Devon Akmon

As an ethnic museum representing a community that is often maligned and/or misrepresented by the media and popular culture, we are always cognizant of the potential pitfalls of accidentally reinforcing a stereotype while presenting exhibitions. Unfortunately, common misconceptions of Arabs and the Arab world focus on backwards and unfriendly people living in an inhospitable environment with a culture frozen in previous times (sheiks, deserts, camels, terrorists, etc.). The images and stereotypes that illustrate these ideas are continuously reinforced by films and other popular media and news outlets. Therefore, a large portion of our work seeks to counter these stereotypes and misconceptions. However, even the most seemingly apolitical topic can have subtle elements that reinforce stereotypes. Speaking to this, we constantly need to carefully examine the materials that we are presenting with a very critical eye.

To help illustrate my point, I’ll present you with a tangible example. We are currently in the process of developing a small exhibit on the history of coffee and its roots in the Arab world. Within the gallery, and above a display of coffee making artifacts, is a historical image of a Bedouin tribe making coffee in a tent.

Library of Congress, Prints and Photographs Division. LC-DIG-matpc-01315. Making coffee in Bedouin tent.

This seems like a rather benign image. It’s a historical photograph that shows what one might have seen at a coffee ceremony in the early 20th century. Within the image one will notice several coffee-related elements – mortar and pestle, grinder, etc. – that would have been used during this time period. So, what’s the problem?

As many historians know, it was very common during this era for photographers to capture images of “exotic cultures” and depict them as primitives or “others.” Perhaps one of the most well-known controversies surrounds Edward Curtis and his series of photographs, The North American Indian. Curtis is accused of portraying Native Americans in the popular notions and stereotypes of the times. Similar to this, numerous photographers traveled to the Middle East in the late 19th and early 20th centuries to capture images of Arabs. Renowned scholar Edward Said is most famous for describing and critiquing “Orientalism,” which he perceived as a constellation of false assumptions underlying Western attitudes toward the East. Images such as this can easily fall into the category of Orientalist art and photography, especially when considering the context in which these images were produced.

The American Colony was an independent, utopian, Christian sect formed by religious pilgrims who emigrated to Jerusalem from the United States and Sweden. They were responsible for creating this and several other photographs in historical Palestine. According to the Library of Congress, “These photographs captured the interest of the public and were greatly in demand.” As you can see, these images were both popular and a good source for much needed revenue to help improve the Colony’s living conditions in a foreign land. Arguably, the interest of the sitters was not a priority.

Similar to other ephemera, a greater understanding is constructed when viewed in the cultural context in which the object was produced. Unfortunately, this is not always an easy task. By exhibiting this image in a gallery that shows the history of coffee, we run the risk of potentially reinforcing an age-old stereotype about the Arab world. Speaking to this, our curatorial team has two strategical approaches it is exploring for addressing this issue. One approach is to make a game utilizing the artifacts in the exhibit and the photograph. A label next to the image asks visitors to locate within the gallery the objects that appear in the photo. In doing so, the curatorial team hopes to place the most amount of emphasis on the objects in the photograph. Second, the team is considering whether or not a second didactic label is necessary. This one might address the stereotype head on. While one approach seeks to distract attention, the second seeks to address the issue in a more transparent way.

We have not yet discussed how we might evaluate the success of these two approaches. Right now the curatorial team is working hard to put the finishing touches on the exhibition. I presume we will further delve into this in the coming week.

Thoughts? Reactions? Do you work in a museum? Have you had similar experiences? I’d love to hear your thoughts.

- Devon Akmon