain. It does not however include vitamins, self prescribed drugs or over the counter remedies. One piece of the fabric showcases the lifetime supply of medicine for one man and the other showcases the average supply for one woman. The display cabinet also contains medical and personal objects that relate to the drugs prescribed to the individuals (e.g. birth certificates, photographs, inhalers, syringes, plasters, baby teeth etc). Each fabric starts at birth where immunisations are given, however they continue on on different paths. 

    The woman's cloth shows her life span from baby to present day. She is seen to develop chicken pox, so there are tablets for antibiotics and painkillers, periods (pain relief), travelling abroad (vaccinations), tablets for pregnancy, breast feeding, second pregnancy, post natal depression, obesity, breast cancer (age 62), arthritis, hip replacement etc. It is fascinating to see her life laid out in the form of medicine rather than in photographs or in a book. I feel it is a very successful display as you can truly visualise her life and her ailments. The woman's life is still ongoing at 82 and the fabric is rolled up at one end waiting for more pills to be added to it. 

    The man's cloth is slightly different as he suffered with asthma and hay fever from a young age and so there is quite a lot of medication visible as a child. He had a healthy life in comparison to the woman up until he turned 50 where there are evidence of cigarettes and red wine to show he was treated for a high blood pressure. Sadly he had a heart attack and at the age of 75 died of a stroke, leaving a white death certificate which also informed us that his daughter was with him when he died. I think the pieces are very moving as they showcase our relationship with medical treatments and our dependency on drugs.It was interesting to see that in the last ten years of the man's life he took the same amount of pills from 0-66. The exhibit shocks you at first because the amount of pills look extreme when all laid out, it appears almost like a pick a mix, with brightly coloured pills of different shapes and sizes. The accompanying objects also show the life they have had regardless of their ailments and how although medicine may have controlled a huge part of their lives they have still lived full and busy lives.  

Room 25 (Africa)

In 1870 European museums began to collect and display African Artefacts. These items were collected during colonial wars and when brought to Europe were displayed in ways that emphasized their exotic or primitive cultures. African art was showcased as being bold, vibrant and exotic. Museums suggested that African Art was most notably decorative; tribal prints and patterns, brightly coloured cloth, abstract drawings, large installations, unusual musical instruments etc. The ways in which African Art were presented caused the viewer to gain a biased image of Africa and was extremely subjective. The objects would probably be placed in the centre of the museum for people to gawp at and would be considered as otherworldly and different. For many people visiting a museum is the closest they may get to understanding a country or culture and so the way in which museums present objects is very important and influential.

       Nowadays, galleries and museums have become to realise the huge impact presentation has on the interpretation and meaning of objects. The British Museum have thought about their displays and

sought to change this stereotype by stripping bare objects and placing them just like any other object alongside both traditional and contemporary work. Each object is isolated from any links to their country and therefore the viewer is forced to interpret the work as it is without influence of contributing factors. The British Museum uses its objects to provide the British public with information about other cultures, traditions and countries. The curators therefore must consider the layout of each object as the way they present each display has a profound effect on meaning. I feel that the African Art is laid out perfectly – it is informative; information is precise and positioned next to the object, it is educational; providing the viewer with something new that they can learn and exciting; there are objects and pictures that a large amount of us have never experienced or seen. 

The pieces of work I have chosen in the African collection that are well displayed are: 

1.Man’s cloth- El Anatsui Ghana 1998-2001 

El Anatsui is a contemporary African sculptor who uses the theme of indigenous African culture in his work. 

'Man's Cloth' is made from discarded foil bottle-neck wrappers; when viewed up close you can see the brand names and original wrapper colours. Anatsui used recycled metal foil wrappers stitched together with gold wire to replicate the traditional Kente cloth of Ghana – a source of pride and a receptacle of cultural memories. Each wrapper is cut and woven to create the traditional narrow strips reminiscent of the Ghanaian silk cloth. His work is ultimately optimistic, indicating the energy, enthusiasm and strength of tradition. By using contemporary and modern materials he showcases the diverse history of African Art and shows its transmission into present day. By placing his work in the centre of the room he highlights the dying away of inherited traditions and shows the need for its survival. The British Museum have acknowledged his messages and displayed it in a way of utmost importance. Anatsui covers the themes of memory and loss and also echoes environmental issues due to the recycled detritus that he has used to construct his hanging. He shows the result of our manufactured consumerist world and the erosion of cultural values. His piece is placed in the centre of the room and is thus the first piece you see when you walk in, implying importance and the need to be seen. It draws you in immediately suggesting times have changed as normally this work of art would not be displayed in such a primary position. Anatsui successfully confronts traditions and in his detailed work forces us to reconsider what makes up the very fabric of our lives. His work is beautiful; extremely intricate and delicate looking which I feel adds to its glittering charm.

2. Benin - Cast Brass plaques - Nigeria 

These cast brass plaques were made in Nigeria in the 16th century and stand as historical documents aswell as African textiles. They showcase contemporary style alongside historic. With over 900 plaques in museums around Europe they stand as crucial artefacts in history. The plaques are positioned in a grid equidistant from each other - perhaps showing equality and how all of the plaques are of the same importance. They are thought to have been made in matching pairs and then positioned onto pillars in the Oba's palace in Benin city. By placing the plaques on the centre of a large wall in the British Museum they seem to dominate the room and stand as artwork rather than just symbols of African heritage. If the plaques were to be placed in a glass box I feel they would act as a representative of culture whereas when placed on a wall they allow you to learn about African culture in relation to other cultures. 

 

3. Tree of Life

The Tree of Life was made by four Mozambican artists: Cristovao Canhavato (Kester), Hilario Nhatugueja, Fiel dos Santos and Adelino Serafim Maté. It is a product of the Transforming Arms into Tools (TAE) project and is made from decommissioned weapons. Millions of guns and weapons were sent into Mozambique during the Civil War (1976-1992) however, none of them have been recovered. The weapons have remained hidden or buried out of sight thus posing a threat to the inhabitants of Mozambique. The project aims to eliminate the threat of these weapons by hopefully encouraging the people of Mozambique to hand the weapons over in exchange for bicycles, sewing machines, ploughs etc. There was one village however, who handed over all their weaponry in exchange for a tractor, portraying a strong message to others and suggesting that they too should come out of the arms amnesty. 

   Once the weapons have been handed over, they are then passed on to the artists who in turn chop up the AK-47 rifles, pistols and rocket-propelle grenade launchers and turn them into sculptures. Although unconventional, the TAE project has successfully dismantled more than 600,000 weapons. The IRA are also known to bury their guns, storing them until they are needed, however, this acts as a potential threat and so the TAE have established a plan to swap these weapons for farming tools. 

   When I first saw the 10ft sculpture standing in the middle of the room I did not immediately realise what it was made of. From afar it appears just a tree with animals comically placed around its base, however, nearing the sculpture I began to notice the guns and weapons that it was in fact made of. It showcases a very strong message of hope and symbolises the dynamic creativity of Africa. I also feel its illustrates a cultural reference to those unaware of the struggle for independance and sufferings that Mozambique endured under the 16 years of war. I also feel that with the rise in gun crime in the UK in the last decade it resonates with the public as a current issue. Bishop Dom Dinis Sengulane, founder of Mozambique's Transforming Arms into Tools scheme said, "We would like you to adapt this to your own reality. People involved in the armament industry, even in making toy guns, should realise that guns are instruments for destroying human life." I feel he makes a valid statement and by having this piece of artwork in such an important museum and as the main focus in the room, it portrays a very powerful message. It acts as a memorial for those that lost their life or were injured and keeps their memory alive. The tree of life also showcase how we can use the past to inform the future and bring about an 'extraordinary message'.