Professional Documents
Culture Documents
Predicament
Predicament
ent of Culture
Copyright © 1 988 by the President and Fellows of Harvard Col l ege
All rights rese rved
Pri nted in the United States of America
10 9 8 7 6 5 4 3 2 1
Desig n ed by Joyce C. Weston
This book is printed on acid-free paper, and its b i n d i n g materials have been chosen
for strength and d u ra b i l i ty.
The chapters gathered in this book were written between 1979 and
1986. During these years I have enjoyed the encouragement of
friends and colleagues in many fields, most of whom I have publicly
thanked in earlier versions of some of these chapters. To mention
their names again here would result in a long, ultimately impersonal
list. I trust that those who have helped me know of my continuing
gratitude.
This book emerges from a period of unusual theoretical and
political questioning in several disciplines and writing traditions.
The provocation, criticism, and guidance I have received from many
others working along similar lines are only imperfectly acknowl
edged in the book's citations.
For help in thinking through the chapters composed specifi
cally for this volume I would like to thank James Boon, Stephen
Foster, George Marcus, Mary Pratt, Paul Rabinow, Jed Rasula, Renata
Rosaldo, W illiam Sturtevant, and Richard Wasserstrom.
I am grateful for fellowship support during the past seven years
viii A C KN O W L E D G M E N T S
References 349
Sources 37 1
Index 373
ILLUS TRATIONS
164 lgorot man, Philippines, exhibited at the 1904 St. louis World's Fair.
Neg. No. 324375. Courtesy Department library Services, American
Museum of Natural History, New York.
186 Indian woman spinning y arn and rocking cradle. Neg. No. 11604.
Courtesy Department library Services, Boas Collection, American
Museum of Natural History, New York.
Xii I LLUS T R A T I O N S
194 The Making of an Affinity. (a) Pablo Picasso, Girl before a Mirror.
1932. Oil on canvas, 64 x 51%". Courtesy The Museum of Modern
Art, New York; gift of Mrs. Simon Guggenheim. (b) Kwakiutl Mask,
painted wood. Photograph by Gisela Oestreich. Courtesy Museum
fUr Volkerkunde, Berlin. (c) Girl be fore a Mirror (detail).
204, Affinities Not Included in the MOMA " Primitivism" Show. 2. Collec-
205 tions. (a) Interior of Chief Shake's House, Wrangel, Alaska, 1909.
Neg. No. 46123. Photograph by H. I. Smith. Courtesy Department
Library Services, American Museum of Natural History, New York.
(b) View of the Margaret Mead Hall of Pacific Peoples. Courtesy De
partment Library Services, American Museum of Natural History.
208 The Earth Deity, Ala, with her "children." Cole and Aniakor 1984:9.
Photograph by Herbert M. Cole. Courtesy UCLA Museum of Cul
tural History.
252 Inside a Hopi kiva. Neg. No. 28345. Photograph by Robert Lowie.
Courtesy Department Library Services, American Museum of Natu
ral History, New York.
The Predicam.ent of Culture
We were once the masters of the earth, but since the gringos
arrived we have become veritable pariahs . . . We hope that
the day will come when they realize that we are their roots
and that we must grow together like a giant tree with its
branches and flowers.
-FRANCISCO SERVIN, PAI - TAV YTERA, AT
THE CONGRESS OF INDIANS, PARAGUAY, 1974
N o one
to witness
and adj u st, no one to d rive the car
sie" stands s i m u ltaneously for a l oca l c u ltural brea kdown and a col lec
tive future . To Wi l l i a ms her story is i nescapably h i s, everyone's . Looki ng
at the "great/unga i n ly h i ps and flopp i ng breasts" he feel s th i ngs fa l l ing
apart, everywhere. Al l the beautifu l , pri m itive pl aces are ru i ned . A k i nd
of cu ltura l i n cest, a sense of runaway h i story pervades, drives the rush of
assoc iations.
Th i s fee l i ng of lost authenticity, of "modern ity" ru i n i ng some essence
or sou rce, is not a new one. In The Country and the City ( 1 97 3 ) Raymond
Wi l l iams finds it to be a repetitive, pastora l "structu re of feel i ng." Aga i n
and aga i n over the m i l le n n i a change i s configu red a s d isorder, pure prod
ucts go c razy. B ut the i mage of E lsie suggests a new tu rn . By the 1 920s a
tru ly globa l space of c u ltural con nections and d i ssol utions has become
imaginable: local authenti cities meet and merge in trans ient u rban and
suburban setti ngs-setti ngs that wi l l i nc l ude the i m m i grant neighbor
hoods of New J ersey, m u lticu ltura l sprawls l i ke Buenos A i res, the town
sh i ps of Joha n nesb u rg. Wh i le Wi l l iam Carlos Wi l l iams invokes the pure
products of America, the "we" caree n i n g i n h i s driverless car is clearly
someth i n g more . The eth nograp h i c modern i st searches for the u n iversa l
i n the loca l , the whole i n the part . Wi l l ia ms' famous choice of a n Amer
ican (rather than Engl ish) speec h , h i s regiona l ly based poeti c and med i
cal practice m ust not c u t h i m o ff from t h e most genera l h u m a n processes.
H is cosmopo l ita n i sm req u i res a perpetual veering between local attach
ments and genera l poss i b i l ities .
E l s i e d i srupts t h e project, for her very exi stence ra i ses historical un
certai nties u nderm i n i ng the modern i st doctor-poet's secu re position . 1 H i s
response t o t h e d i sorder she represents is comp lex a n d ambiva l ent. I f
authentic trad itions, t h e p u re products, are everywhere yielding to prom
i scu ity and a i m l essness, the option of nosta l g i a holds no charm . There i s
n o go i ng back, no esse nce t o redee m . Here, a n d th roughout h i s writi ng,
Wi l l i ams avo ids pastora l , fol kl oristic appea l s of the sort common among
other l i bera l s in the twenties-exhorti ng, preserv i ng, col lecti n g a true
rural cu ltu re in endangered p laces l ike Appa lach i a . Such authentic ities
wou l d be at best a rtific i a l aestheti c purifications (Wh i snant 1 983). Nor
does Wi l l iams settle for two other common ways of confronti ng the rush
1. "Elsie" a lso d isplaces a l i terary trad ition . I n Western writing servants have
always performed the chore of representing "the people" -lower cl asses and
d i fferent races . Domesticated outsiders of the bou rgeois imagi nation, they regu
larly provide fictional epi phan ies, recogn ition scenes, happy endings, utopic and
d i stopi c transcendences. A bri l l iant survey is provided by Bruce Robbins 1986.
T H E P U R E P R O D U C T S G O C R AZY 5
O n l y one of E l s ie's emergent possibi l ities, the one con nected with her
"dash of Indian b l ood ," i s explored i n th i s book. During the fal l of 1 9 7 7
i n B oston Federa l Court t h e descendants o f Wam panoag I nd i ans l iv i ng i n
Mash pee, "Cape Cod's I n d i a n Town," were req u i red t o prove thei r iden
tity. To esta b l i s h a lega l right to sue for lost l ands these citi zens of modern
Massachusetts were asked to demonstrate conti nuous tri bal ex istence
s i nce the seventeenth centu ry. Life in Mashpee had cha nged d ramati-
2 . The Native American ancestry of the isol ated and i n bred Ramapough
mounta i n people ("old names" . . . from "the ri bbed north end of/Jersey") i s de
batable. Some, l i ke the fol klorist David Cohen (1974), deny it al together, de
bunking the story of a Tuscarora offshoot. Others bel i eve that this m i xed popu
lation (formerly cal led jackson's Wh ites, and drawing on bl ack, Dutch, and
Engl ish roots) probably owes more to Del aware than to Tuscarora Indian blood .
Whatever i ts real h i storica l roots, the tribe as presently constituted is a l ivi ng
i m p u re prod uct.
3. " Natives," women, the poor : this book d iscusses the eth nographic con
struction of only the first group. In the dom inant ideological systems of the bour
geo is West they a re i n terrel ated , and a more systematic treatment than mine
wou l d bri ng th is out. For some begi n n i ngs see Duvignaud 1973; Alloula 1981;
Tri n h 1987; and Spivak 198 7 .
8 I NTRO DUCTI ON
cal l y, however, si nce the fi rst contacts between Engl ish Pi lgrims at Plym
outh and the Massachusett-speaking peoples of the region . Were the
p l a i ntiffs of 1 9 7 7 the "same" I nd i ans? Were they someth i ng more than a
col lection of ind ivid u a l s with varying degrees of Native American ances
try ? If they were d i fferent from the i r neigh bors, how was the i r "tribal"
difference man ifested ? During a long, wel l -publ icized trial scores of I n
d ians and whites testified about l i fe i n Mashpee. Professional h i storians,
anth ropologists, and soc iologists took the stand as expert witnesses. The
bitter story of N ew England I nd ians was told i n m i n ute deta i l and vehe
mently debated . In the confl ict of interpretations, concepts such as
"tri be," "cu l tu re," "identity," "ass i m i l ation ," "ethn icity," "po l itics," and
"co m m u n i ty" were themse l ves on trial . I sat through most of the forty
days of argu ment, l i stening and tak i ng notes.
It seemed to me that the tri a l - beyond its i m med iate pol itical
stakes-was a cruc i a l experiment in cross-cu ltural translation . Modern
Indians, who spoke in N ew England-accented Engl ish about the G reat
Spi rit, had to convi nce a wh ite Boston j u ry of their authenticity. The
translation process was fra ught with ambigu i ties, for a l l the c u l tu ra l
bou ndaries at issue seemed to b e b l u rred and shifting. T h e t r i a l raised
far-reach i n g question s about modes of cu ltu ra l i nterpretation, i m p l icit
models of wholeness, styles of d i stanci ng, stories of h i storica l deve lop
ment.
I began to see such q u estions as symptoms of a pervas ive postcolo
n i a l crisis of eth nographic authority. Wh i l e the crisis has been fe lt most
strongly by former l y hegemonic Western d i scou rses, the q uestions it
ra ises a re of global sign ificance . Who has the authority to speak for a
group's identity or authenticity ? What are the essential e lements and
bou ndaries of a cu lture ? How do self and other c l ash and converse in the
encounte rs of eth nography, travel , modern intereth n i c re lations? What
narrati ves of deve lopment, l oss, and i n novation can account for the pres
ent range of local oppos itional movements ? During the tri a l these q ues
tions assumed a more than theoretical u rgency.
My perspective i n the cou rtroom was an obl ique one. I had j ust
fi n i shed a Ph . D. thesis i n h istory with a strong i nterest i n the h i story of
the h u man sciences, particu larly c u ltural anthropo logy. At the time of the
trial I was rewriti ng my d i ssertation for publ ication. The thesis was a
biography of Mau rice Leenhardt, a m i ssionary and eth nographer i n
French N ew Caledonia a n d an eth nologist i n Paris (C l ifford 1 982a) . What
cou l d be farther from New England I nd ians ? The connections turned out
to be c lose and provocative .
T H E P U R E P R O D U C T S G O C R AZY 9
I n Melanesia Leen hardt was deeply i nvo l ved with tribal groups who
h ad experienced a co l o n i a l assa u l t as extreme as that i nfl icted i n Mas
sac h usetts. He was preoccupied with practical and theoretical prob lems
of c u ltural change, syncretism, conversion, and s u rviva l . L i ke many
American I nd ians the m i l itari l y defeated Kanaks of New Caledon ia had
"triba l " i n stitutions forced on them as a restrictive reservation syste m .
Both gro u ps wou l d m a ke strategic accom modations with these external
forms of government. N ative Americans and Melanesians wou ld s u rvive
periods of acute demogra p h i c and c u ltura l crisis, as wel l as periods of
cha nge and revi va l . Over the l ast h u nd red yea rs New Caledo n ia's Kanaks
h ave managed to find powerfu l , d isti nctive ways to l ive as Melanesians
in a n i n vasive world . It seemed to me that the Mash pee were strugg l i n g
toward a s i m i l a r goa l , reviving a n d i nventing ways t o l ive as I ndia ns i n
the twentieth centu ry.
Undoubted l y what I heard i n the New England cou rtroom i nflu
enced my sense of Melanesian identity, someth i n g I came to u nderstand
not as an arc h a i c s u rvival but as an ongoing process, po l itica l l y con
tested and h i storica l l y u nfi n i shed . I n my stud ies of Eu ropean eth no
graphi c i nstitutions I h ave c u l tivated a s i m i l a r attitude.
This book i s concerned with Western visions and practices . They are
show n , however, respond i n g to forces that cha l l enge the authority and
even the futu re identity of "the West." Modern ethnography appears i n
several forms, trad itional a n d i n novative . A s a n academ i c practice it can
not be separated from anth ropo logy. Seen more genera l ly, it i s s i m p l y
d i verse ways o f th i n ki n g a n d writi ng about c u lture from a standpoint of
part i c i pant observation . I n t h i s expanded sense a poet l i ke Wi l l iams is an
eth nogra pher. So are many of the people soc i a l scienti sts h ave ca l led
"native i nformants." U lti mate ly my topic is a pervasi ve cond ition of off
centered ness i n a world of d i sti nct mea n i n g systems, a state of being i n
c u l tu re w h i l e looking a t c u ltu re, a form o f personal a n d col lective self
fas h i o n i n g . T h i s p red icament- not l i m ited to schol a rs, writers, artists, or
i nte l l ectuals - responds to the twentieth centu ry's u n precedented overlay
of trad itions. A modern "eth nography" of conj u nctu res, constantly mov
i ng between c u ltures, does not, l i ke its Western alter ego "anthropo l ogy,"
asp i re to s u rvey the fu l l range of h u m a n divers ity or development. It is
perpetu a l l y d ispl aced, both regiona l ly focu sed and broad ly comparative,
a form both of dwe l l ing and of trave l in a world where the two experi
ences a re less and l ess d i sti nct.
10 I NTR O D U C T I O N
ence of " modern" prod ucts, med i a, and power can not be felt. An older
topography and experience of travel is exploded . One no longer leaves
home confident of find ing something rad i ca l l y new, another time or
space. D ifference is encountered in the adjoi n i ng neighborhood , the fa
m i l iar turns up at the ends of the ea rth . Th is d i s-"orientation" is reflected
throughout the book. For example twentieth-centu ry academic ethnog
raphy does not a ppear as a practice of i nterpreting d i stinct, whole ways
of l ife but i nstead as a series of s pecific d i a l ogues, i m positions, and i n
venti ons. "Cu ltura l " d i fference is no longer a stable, exotic otherness;
self-other relations are matters of power and rhetoric rather than of es
sence . A whole structure of expectations about authenticity in cu lture
and i n art is th rown i n doubt.
The new rel ations of eth nographic d i splacement were registered
with precoc ious c l a rity i n the writi ngs of Victor Sega len and Michel
Lei ris. Both wou ld h ave to u n learn the forms that once organized the
experience of travel i n a time when " home" and "abroad," "self" and
"other," "savage" and "c i v i l i zed" seemed more clearly opposed . The i r
writings betray a n u nease w i t h narratives o f escape a n d retu rn, o f i n itia
tion and conqu est. They do not c l a i m to know a distanced "exotic,'' to
bring back its secrets, to objective ly describe its landscapes, customs,
languages. Everywhere they go they register complex encou nters. In Se
ga len's words the new traveler expresses "not simply h i s vision, but
through an i n stanta neous, constant transfer, the echo of his presence."
C h i na becomes an a l legorical m i rror. Lei ris' fie ldwork in a "phantom
Africa" throws h i m back on a relentless se lf-eth nography-not auto
biography but an act of writi ng h i s existence in a present of memories,
d reams, pol itics, d a i l y l ife.
Twentieth-centu ry identities no longer presuppose conti nuous c u l
tu res or trad itions. Everywhere i nd ividuals a n d groups i mprov ise local
performa nces from (re)col lected pasts, d rawing on foreign media, sym
bo ls, and la nguages . Th is existence among fragments has often been por
trayed as a process of ru i n and c u ltura l decay, perhaps most eloquently
by C l aude Lev i-Strauss in Tristes tropiques ( 1 9 5 5 ) . In Levi -Strauss's global
visi on-one widely shared today-authentic h u man differences are d is
i ntegrating, d isa ppearing in an expansive commod ity cu lture to become,
at best, col lectible "art" o r "fo l klore." The great narrative of entropy and
l oss in Tristes tropiques expresses an i nesca pable, sad truth . B ut it i s too
neat, and it assumes a q uestionable E u rocentric position at the "end " of
a u n ified h u man h i story, gathering up, memoria l iz i ng the world's loca l
T H E P U R E P R O D U C T S G O C R AZY 15
4. For recent work on the h i stori ca l -pol itical i nvention of cultu res and tra
d i tions see, among others, Comaroff 1 985; G u ss 1 986; Handler 1 98 5 ; Hand ler
and L i nnekin 1 984; H obsbawm and Ranger 1 98 3 ; Taussig 1 980, 1 987; Wh is
nant 1 98 3 ; and Cantwe l l 1 984 . Fam i l iar approaches to "cultu re-contact," "syn
cretism," and "accu lturation" are pressed farther by the concepts of "interfer
ence" and " i n terreference" (fi sc her 1 98 6 : 2 1 9, 232; Baumga rten 1 982 : 1 54),
"transc u lturation" (Rama 1 98 2 ; Pratt 1 987), and " i nterc u l tural i n tertexts" (Ted
lock and Ted lock 1 98 5 ) .
16 I N T R O D UC T I O N
5 . T h e conti n ued tribal l ife o f Cal iforn ia I nd i ans is a case i n point. Even ,
most notorious of a l l , the genocidal "exti nction" of the Tasmanians now seems a
much less definitive "event." After systematic dec i mations, with the 1 876 death
of Trugani na, the l ast "pure" spec imen (playing a myth ic role s i m i lar to that of
lshi i n Cal iforn ia), the race was scientifica l l y dec lared dead. But Tasmanians did
survive and interma rried with aboriginals, wh ites, and Maori . In 1 978 a commit
tee of i n q u i ry reported between fou r and five thousand persons el igible to make
land claims i n Tasmania (Stocking 1 987 :283).
6. Research speci fica l l y on th i s issue is being conducted by U lf Han nerz
and his col leagues at the U n i versity of Stockho l m on "the world system of cul
ture." I n an early statement Han nerz confronts the wi despread assumption that
"cu ltu ra l diversity is wan i ng, and the same s i ngle mass culture w i l l soon be
T H E P U R E P R O D U C T S G O C R AZY 17
1. On Ethnographic Authority
THE 1 724 frontispiece of Father Lafitau 's Moeurs des sauvages ameri
qua ins portrays the ethnographer as a you n g woman sitti ng at a writi ng
ta ble amid a rtifacts from the New World and from c l assical G reece and
Egypt. The author is accompan ied by two cherubs who assist i n the task
of com parison and by the bearded figure of Ti me, who poi nts toward a
ta bleau representi n g the u lti mate sou rce of the truths issu i n g from the
writer's pen . The i mage toward which the you n g woman l ifts her gaze is
a ban k of c louds where Ada m , Eve, and the serpent appea r. Above them
sta nd the redeemed man and woman of the Apocal ypse, on either side
of a rad iant tri angle bearing the Hebrew script for Yahweh .
The fronti s p i ece for Ma l i nowski's Argonauts of the Western Pacific is
a photograph with the ca ption "A Ceremon i a l Act of the K u l a ." A she l l
neckl ace i s bei n g offered to a Trobriand c h i ef, who sta nds a t the door of
h i s dwel l i ng. Beh i n d the man presenting the nec klace is a row of six
bowing youths, one of them sou nd ing a con c h . A l l the figu res stand in
profi le, thei r attention apparently concentrated on the rite of excha nge,
a rea l event of Melanesian l i fe . B ut on c loser i n s pection one of the bow
i n g Trobrianders may be seen to be look i n g at the camera .
21
22 D I S CO U R S E S
Lafitau's a l l egory i s the less fam i l iar: h i s author transcri bes rather
than origi nates . U n l i ke Mal i nowsk i 's photo, the engrav i ng makes no ref
erence to eth nographi c experience-despite Lafitau's five years of re
searc h among the Mohawks, research that has earned h i m a respected
place among the fieldworkers of any generation . H i s account is pre
sented not as the p rod uct of fi rsthand observation but of writi ng, in a
crowded workshop. The frontispiece from Argonauts, l i ke a l l photo
graphs, asserts presence-that of the scene before the lens; it a l so sug
gests another presence-that of the eth nographer active l y com posing
th is fragment of Trobriand rea l ity. K u l a exchange, the su bject of Ma l i
nowski's book, has been made perfectly visible, centered i n the percep
tua l frame, wh i le a partic i pant's glance red i rects our attention to the ob
'
servational standpoi nt we share, as readers, with the eth nographer and
h is camera . The predomi nant mode of modern fieldwork authority is sig
naled: "You a re there . . . because I was there."
Th i s chapter traces the formation and breakup of eth nograph i c au
thority i n twentieth-centu ry soc i a l anthropology. It is not a com plete ac
cou nt, nor is it based on a fu l l y rea l i zed theory of eth nograph i c i nterpre
tation and textu a l ity. 1 Such a theory's contou rs are problematic, s i nce the
activity of cross-c u l tural representation is now more than usua l l y in q ues
tion . The present pred icament is l i n ked to the breakup and red i stribution
of colon i a l power in the decades after 1 950 and to the echoes of that
process in the rad ical cu ltura l theories of the 1 9 60s and 1 9 70s. After the
negritude movement's reversal of the E u ropean gaze, after anth ropo l ogy's
crise de conscience with respect to its l i beral status with i n the i m peria l
order, a n d now that the West can no longer present itse lf a s the u n iq ue
pu rveyor of anthropological knowledge about others, it has become nec
essa ry to i m agine a world of genera l ized ethnography. With expanded
com m u n i cation and i n tercu ltural i nfl uence, people i nterpret others, and
themselves, in a bewi ldering d i versity of idioms-a global condition of
caine ( 1 9 7 7) h ave cast rad ical doubt on the proced u res by w h i c h a l ien
h u man groups can be represented without proposi ng systematic, sharply
new methods or epistemologies . These stud i es suggest that wh i le eth no
gra p h i c writing can not enti re l y escape the red uctio n i st use of d i choto
m i es and essences, it can at least struggle self-consc iously to avoid por
traying a bstract, a h i storical "others ." It is more than ever c ruc i a l for
d i fferent peoples to form com p l ex concrete i mages of one a nother, as
wel l as of the rel ations h i ps of knowledge and power that con nect them;
but n o sovereign scientific method o r eth ical stance can guarantee the
truth of such i mages. They a re constituted-the critique of colo n i a l
modes o f representation h a s shown a t l east th i s much- i n spec i fic h i s
torical re lations of d o m i nance and d i a logue.
The experiments in eth nogra p h i c writ i n g su rveyed in th i s chapter do
not fal l i nto a c lear reform i st d i rection or evo l ution . They a re ad hoc
i nventions and can not be see n in terms of a systematic an alys i s of post
co lon i a l representation . They a re perhaps best u nderstood as com po
nents of that "too l kit" of engaged theory recentl y recommended by G i l les
Deleuze and M i c he l Foucau lt: "The notion of theory as a tool kit means
(i) The theory to be constructed i s not a system but an i n stru ment, a log ic
of the spec ific ity of power rel ations and the struggles a round the m ; ( i i )
That th i s i nvestigation c a n o n l y b e carried o u t step b y step on the bas i s
o f reflection (wh ich w i l l necessa ri l y b e h i storical i n some o f i t s aspects)
on give n s i tuations" ( Foucau lt 1 980 : 1 45 ; see a l so 1 9 77 : 208) . We may
contri bute to a practical reflection on c ross-c u ltural representation by u n
derta k i n g a n i nventory of the better, though i m perfect, approaches c u r
rently at hand . Of these, ethnographi c fieldwork rem a i ns a n u n usua l l y
2 . " Heteroglossia" assu mes that " l a nguages d o not exclude each other, but
rather i nte rsect with each other in many d i fferent ways (the U krai n i a n language,
the language of the epic poem, of early Symbolism, of the student, of a particular
generation of ch i l d ren, of the run-of-the-m i l l i nte l l ectu a l , of the N ietzschean,
and so on). It m i ght even seem that the very word ' l an guage' loses all mea n i ng
in th i s process-for a pparently there i s no single plane on wh ich a l l these 'lan
guages' might be j u xtaposed to one another" (29 1 ) . What is said of languages
appl ies equ a l l y to "cultures" and "subcu ltures." See a l so Vo losi nov (Bakhti n ?)
1 95 3 : 29 1 , esp. chaps. 1 -3 ; and Todorov 1 98 1 :88-93 .
24 D I S C O UR S E S
sensitive method . Part i ci pant observation obl iges its practiti oners to ex
perience, at a bod i l y as wel l as an i nte l l ectu a l l eve l , the vic issitudes of
translation . It req u i res ard uous language learn i ng, some degree of d i rect
i nvolvement and conversation, and often a derangement of personal and
cu ltura l expectat ions. There is, of cou rse, a myth of fie ldwork. The actua l
experience, hedged around with conti ngenc ies, rare l y l ives u p to the
idea l ; but as a means for prod u c i n g knowledge from an i ntense, i ntersu b
j ective engagement, the practice of ethnography reta i n s a certa i n exem
plary status. Moreover, if fieldwork has for a time been identified with a
u n iquely Western d i sc i pl i ne and a tota l i z i n g science of "anthropology,"
these assoc iations are not necessari l y permanent. Cu rrent styles of c u l
tu ra l description are h i storica l l y l i m i ted a n d are u ndergo i ng i m porta nt
metamorphoses .
The deve lopment of eth nographic science can not u lti mate l y be
understood i n isolation from more genera l pol itica l -epistemologica l de
bates about writi ng and the representation of otherness. In th i s d i scus
sion, however, I have mai nta i ned a focus on professiona l anthropol ogy,
and spec ifica l ly on ethnography s i nce 1 95 0 . 3 The cu rrent crisi s-or bet
ter, d ispers ion-of eth nographic authority makes it possible to mark off
a rough period, bou nded by the yea rs 1 900 and 1 960, d u r i ng which a
new conception of field research esta b l i shed itse lf as the norm for Eu ro
pea n and .American anthropology. I ntens i ve fiel dwork, pu rsued by
u n i versity-tra i ned spec i a l i sts, emerged as a priv i l eged , sanctioned sou rce
of data about exotic peoples. It is not a q uestion here of the dom i nance
of a single research method . " I ntensive" eth nography has been variously
defi ned . (Co m pa re Griaule 1 95 7 with Mal i nowski 1 92 2 :chap. 1 ) . More
over, the hegemony of fieldwork was establ i shed earl ier and more thor
ough l y i n the U n ited States and i n England than i n France. The earl y
examples of Franz Boas and the Torres Stra its exped ition were matched
o n l y be l ated l y by the fou nd i ng of the l n stitut d ' Ethnologie i n 1 92 5 and
3. I have not attempted to survey new styles of eth nograph ic writing that
may be origi nati ng outside the West. As Edward Said, Pau l i n Hountondj i , and
others have shown, a considerable work of ideological "cleari ng," oppositional
critical work, remains; and it is to this that non-Western i ntel lectua ls have been
devoting a great part of thei r energies. My discussion rema i ns i nside, but at the
experimental bounda ries of, a rea l ist cultural sc ience elaborated i n the Occ ident.
Moreover, it does not consider as areas of i n novation the "para-eth nographic"
gen res of ora l history, the nonfiction novel, the "new journ a l ism," travel l i tera
ture, and the documentary fi l m .
O N E T H N O G R A P H I C A UT H O R I T Y 25
Stocking has persuasive l y argued that the repl acement of Wi l son by Boas
"marks the beg i n n i ng of an i m porta nt phase in the deve l opment of B ritish
ethnographic method : the col l ection of data by academ ica l l y tra i ned nat
ural sc ientists defi n i ng themse l ves as anth ropo logi sts, and i nvo lved a l so
i n the form u lation and eva l uation of anthropological theory" ( 1 983 : 74) .
With Boas' ea rly su rvey work and the emergence i n the 1 890s of other
natu ra l -sc ientist fie l dworkers such as A. C. Haddon and Ba ldwi n Spen
cer, the move toward professional eth nography was u nder way. The
Torres Straits exped ition of 1 899 may be seen as a c u l m i nation of the
work of th i s " i ntermed iate ge neration," as Stoc k i n g ca l l s them . The new
style of resea rc h was c learly d i fferent from that of m issionaries and other
amateu rs in the field, and part of a genera l trend si nce Tylor "to draw
more c l osel y together the empi rical and theoretical components of an
th ropological i n q u i ry " ( 1 983 : 72 ) .
T h e establ ish ment o f i ntensive partic i pant observation as a profes
sional norm, however, wou l d have to await the Ma l i nowskian cohort.
The " i ntermed iate generation" of eth nographers did not typica l l y l ive i n
a s i ngle loca le for a year o r more, mastering the vernac u l a r and u nder
goi ng a personal learn i n g experience comparable to an i n itiation . They
d id not speak as cu ltura l i ns iders but reta i ned the natural scienti st's doc
umentary, observationa l stance. The principal exception before the th i rd
decade of the centu ry, Fra n k Hami l ton C u s h i ng, remai ned an isolated
i n sta nce . As Curtis H i n s ley has suggested, Cush i ng's long fi rsthand study
of the Zu n i s , h i s q u asi-absorption i nto their way of l ife, "raised problems
of veri ficati on and accou nta b i l ity . . . A comm u n ity of scientific anthro
pol ogy on the model of other sciences req u i red a common l anguage of
d i scou rse, channels of regu lar com m u n ication, and at least m i n i ma l con
sensus on j udging method" ( 1 983 : 66) . Cush i ng's i ntuitive, excessively
personal u nderstand i ng of the Zu n i cou ld not confer scientific authority.
Schematica l ly put, before the l ate n i neteenth centu ry the ethnogra
pher and the anthropologist, the describer-tra nsl ator of custom and the
b u i l der of genera l theories about humanity, were d i sti nct. (A clear sense
of the tens ion between eth nography and anthropol ogy is i mporta nt i n
correctly perce iving the recent, and perhaps temporary, conflation of the
two projects . ) Ma l i nowski gives us the i mage of the new "anth ropolo
gi st" -squatt i ng by the campfi re; look i n g, l iste n i ng, and questioni ng; re
cord i ng and i nterpreting Trobriand l ife. The l i terary charter of th i s new
authority i s the fi rst chapter of Argonauts, with its prom i nently d isplayed
photographs of the eth nographer's tent pitc hed among Ki riwi n i a n dwe l l
i ngs . T h e sha rpest methodological j u stification for the new mode is to be
ON ETH N O G RA P H I C AUTH O R ITY 29
fou nd i n Radel iffe- B rown 's Andaman Islanders ( 1 922) . The two books
were p u b l i shed with i n a year of each other. And a lthough the i r authors
developed q u ite d i fferent fieldwork sty les a nd visions of cu ltural science,
both early texts p rovide expl icit arguments for the spec i a l authority of the
eth nographer-a nthropo l ogist.
Ma l i nows k i , as his notes for the cruc i a l i n troduction to Argonauts
show, was greatly concerned w ith the rhetorical problem of convi n c i n g
h i s readers that t h e facts he w a s putti ng before t h e m were objective l y
acq u i red, n o t s u bjective c reations (Stock i n g 1 983 : 1 0 5 ) . Moreover, he
was fu l l y aware that "in Ethnography, the d i stance i s often enormous be
tween the brute materi a l of i nformation-as it is presented to the student
in h i s own observations, in native statement, in the kaleidoscope of tribal
l i fe-and the fi n a l a uthoritative presentation of the res u l ts" (Ma l i nowski
1 92 2 : 3 -4 ) . Stoc k i ng has n ice l y anal yzed the various l iterary a rtifices of
Argonauts ( its engag i n g narrati ve constructs, u se of the active vo i ce i n
the "eth nogra p h i c p resent," i l l us i ve d ramatizations of the author's partic
i pation i n scenes of Trobriand l ife) , tec h n i ques Ma l i nowsk i used so that
" h i s own experience of the natives' experience [ m ight] become the read
er's experience as wel l " (Stock i n g 1 983 : 1 06; see a l so Payne 1 98 1 , and
Chapter 3). The problems of verification and accou ntabi l ity that had rel
egated C u s h i n g t o t h e professional marg i n were very m u c h on Ma l i
nowsk i 's m i nd . T h i s a n x i ety i s reflected i n the mass o f data conta i ned i n
Argonauts, i ts s i xty-s i x photogra p h i c p l ates, the now rather c u rious
"Chronological L i st of Kula Events Witnessed by the Writer," the constant
a l ternation between i m personal descr i ption of typical behavior and state
ments on the o rder of " I wi tnessed . . ." a nd "Our party, sai l i ng from the
North . . . "
Argona uts i s a com plex narrati ve s i m u ltaneously of Trobriand l ife
and ethnograph i c fiel dwork. It is archetypical of the generation of eth
nogra p h i es that successfu l ly esta b l i shed the sc ientifi c va l id ity of partici
pant observati o n . The story of research bu i l t i nto Argonauts, i nto Mead's
popu l a r work on Samoa, and i nto We the Tikopia became an i m p l i c i t
narrati ve u nderl y i ng a l l professional reports on exotic worlds. If su bse
q uent eth nogra p h ies d i d not need to i n c l ude developed fieldwork ac
cou nts, it was because s u c h accou nts were assumed , once a statement
was made on the order of, for example, Godfrey Lienhardt's s i ngle sen
te nce at the beg i n n i ng of Divinity and Experience ( 1 9 6 1 :vi i ) : "Th i s book
is based u po n two yea rs' work among the D i n ka, spread over the period
of 1 94 7-1 9 5 0 ."
I n the 1 920s the new fieldworker-theorist brought to comp l etion a
30 D I S CO U R S E S
" Partic i pant observation" serves as shorthand for a conti nuous tacking
between the " i n side" and "outside" of events : on the one hand graspi ng
the sen se of spec ific occu rrences and gestu res empathetica l l y, on the
other steppi ng back to situate these mea n i ngs in wider contexts . Partic
u l ar events thus acq u i re deeper or more ge neral sign ificance, structu ra l
ru les, and so forth . U nderstood l itera l l y, partic i pant observation is a par
adoxica l , m i slead i n g fo rm u la, but it may be taken seriou s l y if reformu
l ated i n hermeneutic terms as a d i a l ectic of experience and interpreta
tion . T h i s is how the method's most persuasive recent defenders have
restated it, i n the trad ition that l eads from Wi l he l m D i l they, via Max We
ber, to "symbo l s and mea n i ngs" anthropologists l i ke C l i fford Geertz . Ex
per ience and i nterpretation have, however, been accorded d i fferent em
phases when presented as c l a i ms to authority. In recent years there has
been a marked shift of emphasis from the former to the l atter. Th i s section
and the one that fol l ows wi l l ex p lore the rather d ifferent c l a i m s of expe
rience and i n terpretation as we l l as the i r evolving i nterre l ation .
The growing presti ge of the fieldworker-theorist down played (with
out e l i m i n ating) a n u mber of processes and med iators that had figu red
more prom i nently in previous methods. We have seen how l a nguage
mastery was defi ned as a l evel of use adeq uate for amassing a d iscrete
body of data in a l i m ited period of time. The tasks of textual transcri ption
and translation, along with the cru c i a l d i a logical role of i nterpreters and
"privi leged i nformants," were relegated to a secondary, sometimes even
despised status. Fieldwork was centered in the experience of the parti ci
pant-observing scholar. A sharp i mage, or narrative, made its appear
ance-that of an outsider entering a c u l ture, undergoing a k i nd of i n i
tiation lead ing to "ra pport" ( m i n i ma l l y acceptance and empathy, but
usua l l y i mp l y i n g someth i n g akin to friendsh i p) . Out of th is experi ence
O N ETHN O G R A P H I C AUTH O R ITY 35
6. The concept i s someti mes too read i l y associ ated with i ntuition or em pa
thy, but as a description of eth nograph i c knowledge Verstehen properly involves
a critique of e m pathetic experience. The exact mea n i ng of the term is a matter of
debate among D i l they scho lars (Makreel 1 9 7 5 : 6-7) .
36 DISCOURSES
claims to represen t d i screte, mean i n gfu l worl ds. Eth nography is the i n ter-
l
pretation of c u l tu res.
A second key step i n R icoeu r's analysis is h i s account of the process
by w h i c h "d iscou rse" becomes text. D i scourse, in E m i l e Benve n i ste's
c l assic d i scussion ( 1 9 7 1 : 2 1 7-230), is a mode of comm u n ication i n
which the presence o f the spea k i n g subject and o f the i m med i ate s itua
tion of com m u n ication are i ntri nsic. D i scou rse i s m arked by pronouns
(pronou nced or i m p l ied) I and you, and by deictic i nd i cators-this, that,
now, and so o n -that s i g n a l the present i n stance of d i scou rse rather than
someth i ng beyond it. D i scou rse does not transcend the specific occas ion
i n which a s u bject appropriates the resou rces of l a n guage in order to
com m u n i cate d i a logica l l y. Ricoe u r argues that d i scourse can not be i nter
preted in the open-ended , potenti a l l y pu b l ic way in which a text i s
" read ." To u nderstand d i scou rse "you h a d t o have been there," i n the
presence of the d i scou rs i n g su bj ect. For d i scou rse to become text it m ust
become "autonomous," in Ricoeu r's terms, separated from a spec ific ut
terance and author i a l i n tenti o n . I nterpretation i s not i nterlocuti o n . I t does
not depend o n be i n g in the presence of a speaker.
The rel evance of t h i s d i sti nction for eth nography is perhaps too ob
v i o u s . The eth nographer a l ways u lti mate l y departs, tak i n g away texts for
l ater i n terpretation (and among those "texts" taken away we can i nc l ude
memories-events patterned , s i m p l i fied, stri pped of i m med i ate context
in order to be i n terpreted in l ater reconstruction and portraya l ) . The text,
u n l i ke 9 i�ourse, can trave l . If much eth n ographic writi ng is prod uced i n
the fiel d , actu a l composition o f an eth nography i s done el sewhere . Data
!
consti tuted i n d i sc u rs i ve, d i a l ogica cond itions are appropri ated o n l y i n
textua l i zed forms. Researc h events a n d encounters become fie l d notes .
Experiences become narratives, mea n i n gfu l occ urrences, o r exam ples.
Th i s tra n s l ation of the research experience i nto a textual corpus
sepa rate from its d i sc u rs i ve occas ions of prod uction has i m portant con
seq uences for eth n ogra p h i c authority. The data thus reform u l ated need
no longer be u nderstood as the com m u n ication of spec ific persons. An
i nformant's exp l anati o n or desc r i ption of custom need not be cast in a
form that i n c l udes the message "so and so said th i s ." A textual ized ritu a l
o r event i s no lon ger c lose l y l i n ked t o t h e prod uction o f t h a t event by
spec ific actors. I n stead these texts become evidences of an englob i n g
context, a "cu l tu ra l " rea l ity. Moreover, as specific authors a n d actors a re
severed from thei r prod uctions, a genera l ized "author" must be i n vented
to accou nt for the world or context with i n w h i c h the texts are fictiona l l y
40 D I S C O UR S E S
are," he writes, "no ' neutra l ' words and forms-words and forms that
can belong to 'no one' ; l anguage has been complete l y taken over, shot
through with i ntentions and accents ." The words of ethnographic writing,
then, can not be construed as monologica l , as the authoritative statement
about, or i nterpretation of, a n abstracted , textua l i zed rea l ity. The lan
guage of eth nography i s shot through with other subjectivities and spe
c i fic contextual ove rtones, for a l l language, in Bakht i n 's v iew, is "a con
c rete heterog l ot conception of the world" ( 1 953 : 2 9 3 ) .
Forms o f eth nographic writ i n g that present themselves i n a "d i sc u r
sive" mode tend to be concerned with the representation of resea rc h
contexts and s i tuations of i nterlocut i o n . Thus a book l i ke Pa u l Rab i n ow's
Reflections on Fieldwork in Morocco ( 1 977) is concerned with the rep
resentation of a spec ific resea rch s ituation (a series of constra i n i ng ti mes
and pl aces) and ( i n somewhat fictional ized form) a seq uence of i nd ivid
ual i nterloc utors. I ndeed an enti re new su bgenre of "fie ldwork accounts"
(of w h i c h Ra b i n ow's is one of the most trenchant) may be s ituated with i n
the d iscu rsive pa rad i gm o f eth nograph ic writing. Jea n ne Favret-Saada's
Les mots, Ia mort, les sorts ( 1 977) is an i n s i stent, self-conscious experi
ment with eth nography i n a d i sc u rsive mode . 7 She argues that the event
of i nterloc ution a l ways assigns to the eth nographer a spec ific pos ition i n
a web o f i ntersu bject i ve re l ations. There i s n o neutra l standpo i nt i n the
power- laden fie l d of d i sc u rsive position i ngs, in a sh ifting matrix of rela
tionsh i ps, of / 's and you 's .
A n u m ber o f recent works h ave chosen t o present the d i scurs i ve
processes of eth nography i n the form of a d i a l ogue between two i nd i vid
uals. Ca m i l l e Lacoste- Dujard i n 's Dialogue des femmes en ethnologie
( 1 977), jean-Pa u l D u mont's The Headman and I ( 1 978), and Marjorie
Shostak's Nisa : The Life and Words of a !Kung Woman ( 1 98 1 ) are note
worthy examples. The d i a l ogical mode is advocated with considerable
soph i stication in two other texts . The fi rst, Kev i n Dwyer's theoretica l re
flections on the "d i a logic of eth nology" spri ngs from a series of interviews
w i th a key i n formant and j ustifies Dwyer's dec i sion to structu re h i s eth
nography i ri the form of a rather I itera l record of these exchanges ( 1 97 7 ,
1 9 79, 1 98 2 ) . The second work i s Vi ncent Crapanzano's more com plex
Tuhami: Portrait of a Moroccan, another account of a series of i nterv iews
7. Favret-Saada's book is translated as Deadly Words (198 1); see esp. chap.
2 . Her experience has been rewritten at a nother fictional level i n Favret-Saada
and Contreras 198 1 .
O N E T HN O G R A P H I C A U T H O R I T Y 43
that rejects any sharp sepa rat i o n of an i nterpret i n g self from a textua l i zed
other ( 1 980; see a l so 1 9 7 7 ) . Both Dwyer and Crapanzano l ocate eth nog
raphy in a process of d i a logue where i nterlocutors active l y negoti ate a
shared v i s i o n of rea l i ty. Crapanzano a rgues that th i s mutua l construction
m ust be at work in any ethnograph i c encou nter, but that partici pants tend
to assume that they have s i m pl y acq u iesced to the rea l ity of their coun
terpa rt . Thus, for example, the ethnographer of the Trobriand I s l anders
does not openly co ncoct a version of rea l ity in col l aboration with h i s
i n forma nts b u t rather i nterprets t h e "Trobriand po i n t o f v i ew." Crapan
zano and Dwyer offer soph i sti cated attem pts to break with th i s l iterary
hermeneutical convention . In the process the eth nographer's authority as
narrator and i n terpreter i s a l tered . Dwyer proposes a hermeneutics of
"vu l nera b i l i ty," stres s i n g the ruptu res of fiel dwork, the d ivi ded pos ition
and i m pe rfect control of the eth nographer. Both Cra pa nzano and Dwyer
seek to represent the resea rch experience in ways that tear open the tex
tua l i zed fabric of the other, and th u s a l so of the i nterpret i n g self.8 (Here
etymo l ogies a re evocative : the word text. is re l ated , as is we l l known, to
weavi ng, vulnerability to ren d i n g or wou n d i ng, in t h i s i n stance the open
i n g up of a c l osed authority. )
The model of d i a l ogue bri ngs to pro m i nence prec i se l y those d i sc u r
s i ve- c i rcu mstant i a l and i n tersu bject i ve--:;elements that R i coeur had to
exc l ude from h i s mode l of the text. B ut if i n terpretive a uthority is based
on the exc l usion of d i a l ogue, the reverse is a l so tru e : a p u rely d i a l ogical
a uthority wou l d repress the i nesca pable fact of textu a l i zation . Wh i l e eth
nograph ies cast as encou nters between two i n d iv i d u a l s may successfu l l y
d ramatize the i ntersu bj ective give-and-take of fiel dwork and i n trod uce a
counterpo i nt of authori a l vo ices, they rema i n representations of d i a
logue. As texts they may not be d i a l ogical i n structu re, for as Steven Tyler
( 1 98 1 ) poi nts out, a lthough Soc rates appears as a decentered partic i pant
in his encounters, Pl ato reta i n s fu l l contro l of the d i a l ogue. Th i s d i s p l ace
ment but not e l i m i n ation of monological a uthority is characteristic of any
approach that portrays the eth nogra pher as a d i screte cha racter i n the
fiel dwork narrative. Mo reover, there i s a freq uent tendency in fictions of
d i a logue for the eth nogra pher's counterpart to appear as a representative
of h i s or her c u l tu re-a type, i n the l a n guage of trad itional rea l ism
through wh ich genera l soc i a l processes are revea led . 9 Such a portraya l
re i nstates the synecdoc h i c i nterpretive a uthority by which the ethnogra
pher reads text in re lation to context, thereby constituti ng a mea n i ngfu l
"other" wor l d . If it is d i ffi c u l t for d i a l ogical portraya ls to escape typify i n g
proced u res, they can, t o a s i gn i ficant degree, res i st t h e pu l l towa rd a u
thoritative representation o f t h e other. T h i s depends on the i r a b i l i ty fic
tion a l l y to m a i nta i n the stra ngeness of the other voice and to hold in view
the spec ific conti n gencies of the exchange.
To say that a n eth nography i s com posed of d i scou rses and that its d i ffer
ent com ponents a re d i a logica l l y re l ated is not to say that its textua l form
shou ld be that of a l i teral d i a logue. I ndeed as Crapanzano recogn i zes i n
Tuhami, a t h i rd parti c i pa n t, rea l o r i magi ned, m u st fu nction a s med i ator
i n any encou nter between two i nd i v i d u a l s ( 1 980 : 1 4 7-1 5 1 ) . The fictiona l
d i a logue is i n fact a condensation, a s i m p l ified representation of complex
m u l tivoc a l processes. An a l tern ative way of representing th i s d i scurs ive
complexity is to u nderstand the overa l l cou rse of the research as an on
goi ng negoti ation . The case of Marcel G r i a u le and the Dogon i s wel l
known a nd part i c u l arly clear-c ut. G r i a u l e's account of h i s i nstruction
in Dogon cosmological w i sdom, Die u d'eau ( 1 948a), was an early exer
c i se in d i a l ogical eth nograph i c na rration . Beyond th i s spec ific i n ter
locutory occas ion, however, a more com plex process was at work, for
it is apparent that the content and t i m i n g of the G r i a u le team 's long
te rm researc h , spa n n i ng decades, was c lose l y monitored and sign ifi
cantly shaped by Dogon tri bal authorities (see my d i scussion in Chap
ter 2 ) . T h i s is no longer news . Many eth nogra phers have commented
on the ways, both subtle and b l atant, i n which the i r research was
d i rected or c i rcu mscri bed by the i r i nformants. In h i s provocat ive d i scus-
9. On rea l ist "types" see Lukacs 1 964, pass i m . The tendency to transform
an i ndividual i nto a c u l tu ra l enunciator may be observed in Marcel G riau le's
Dieu d'eau ( 1 948a). It occ u rs a mbivalently i n Shostak's Nisa ( 1 98 1 ) . For a d is
cussion of th i s ambivalence and of the book's resu lting discursive complexity see
C l i fford 1 986b : 1 03-1 09 .
O N ETH N O G R A P H I C AUTH O R ITY 45
1 0 . For a study of this mode of textual prod uction see C l i fford 1 980a . See
a l so in t h i s context Fontana 1 9 75, the i ntrod uction to Fra n k Russe l l , The Pima
Indians, on the book's h idden coauthor, the Papago Indian jose Lewis; Lei ri s
1 948 d i sc usses col l aboration as coauthors h i p, as does Lewis 1 9 7 3 . F o r a
forwa rd-looking defense of Boas' emphasis on vernacu lar texts and h i s co l labo
ration with H u nt see Goldman 1 980.
46 D I S C O UR S E S
turn to the v i l l age at n i ght," descri ptions of bel iefs i n wh i c h the writer
assumes i n effect the voice of c u l tu re .
A t t h i s "c u l tu ra l " l evel eth nographers aspi re t o a F l a u bertian o m n i
science t h a t moves free ly th roughout a world of i n d i genous subjects. Be
neath the su rface, though, the i r texts a re more u n r u l y and d i scordant.
Victor Tu rner's work prov ides a te l l i ng case i n poi nt, worth i nvesti gat i n g
more c lose l y as an exa m p l e o f t h e i nterp l ay o f monophon ic and po l y
phonic exposi ti o n . Tu rner's eth nograph ies offer s u perbly com p l ex por
traya l s of Ndembu ritu a l symbo l s a n d be l iefs ; and he has provided too
an u n usua l l y expl i c i t g l i m pse beh i n d the scenes . I n the m idst of the es
says col lected i n The Forest of Symbols, h i s th i rd book on the Ndembu,
Tu rner offers a portra it of his best i nformant, "Muchona the Hornet, I n
terpreter of Re l i gion" ( 1 9 6 7 : 1 3 1-1 50) . Muchona, a ritua l heal er, and Tu r
ner a re d rawn together by thei r shared i nterest i n trad itional symbols,
etymologies, and esoteric mea n i ngs . They a re both " i nte l l ectu a l s," pas
sion ate i nterpreters of the n u a nces and depth s of custom ; both are u p
rooted scho l a rs s h a r i n g "the quench less th i rst for objective knowledge."
Tu rner compares Muchona to a u n i vers i ty don; h i s account of the i r co l
laboration i n c l udes more than pass i n g h i nts of a strong psycho logic a l
doubl i n g .
There is, however, a th i rd p resent i n the i r d i a l ogue, Wi ndson Kash
i na kaj i , a Ndembu sen ior teacher at the l ocal m ission schoo l . He brought
Muchona and Tu rner together and shares the i r pass i o n for the i n terpre
tation of customary re l i g i o n . T h rough h i s b i b l ical ed ucation he "acq u i red
a fl a i r for e l ucidating knotty q u estions." N ew l y skeptical of Ch ristian
dogma a n d m i ss ionary priv i l eges, he i s l oo k i n g sympathetica l l y at pagan
re l igion . Kash i nakaj i , Tu rner te l l s us, "spanned the c u l tural d i stance be
tween Muchona and myse lf, tra nsform i n g the l i ttle doctor's tec h n ical j a r
gon and salty vi l l age argot i nto a prose I cou ld better grasp ." The three
i nte l l ectua l s soon "sett led down i n to a sort of d a i l y sem i n ar on rel i gion ."
Tu rner's acco u n ts of t h i s sem i n a r a re sty l ized : "eight months of exh i l a rat
i n g q u i c kfi re ta l k among the th ree of us, m a i n l y about Ndembu ritual ."
They revea l an extraord i n a ry ethnogra p h i c "co l l oq uy" ; but s i g n i ficantly
Tu rner does not make h is th ree-way co l l aboration the crux of his essay.
Rather he focuses on Muchona, thus tra n sform i n g trialogue i nto d i a logue
and flatten i ng a com plex prod uctive rel ation i n to the " portrait" of an " i n
formant." (Th i s red uction was i n some degree req u i red by the format of
the book i n w h i c h the essay fi rst a ppea red , J oseph Casagrande's i m por-
ON ETHNO G R A P H I C AUTH O R I TY 49
1 3 . For a "group dynam ics" approach to eth nography see Yan nopoulos and
Martin 1 9 78 . For an ethnography expl icitly based on native "sem i n a rs" see Jones
and Kan ner 1 9 76.
1 4 . Favret-Saada's use of d i a l ect and ita l i c type i n Les mots, I a mort, les sorts
( 1 9 7 7) is one solution among many to a problem that has long preoccupied re
al i st nove l i sts.
50 D I S C O UR S E S
On another occasion ta l k tu rned to the nets set for salmon trout i n the
lake. The nets were becom i ng black, possibly with some organic
growth , and tended to rot eas i l y. Pa Fen uatara then to ld a story to the
crowd assembled i n the house about how, out on the lake with his nets
one time, he felt a spirit goi n g among the net and making it soft . When
he held the net up he found it s l i my. The spirit had been at work. I
as ked h i m then if this was a trad itional piece of knowledge that spi rits
were responsible for the deterioration of the nets . He answered , "No,
my own thought." Then he added with a laugh, "My own piece of
trad itional knowledge." (Casagrande 1 960: 1 7-18)
One i n c reas i n g l y common way to man ifest the co l l aborative prod uction
of ethnograph i c knowledge i s to quote reg u l arly and at length from i n
form ants. ( A stri k i n g example i s We Eat the Mines, the Mines Eat Us
( 1 979) by J u ne Nash . ) B u t such a tactic o n l y beg i n s to break up mono
phon i c authority. Quotations are always staged by the quater and tend
to serve mere l y as exam p l es o r confi rm i ng testi monies. Looking beyond
q u otation, one m ight i magine a more rad ical po l yphony that wou l d "do
the natives and the eth nographer in d i fferent vo ices " ; but t h i s too wou l d
o n l y d i splace eth n ographic authority, sti l l confi rm i ng the fi nal vi rtuoso
orchestrat ion by a s i ngle author of a l l the d i scou rses in h i s o r her text . I n
t h i s sense Bakht i n 's po l yphony, too narrowly identified with the nove l , i s
a domesti cated heterogloss i a . Ethnograph i c d i scou rses are not, i n any
ON E T HN O G R A P H I C A U T H O R I T Y 51
event, the speec hes of i n vented c haracters . I nfo rma nts a re spec ific i n d i
v i d u a l s with rea l proper names-n a mes that c a n b e cited, i n a l tered form
when tact req u i res . I nforma nts' i nte ntions a re overdeterm i ned, the i r
words po l i tica l l y and metapho rica l l y com p l ex . I f accorded an autono
mous textu a l space, transcribed at suffic ient length , i n d i genous state
ments make sen se in terms d i fferent from those of the arrangi ng eth nog
rapher. Ethnography is i n vaded by heterogloss i a .
T h i s poss i b i l i ty suggests a n a l tern ate textu a l strategy, a utopia o f p l u
r a l authors h i p that accords t o co l l aborators n o t merely t h e status o f i n
dependent e n u n c i ators but that of writers . As a fo rm of authority it m u st
sti l l be considered utopian for two reaso n s . F i rst, the few recent experi
ments with m u l t i p l e-author works appear to req u i re, as a n i n stigat i n g
force, the research i n terest o f an eth nographer w h o i n t h e end assumes
an executive, ed itori a l pos ition . The authoritative sta nce of "gi ving
voi ce" to the other i s not fu l l y transcended . Secon d , the very idea of
p l u ra l authors h i p c h a l lenges a deep Western identifi cation of any text's
order w i th the i ntention of a s i ng l e author. If t h i s identification was l ess
strong when Lafita u wrote h i s Moeurs des sauvages ameriquains, and if
recent criticism has t h rown it i nto q uestion, i t i s sti l l a potent constra i nt
on eth n ogra p h i c writ i n g . Nonethel ess, there a re signs of movement i n
th i s domai n . Anth ropologi sts w i l l i n c reas i ngly have to share the i r texts,
and someti mes thei r title pages, with those i n d i genous col l aborators fo r
whom the term informants is no longer adeq uate, if it ever was .
Ra l p h B u l mer and l a n Maj nep's Birds of My Kalam Country ( 1 9 7 7)
is an i m po rtant prototype . (Sepa rate typefaces d i sti ngu ish the j u xtaposed
contri butions of eth nographer and New G u i nean, co l l abo rators for more
than a decade . ) Even more s i g n i ficant is the co l l ective l y prod u ced 1 9 74
study Piman Shamanism and Staying Sickness (Ka :cim Mumkidag),
w h i c h l i sts on i ts title page, without d i sti nction (though not, it may be
noted , i n a l phabetical o rder) : Don a l d M. B a h r, anthropo l ogist; j u a n G re
gorio, shaman ; Dav i d I . Lopez, i n terpreter; and Al bert Alva rez, ed i tor.
Th ree of the fou r a re Pa pago I nd ians, and the book is consc ious l y de
signed "to tra n sfe r to a shaman as many as possi b l e of the functions nor
m a l l y assoc i ated with authors h i p . These i n c l ude the se lection of an ex
pos ito ry style, the d u ty to make i n terpretations and ex planations, and the
right to j udge w h i c h th i ngs a re i m portant and w h i c h a re not" (p. 7 ) . B a h r,
the i n itiator and o rga n i zer of the p roject, opts to share authority as much
as poss i b l e . G regorio, the shaman, appears as the pri nc i pa l sou rce of the
"theory of d i sease" that i s transcri bed and transl ated , at two sepa rate
52 D I S CO U R S E S
l evels, by Lopez and A l varez. G regorio's vernacu lar texts i n c l ude com
pressed , often gnom ic expl anations, which are themselves i nterpreted
and contextua l i zed by Bah r's separate com mentary. The book is u n us u a l
i n i t s textu a l enactment o f t h e i nterpretation o f i nterpretations.
I n Piman Sha manism the transition from i nd ividual enu nciations to
cu ltura l genera l izations i s always v i s i b le i n the separation of G regori o's
and Bah r's vo ices . The authority of Lopez , less visi ble, is a k i n to that of
Windson Kas h i nakaj i in Tu rner's work . H i s b i l i ngual fluency guides Bahr
through the s u btleties of G regorio's l a nguage, th us perm itti ng the shaman
"to speak at length on theoretical topics." Neither Lopez nor Alvarez a p
pears as a spec ific voice i n the text, and thei r contribution to the ethnog
raphy rem a i n s l arge l y i nv i s i b l e to a l l but q u a l ified Pa pagos, able to ga uge
the accu racy of the transl ated texts and the vernac u l a r nuance of Bah r's
i nterpretations. A l va rez' a uthority i n heres i n the fact that Piman Shaman
ism is a book d i rected at separate aud iences . For most readers foc u s i n g
on t h e tra n s l ations and expla nations t h e texts pri nted i n P i m a n wi l l b e of
l i ttle or no i nterest. The l i ngu ist A l varez , however, corrected the tran
scriptions and trans lations with an eye to the i r use in l a nguage teac h i ng,
u s i n g an orthography he had developed for that pu rpose . Thus the book
contributes to the Papagos' l i terary i nvent ion of the i r cu lture . Th i s d iffer
ent read i ng, bu i l t i nto Piman Shamanism, is of more than l oca l signifi
cance .
It i s i ntri n s i c to the brea ku p o f monological authority that eth nogra
ph ies no longer add ress a s i ngle ge nera l type of reader. The m u l t i p l ica
tion of poss i b l e read i n gs reflects the fact that "ethnographic" consc ious
ness can no l o nger be seen as the monopo l y of certa i n Western cu ltures
and soc i a l c l asses. Even i n eth n ograph ies lacking vernac u l a r texts, i n d i g
enous readers w i l l decode d ifferently the textual ized i nterpretations and
lore . Po lyphon ic works are part i c u l a r l y open to read i ngs not spec i fica l l y
i ntended . Trobriand readers may find Ma l i nowski's i n terpretations ti re
some but h i s examp les and extended transcri ptions sti l l evocative.
N dembu wi l l not g l oss as q u ic k l y as E u ropean readers over the d ifferent
voi ces embedded in Tu rner's works.
Recent I iterary theory suggests that the abi I ity of a text to make sense
in a coherent way depends less on the wi l led i nten tions of an origi nating
author than on the c reative activ ity of a reader. To quote Ro l and Barthes,
if a text i s "a tissue of q u otations d rawn from i n n u merable centers of
c u l tu re," then "a text's u n ity l i es not in its origi n but in its desti nati on"
( 1 9 7 7 : 1 4 6 , 1 48) . The writ i n g of eth nography, an u n ru l y, mu ltisubjective
O N E T H N O G R A P H I C A UT H O R I T Y 53
Western . None i s obsol ete, none pure : there i s room for i nvention with i n
each pa rad igm . We have seen how new approac hes tend t o red i scover
d i scarded practi ces . Po lyphon ic authority l ooks with renewed sympathy
to compend i u m s of vernac u l a r texts-expository forms d i sti nct from the
focused monograph tied to partic i pant observation . N ow that naive
c l a i ms to the authority of experience have been su bjected to hermeneu
tic suspi c i o n , we may antici pate a renewed attention to the subtle i n ter
play of person a l and d i sc i p l i nary components in eth nographic researc h .
Experi entia l , i n terpret ive, d i a logica l , a n d po lyphon ic processes are
at work, d i scordantly, i n any eth nography, but coherent presentation pre
supposes a contro l l i ng mode of authority. I have argued that th i s i m po
sition of coherence on an u n r u l y textu a l process is now i nescapably a
matter of strateg ic choice. I h ave tried to d isti ngu ish i m portant styles of
authority as they have become v i s i b l e i n recent decades. If eth nographic
wri ting i s a l ive, as I bel ieve it is, it i s strugg l i ng with i n and aga i nst these
poss i b i l ities.
In fact the sociologist and his "object " form a couple where
each one is to be interpreted through the other, and where the
relationship must itself be deciphered as a historical
moment.
-JEAN-PAUL SARTRE, CRITIQUE DE LA
RAISON DIALECTIQUE
55
56 D I S C O UR S E S
1 . There are many personal varia nts, and one shou ld d i stinguish the fol l ow
i n g standpoints: the "core" of the ongoing resea rch on the Dogon and Bam bara
is that of Marcel Griau le, Germa i ne Dieterlen, and Solange de Ganay. Genevieve
Ca lame-G ria u l e and Dom i n ique Zahen contributed d i rectly to the project, but
from d i stinct methodological standpoi nts. jean-Pa u l Lebeuf, an earl y co-worker,
shared Griau le's general v iewpoi nt, but h i s work was concentrated in Chad. jean
Rouch, Luc de Heusc h , and various later students rema i n ambivalently loyal to
the "trad ition." Den ise Pau l me, Michel Lei ris, and Andre Schaeffner, early con
tributors to the Dogon project, have always mai nta i ned a skeptical d i sta nce from
the u ndertaking and shou ld not be i n c l uded i n the "school ."
58 D I S CO U R S E S
2. Anyone who has tried to rei nterpret field notes wi l l know it is a problem
atic enterprise. They may be gnom ic, heteroglot shorthand notes to oneself, or
the sorts of "field notes" often q uoted in publ ished eth nographies-form u l ated
summaries of events, observations, and conversations recom posed after the fact.
It i s wel l-n igh i m possible to d i sentangle the i nterpretive processes at work as field
notes m ove from one level of textua l i zation to the next. Griau le's 1 73 rich ly
deta i led "fiches de terra i n " for the cruc ial i nterviews with Ogotem me l i (Griaule
1 946) are clearly the prod uct of at least one rewriti ng, e l i m i nating specific l i n
gu i stic problems, the presence o f the translator Kogem, a n d s o o n .
60 D I S C O UR S E S
One can not speak of a French "trad ition" of fiel dwork, as one refers (per
haps too eas i l y) to B ritish and American schoo l s . N onetheless, if o n l y by
POWER A N D D I A LO G U E I N ETHNO GRAPHY 61
;K.
Two loose m etaphoric structu res govern G riau le's conception of field
work: a documen tary system (governed by i mages of col lection, obser
vat i o n , and i nterrogation) and an initiatory com p l ex ( i n wh i c h d i a logi cal
processes of ed u cati o n and exegesis come to the fore) . G r i a u l e h i m se l f
presented the two approaches as com p l ementary, each req u i ri n g a n d
bu i l d i n g on t h e other. O n e ca n , however, d i scern a s h i ft from t h e docu
mentary to the i n itiatory as his career progressed and as his person a l
i nvolvement w i t h Dogan modes o f thought a n d be l ief deepened . F o r the
sake of a n a l ytic c l a rity I s ha l l consider the a pproac hes separate l y. It
66 DISCOURSES
shou l d be u nderstood, however, that both are attem pts to account for a
com p l i cated , evo l v i ng ethnographic experience-an experience tra
versed by i n fluences, h i storica l and i n tersubjective, beyond the contro l
of G ri a u l e's metaphors .
T h e notion that eth nography was a process o f col lection dom i nated
the M i ssion Dakar- Dj i bouti, with its m u seographical emphasis. The eth
nogra p h i c object-be it a tool , statue, or mask-was understood to be a
pec u l iarly re l i able "witness" to the truth of an a l ien soc iety. The Maussian
ratio n a l e i s evident i n a set of " I n structions for Co l lectors" d i stributed by
the m i ssion .
Beca use of the need that has always driven men to i mprint the
traces of their activity on matter, nearly all phenomena of col lective
POWER AND D I ALO GUE IN ETHNOGRAPHY 67
" Dead ," decontextua l i zed objects, the broch u re goes on to argue, can
be restored to " l i fe" by s u rro u n d i n g "docu mentation" (descri ptions,
d raw i n gs, photos). The l i n ks ty i n g any object or i nsti tution to the "en
sem b l e of soc iety" can th u s be reconstituted and the truth of the whole
e l ic i ted sc ientifica l l y from any one of its pa rts .
The rec u r r i n g j u ridical metaphors ( pieces a conviction, besoins de Ia
ca use) are revea l i ng ; if a l l the pa rts of a c u lture can i n pri nc i p l e be made
to y i e l d the whole, what j ustifies a n eth nographer's parti c u l a r selection
of revea l i ng "evidence" ? Some "witnesses" m ust be more re l i ab l e than
others . A coro l l ary of the va l ue p l aced o n objects as "authentic and au
tonomous," not "fabri cated for the needs of the case," i s the ass u m ption
that other forms of evidence, the "arc h i ves" com posed on the bas i s of
personal observati o n , desc r i ption, and i n terpretatio n , a re l ess p u re, more
i nfected with the conti n gent eth nogra p h i c encounter, its c l ash of i nter
ests, and part i a l truth s . For G r i a u l e fie ldwork was a perpetual strugg l e for
con trol ( i n the pol itical and scientifi c senses) of th i s enco u n ter.
G r i a u l e assu med that the oppos i n g i nte rests of ethnographer and na
tive cou l d never be ent i re l y harmon i zed . Re l ations someti mes romanti
c i zed by the term rapport were rea l l y negoti ated settlements, outcomes
of a cont i n uous push and p u l l determ i n i ng what cou l d and cou l d not be
known of the soc iety u nder study. The outsider was a l ways in danger of
l os i n g the i n i tiative, of acq u iesc i n g in a su perfi c i a l mod u s v i vend i . One
cou l d not learn what was systematica l l y h idden in a cu l tu re s i m p l y by
becom i ng a tem porary mem ber of a common mora l com m u n i ty. I t cou l d
be reveal ed o n l y by a k i n d of v i o lence : t h e ethnographer m ust keep u p
t h e p ressu re ( G r i a u l e 1 9 5 7 : 1 4) . G ri a u l e m a y h ave h a d no choice : i n S u
danese soc ieties, with the i r l o n g processes of i n itiation, one had either
to force the reve l ation of occ u l t trad itions o r to be on the scene for dec
ades .
Of a l l the poss i b l e ave n u es to h idden truths the l east rel i a b l e was
speec h-what i nformants actu a l l y said in response to q uestions. T h i s
68 DISCOURSES
was due not mere l y to consc ious l y i ng and res i stance to i n q u i ry ; i t fol
l owed from d ramatistic ass u m ptions that were a le itmotif o f h i s work. For
G riau l e every i nformant's self-presentation (a long with that of the eth nog
ra pher) was a d ramatization, a putt i n g forward of certai n truths and a
hold i ng back of others . I n penetrati n g these consc i ous or u nconscious
d i sgu ises the fieldworker h ad to exploit whatever adva ntages, whatever
sou rces of power, whatever knowledge not based on i nterl ocution he or
she cou l d acq u i re ( 1 9 5 7 : 9 2 ) .
G riau l e l ooked i n itia l l y t o v i s u a l o bservation as a sou rce o f i n for
mation that cou ld be obta i ned without depend i n g on u ncerta i n ora l co l
laboration a n d cou ld provide t h e edge needed t o provoke, contro l , and
verify confessional d i scou rses . Accustomed to actu a l l y l ook i n g down on
thi ngs (his fi rst job in the air force had been that of an aeri a l spotter and
navigator), G r i a u l e was particu l arly consc ious of the advantages of over
view, of the prec ise mappi n g of habitats and thei r su rrou nd i n g terra i n .
T h i s visual preocc u pation, apparent i n a l l h i s methodologica l works,
emerges with d i sconcert i n g c l arity i n Les Sao Jegendaires, h i s popu lar
account of eth nograph i c and archaeo logical work i n Chad ( 1 943 ) :
I t i s not c lear whether th i s passage sho u l d be read as enth usiastic publ ic
ity for a new scientific method (on aeri a l photography see G riau l e 1 9 3 7)
P O W E R A N D D I A L O G U E I N ETH N O G R A P H Y 69
and i nten s i ve col labo rati ve work a n orga n i zed corpus of "docu ments"
was bu i l t u p .
G r i a u le's foc us o n t h e i nstitution o f masks d id n o t i nvo lve a synec
doc h i c representati o n of c u lture as a whole in the functi onal ist trad ition
(using the mask soc i ety as either a n idea l -typ ical " i nstitution" or its ritua l s
a s "tota l i z i n g c u l tu ra l performa nces " ) . Rather, work i ng o u t from th i s
72 DISCOURSES
p l ay of truth and fa l sehood that can lead i nto " l abyri nths" that are "or
gan ized ." L i ke a psyc hoanal yst, he begins to see patterns of res istance,
forgetfu l ness, and o m i ss i o n not as mere obstacles but as signs of a deeper
structu ring of the truth :
For G ri a u l e the deep structu re of resi stances is not spec ific to an i ntersub
jective encounter but derives from a genera l sou rce, the ru l es of "cus
tom ." T h i s hypostatized entity is the l ast bastion to be stormed . As we
sha l l see, it can not be conquered by frontal assa u l t, by the tactical pro
cesses of observation, docu mentation, or i n terrogation . A d i fferent " i n i
ti atory" process must come i nto p l ay.
Des igned for begi n n i ng fie l dworkers, G r i a u le's treati ses on eth no
graphic tec h n ique rem a i n l a rgel y with i n the "docu mentary" parad i gm .
Moreover, G r i a u l e probably d i d not have time to d i gest fu l l y the meth
odo logical con seq uences of Ogotemme l i 's reve l ations or of the gather i n g
c r i t i q u e o f colon i a l know l edge i n t h e decade before Methode w a s pub
l i shed . It is proba b l y best to read t h i s rather mechan i stic com pend i u m of
tec h n i q ues as a l ess-than-successfu l attempt to contro l an u n r u l y re
search process, i n Geo rges Devereux's terms ( 1 967), a passage from anx
iety to method . G r i a u l e's u lti mate complex rec i procal i n vo l vement with
the Dogan i s hard l y captu red in section titles such as "The Detect ion and
Observation of H u ma n Facts" or in the portrayal of eth nographers and
i nd i genous co l l aborators as b u i lders of i nformation networks, co l l ectors
of "documents," com p i l ers of "doss iers." Eth nography, in G r i a u le's j u rid
ical l a nguage, i s sti l l aki n to the process of instruction- i n F rench law,
the pre l i m i nary estab l i shment of the facts of a case before the jugement
proper ( 1 95 7 : 5 1 ) . Worki n g among i n terested parties the ethnographer
uses the far-reac h i ng powers of the juge d'instruction (one of G r i a u l e's
favorite metaphors) to smoke out the truth (cf. Ehrmann 1 9 76). Genera l l y
respecti ng the division o f l abor l a i d down by Mauss, and suspicious of
abstractions and systematic cross-cu ltural comparison, G r i a u l e leaves
POWER AND D I A LOGUE I N ETHNO GRAPHY 75
nogra pher schoo l ed in part i c i pant observation . The crew he envi sages
m u st necessari l y d i st u rb and perhaps orient the cou rse of the ceremony,
but th i s does not seem to concern G r i a u l e . Does he n a i vely i magi ne that
seven observers w i l l n ot exert a cons iderable i nfluence? The question i s
beside t h e poi nt, for G r i a u le never thought o f bei ng a n unobtrusive par
tici pant. H i s researc h was m a n i fest l y an i ntrusion; he made no pretense
that it was otherwise. Thus, to an i m portant degree the truth he recorded
was a truth p rovoked by ethnography. One is tem pted to speak of an
ethnographie verite a n a l ogou s to the cinema verite p i oneered by
G ri a u l e's l ater assoc i ate Jean Rouch-not a rea l ity objective l y recorded
by the camera but one p rovoked by its active presence (Rouch 1 9 78a) .
One suspects that G ri a u l e saw cu ltu re itse lf, l i ke perso n a l i ty, as a
performance or a spectac l e . I n the years fol lowi ng the Dakar- Dj i bouti
m i ssion G r i a u l e and his teams tu rned up every yea r o r so at Sanga . The
arrival of these i nc reasi n g l y fam i l i a r outsiders was a d ramatic event. Ti me
was of the essence; i nformants we re mobi l i zed , ritua l s were acted for the
cameras, and as much Dogan l ife as poss i b l e was recorded . I n fact
G ri a u le's early research tended to concentrate on aspects of cu ltura l l i fe
su scepti b l e to demonstration and performance: masks, publ ic ritu a l s ,
and games . It i s s i gn ificant i n th i s regard that Sanga, the Dagon com
m u n ity m ost accustomed to eth nography, i s today the region's pri n c i pa l
tou r i st center, routi n e l y perform i ng its dances for outsiders ( I m perato
1 9 7 8 : 7-3 2 ) .
G r i a u le's penchant for t h e d ra m atic i n fuses h i s work; for the h i stor
i a n th i s poses p roblems of i nte rpretation . For exam p l e a heightened but
c h a racteristic passage in Les Sao legendaires exu lts in a b reakth rough .
H av i n g maneuvered n ative i nter l ocutors i nto givi ng u p i nformation they
h ad not i ntended to d i vu l ge, G ri a u l e conte m p l ates the prom i se of futu re
work i n the area :
Usua l l y the sense of being members, however temporari ly, i nsecu rely,
and i n completel y, of a s i ngle moral com m u n i ty, can be mai nta i ned
80 DISCOURSES
even i n the face of the wider social rea l i ties which press i n at al most
every moment to deny it. It is fiction-fiction, not falsehood-that l ies
at the very heart of successfu l anthropological field researc h ; and, be
cause it is never completely convincing for any of the partici pants, it
renders such research , considered as a form of cond uct, contin uously
i ron ic. (p. 1 54)
By the l ate s i xties the romantic mytho l ogy of fieldwork rapport had begu n
to d i ssolve publ ic ly. S i nce then a growing reflexivity in eth nograph i c
thought and practice has deepened t h e recognition o f i t s i ro n i c structu re,
its rel i ance on i m prov i sed , h i storica l ly contingent fictions. Th i s new
awareness makes poss i b l e a read i n g of G r i a u l e that sees a theatrica l ,
i ro n i c stance a s centra l t o h i s eth nographic work.
Although G riau l e's sense of the moral tension and violence i n herent in
fieldwork was u n usual l y acute, he deve loped nonetheless an enab l i ng
fiction of rec i proca l encounter w ith the Dogo n . Th i s fiction, not fa l se
hood , is most c learly em bod ied in the work after Ogotem me l i . I n
Griau l e's ongo i ng research (c l osely l i n ked with that o f Dieterlen) one
sees the overlay of an eth nograph ic fiction ( Dogon i n itiatory knowledge)
by a fiction of eth nography (fieldwork as i n itiation ) . To account for th i s
dou b l i ng we may return to Geertz's i ron i c fiction o f moral com m u n i ty,
w h i c h he sees as d iss i pating, temporari l y at least, the eth ical tensions
i n herent in fieldwork. Geertz u nderm i nes the myth of ethnograph ic rap
port before re i n stating it in an i ronic mode. L i ke G r i a u l e he seems
to accept that a l l parties to the encou nter recogn i ze i ts elements of i n
si ncerity, hypocri sy, and se lf-decepti on . He sees t h i s recogn ition as a pre
condition for a l i ved fiction (a d rama in G r i a u l e's terms) that is in some
very guarded but real se nse gen u i ne . Just how this prod uctive compl icity
is actua l l y enacted is a l ways d ifficu l t to know; but if, as Geertz suggests,
such l i ved fictions are centra l to successfu l eth nographic resea rc h , then
we may ex pect to fi nd them reflected in the texts that orga n i ze, narrate,
and genera l l y account for the truths learned in fieldwork. In fact many
ethnograph ies i n c l ude some part i a l account of fieldwork as part of the i r
representation of a c u l tural rea l ity. But whether or n o t an ex pl icit or im
p l icit fie ldwork narrative appea rs i n the eth nography, its very shape-the
defi n i tion of its top ic, the horizon of what it can represesnt- is a textua l
expression of t h e performed fiction o f com m u n ity that h a s made t h e re-
POWER AND D I A LOGUE I N ETH N O GRAPHY 81
searc h poss i b l e . Thus, and w i th vary i n g degrees of exp l icitness, eth n og
raph ies a re fictions both of another c u ltu ra l rea l ity and of the i r own mode
of prod uctio n . Th i s i s u n usua l ly c lear in the l ate work of Gria u l e and
D ieterlen , where i n itiation provides the common o rga n i z i n g metaphor.
To say that eth nogra phy is like i n itiation is not to recommend that
the researc her actu a l l y u ndergo the processes by which a native atta i n s
t h e w i sdom o f t h e gro u p . G ri a u l e has l ittle u s e for such a "comed ie"
( 1 9 5 2 c : S49). The metaphor of i n i t i ation evokes, rather, the deepen i n g of
u nderstand i n g that accrues to long-term field research with repeated v i s
i ts throughout the anth ropologi st's career. It evokes too a q u a l itat ive
cha n ge i n eth nogra p h i c re l ati o n sh i ps occ u rr i n g as a c u l m i n ation of the
82 DISCOURSES
4. We need not go as far as Lettens ( 1 9 7 1 :509), who suggests that the entire
i n itiatory logic of progressively revealed secrets was an i nvention of Griau le's to
cover u p the fa i l u res of h i s fi rst phase of research i n the l ight of Ogotemmel i 's
revelations . Letten's extreme skepticism is largely u nsu bstantiated and uncon
vincing, given widespread evidence for Sudanese i n itiatory systems, and given
h i s rather rigid and l itera l i st conception of i n itiatory processes.
PO W E R A N D D I A L O G U E I N E TH N O G RAPHY 83
5. jam i n ( 1 982a : 88-89) disc u sses this aspect of Griau le's work. For a stim
u l ati ng treatment of the soc i a l functions of secrets see his Les Lois du silence
( 1 977). Sec rets are part of the mise en scene s oc ia le generators of group identi
,
ties and of c u l tu ra l mea n ings which, not goa l s to be fi nal ly attai ned, are "end
lessly deferred and d i ss i m u l ated" (p. 1 04) . My d i scussion of the exegetical fu nc
tion of Ia parole cla ire draws on this genera l perspective, as wel l as on Kermode
( 1 980) . For a trenchant critique of the "cryptologica l " assumptions u nderl ying
G riau le's practi ce and that of many "symbolic anthropologists" see Sperber
( 1 9 7 5 : 1 7-50) . Perhaps the most subtle critique of the logic of secrecy is con
tai ned in Victor Segalen's Rene Leys ( 1 922); see Chapter 5 .
P O W E R A N D D I A L O G U E I N E TH N O G R A P H Y 85
esoteric know l edge, the o n l y o n e , to te l l the truth , that i s i m porta nt, s i nce
it constitutes the nat i ve key to the system of thought and action"
( 1 9 5 2 c : 54 5 ) .
T h i s " n ative key" began t o emerge for G ri a u l e and h i s co-workers i n
t h e l ate forties and early fifties. T h e l a ndmark books a n no u n c i n g i t s d i s
covery were Dieu d'ea u (Conversations with Ogotemmeli) ( 1 948a) and
D i eterlen's Essai sur Ia religion Bambara ( 1 9 5 1 ). The two works revea led
a "deep thought among the b l acks," "an i ntricate network of representa
tions" ( D ieterlen 1 95 1 : 2 2 7) . The " i n n u merable correspondences" of the
B a m ba ra and Doga n emerged as a "coherent tableau ," a "metaphysic"
(Gri a u l e 1 9 5 1 : i x) . Once Ogotemme l i had, i n t h i rty-th ree days of mean
deri n g ta l k, e n u n c i ated the basic outl i nes of Dagon cosmogo n i c myth ,
an enormous work of e l u c idatio n rem a i ned . As recorded i n G r i a u le's
d ay-by-day accou nt, h i s d i sco u rse was ridd l ed with gaps and contrad i c
tions. The c u ltural m aster sc r i pt he had sketc hed wou l d req u i re el aborate
exeges i s , c ross-c hec k i n g aga i nst other versions of myths, and attention
to the scri pt's enactment i n v i rtu a l l y every doma i n of col l ective l ife.
T h i s work was to occu py G ri a u l e and h i s co-workers for decades . It
wou l d a l so occ u py thei r smal l gro u p of key i nforma nts, d rawn from the
esti mated 5 percent of "com p l ete l y i n structed" Dogan in the Sanga re
g i o n , as we l l as from the 1 5 percent of the popu l ation who possessed a
fa i r portion of the sec ret know l edge (Griau l e 1 95 2 a : 3 2 ) . There is d i s
agreement about the p rec i se nat u re of the Dagon " revel ations" prod u ced
i n t h i s col l a borat i o n . Some h ave seen them as theo l ogical spec u l ations
by i nd i v i d u a l Dagon o r as mythopoe ic i n ventions (Goody 1 9 6 7 : 24 1 ;
Lew i s 1 9 7 3 : 1 6 ; Copans 1 9 7 3 : 1 5 6 ) . G r i a u l e and D i eterlen, however,
stro n g l y reject the noti o n that the know l ed ge they report is i n any sign if
icant sense the origi n a l c reation of spec ific Dago n . I n the i r v iew the u n i
form ity of c ustom and the w idespread behav ioral a rticu l ation of the eso
teric knowled ge makes it u n l i ke l y that any i nd ividual cou ld have done
more than s l i ghtly i nflect the end u r i n g myth i c structu res . But to pose the
issue as a debate between personal origi n a l ity and c u ltu ra l typical ity
( H o u ntondj i 1 9 7 7 : 79-1 0 1 ) i s probab l y fru itless, given o u r ignora nce
about key i n formants. T h i s view is based a l so o n a fa l se d i c h otom y : a l l
authors, whether African o r E u ropea n , a re o ri g i n a l o n l y with i n l i m ited
resou rces and i n restricted relations of textu a l prod uction .
It is tem pti n g to portray the l ate works of the G r i a u l e schoo l , i n the
words of Pierre Alexandre, as "second l evel ethnography-the eth nog
raphy of Dagon eth n ography" ( 1 9 7 3 :4). Th i s notion of " leve l s " does not
86 DISCOURSES
G ri a u le's parad igm of i n iti ation fu nctioned to tran sform the eth nog
rapher's ro l e from o bserver and doc u menter of Dagon cu lture to exegete
and i n terpreter. It p reserved and refo rm u l ated , h owever, the domi nant
themes of h i s ear l ier p ract ice: the l ogic of the secret, a n aspi ration to
exhaustive knowled ge, a vision of fieldwork as ro l e playi ng. I t expressed
a l so the sense one h as throughout G r i a u l e's career of h i s Dogan counter
parts as powerfu l agents i n the eth n ographic process, i n iti a l l y clever tac
ticians and w i l l fu l res isters, l ater teachers and co l leagues . By atta i n i n g /a
parole cla ire and worki ng l i ke any i n iti ate to grasp the "word 's" i ncar
nation i n the experienti a l wor l d , G ri a u l e becomes (always i n h i s para l l e l ,
"eth nogra p h i c " pos ition) o n e o f a restri cted gro u p o f "docto rs" o r "meta
phys i c i a n s" who control and i nterpret Dogan knowledge. G r i a u l e is an
i ns i de r, but with a d i fference. It is as though the Dagon had recogn i zed
the need for a k i nd of cu ltura l am bassador, a q u a l i fied representative
who wou l d dramatize and defend the i r c u l tu re i n the co l o n i a l world and
beyon d . G ri a u l e in any case acted as if this were his ro l e .
T h e sta nce of the eth nographer w h o speaks as an i nsider on beh a l f
o f h i s or her people i s a fa m i l i a r one; i t i s a stoc k ro l e o f t h e ethnographic
l i bera l . Griaule adopted th i s stand po i n t i n the ear l y fifties with confi
dence and authority. An active advocate and med iato r in the colon i a l
pol itics of t h e Sanga reg i o n , h e effected a reconc i l iation between trad i
tional Dogan authorities and the n e w c h i efs i n sta l led b y the government
(Ogono d ' Arou 1 9 5 6 : 9 ) . In a variety of forums, from the pages of Pre
sence africaine to U N ESCO i n ternational gatheri ngs to the Assem b l y of
the U n ion Fran�a i se (where he served as president of the Com m i ssion on
Cu ltura l Affa i rs), h e u rged respect for the trad itions of Afri ca . Fortified by
Ogote m m e l i 's reve lations, he portrayed in e l a bo rate deta i l a mode of
knowl edge to rival or su rpass the occ identa l l egacy of the G ree ks . Speak
i n g perso n a l l y, in the voice of an i n iti ate, he cou ld report about the Do
gan that "with them , everyth i n g seems truer, more noble, that is to say
more classica l . T h i s m ay not be the i m press ion you have from the out
side, but as for me, each day I seem to be d i scoveri n g someth i n g more
beautifu l , more shaped , more sol id " ( 1 9 5 2 b : 1 66 ) .
One senses i n the work o f G r i a u l e a n d a m o n g h i s co-workers-es
pec i a l l y Germa i ne D ieterlen-a profo u n d , sometimes mystical engage
ment with the Dogan sophie ( Rouch 1 9 78b : 1 1 -1 7 ) . B u t whereas D ieter
len has ten ded to efface her own a uthority beh i nd that of the Doga n ,
G r i a u le, who l ived t o see o n l y t h e begi n n i ngs o f "deco l o n i zation," spoke
in fra n k l y paterna l i st acce nts as an advocate for African trad itional c u i -
88 D I S C O UR S E S
She i ntrod uces her fou r key co l l aborators, giving h i nts of the i r personal
styles and preoccu patio n s . We learn that one of them , Manda, was the
Dagon eq u ivalent of a "theologian" and that he gu ided the eth nographer
toward the re l ations of speech and the person that became the book's
orga n i z i ng pri n c i p l e . Even the book's descriptions and i n terpretations of
everyday behavior were the work of both eth nographer and i nforma nts,
POWER AND D IALO GUE I N ETHNOGRAPHY 91
3 . On Ethnographic Self-Fashioning :
Conrad and Malinowski
92
O N E T H N O G R A P H I C S E L F - FA S H I O N I N G 93
Mal i nowski and Con rad knew eac h other, and there i s evidence from
Ma l i nows k i 's comments on the older, a l ready wel l known writer that he
4. I j u xtapose Argonauts and the Diary to highl ight a critical disc repancy
between the two best-known accou nts of Ma l i nowski's research process. At ti mes
98 DISCOURSES
sensed a deep affin ity i n their pred icaments . With reason : both were
Poles condemned by h i storical contingency to a cosmopo l itan E u ropean
identity ; both purs ued ambitious writing careers in England . Drawing on
Zdz islaw Najder's excel lent stud ies of Conrad, one can spec u late that
the two ex i les shared a pecu l iarly Pol ish c u l tu ra l d i sta nce, h aving been
born i nto a nation that had si nce the eighteenth centu ry existed o n l y as
a fiction-but an i ntensely bel ieved , serious fiction -of col lective iden
tity. Moreover, Poland's pec u l iar social structu re, with its broad ly based
smal l nobi l i ty, made aristocratic va l ues u n usua l ly evident at a l l levels of
soc iety. Poland's c u l tivated ex i les were not l i kely to be charmed by Eu
rope's reign i ng bou rgeois va l ues; they would keep a certa i n remove . This
viewpo i nt outside bou rgeois soc iety (but mai ntai ned with a degree of
artifice-rather l i ke Balzac's stand point in the France of the 1 830s) is
perhaps a pec u l iarly adva ntageous "eth nograph ic" position . Be that as it
may, there i s no doubt about Ma l i nowski's strong affi n ity for Con rad . (J ust
before the war he prese nted the older man with a copy of his fi rst book,
The Fa mily among the Austra lian Aborigines, with a Po l i sh i nscri ption ;
what Con rad made of Aru nta notions of patern ity remains, perhaps for
tunately, u n known . ) Although the i r acq uai ntance was brief, Ma l i nowski
often represented his l ife i n Con rad ian terms, and i n his diary he seemed
at ti mes to be rewriting themes from Heart of Darkness.
Nearly every commentator on the Diary has plausibly compared it
with Con rad 's African ta l e (see for exam ple Stocking 1 9 7 4). Both Heart
of Darkness and the Diary a ppear to portray the crisis of an identity-a
struggle at the l i m its of Western c i v i l ization against the th reat of moral
d isso l ution . I ndeed this struggle, and the need for personal restra i nt, is a
com monplace of col o n i a l l iteratu re . Thus the para l lel is not particu l arly
revea l i ng, beyond showing l i fe (the Diary) i m i tati ng " l iteratu re" (Heart of
Darkness) . I n addition to Ku rtz's mora l d isi ntegration, however, Con rad
I oversimpl ify the cou rse of Mal i nowski's research and writing; the Diary actual l y
covers work done i n both t h e Trobriands and Mai l u . By concentrating on two
texts I ignore other com p l i cati ng ones, most notably certai n unpubl ished and
currently u navai lable diaries, along with Ma l i nowski's "Natives of Mai l u " ( 1 9 1 5)
and "Baloma: The Spi rits of the Dead i n the Trobriand Isl ands" ( 1 9 1 6). I n these
last two works he can be seen working out the personal and scientific eth no
graph ic style that achieves fu l l expression in Argona uts . A biograph ical account,
or a thorough portrayal of Ma l i nowski's fieldwork, or a depiction of Melanesian
culture and hi story each wou l d select a d ifferent corpus. Moreover, by stoppi ng
at 1 922 I neglect Ma l i nowski's ongoing rewriting of the dia logue with the Trobri
ands. I n im portant ways his last major monograph, Coral Gardens and Their
Magic ( 1 935), experi menta l l y and self-critically questions the rhetorical stance
constructed in Argonauts .
O N E T H N O G R A P H I C S E L F - FA S H I O N I N G 99
i ntroduces a more p rofound, s u bvers ive theme : the famous " l ie" -actu
a l l y a series of l ies that in Heart of Darkness both u nderm i ne and some
how e mpower the complex truth of Marlow's narration . The most prom
i nent of these l ies is, of cou rse, Marl ow's refusal to tel l Ku rtz's I ntended
h i s l ast words, "The Horro r," su bstituting i n stead words she can accept.
T h i s l ie i s then j uxtaposed with the truth -also h ighly c i rc umstanti a l
to l d t o a restri cted gro u p o f Engl i s h men on t h e deck o f t h e cru i s i n g yawl
Nellie. Mal i nows k i 's u n settled Diary does seem to enact the theme of
d i s i ntegration . B ut what of the l ie? The a l l -too-bel ievable accou nt? Mal
i nowsk i 's sav i n g fictio n , I wi l l argue, i s the c l assic eth nography Argo
nauts of the Western Pacific.
Heart of Darkness is notoriously i nterpretable; but one of its ines
capab l e themes is the problem of truth-speaki ng, the interplay of truth
and l ie in Marlow's d i scourse. The l ie to Ku rtz's I ntended has been ex
haustive l y debated . Very schematica l ly, my own position is that the l ie is
a saving l ie . In sparing the I ntended Ku rtz's l ast words, Marlow recog
n izes a n d constitutes d i fferent dom a i ns of truth-male and female as
wel l as the truths of the m etropole and the frontier. These truths reflect
elementary structu res in the constitution of o rdered mea n i ngs-knowl
edge d ivided by gender and by c u ltura l center and periphery. The l ie to
the I ntended i s j u xtaposed with a d i fferent truth (and it too is l i m i ted ,
contextua l , and problematic) tol d on the deck of the Nellie to Engl i sh m en
identified on l y as soc i a l types-the Lawyer, the Accou ntant, the D i rector
of Com pan ies. If Marlow succeeds i n com m u n icat i n g, it is with i n this
l i m ited doma i n . As readers , however, we identify with the u n identified
person who watches Marlow's dark truths and wh ite l ies enacted on the
stage of the yaw l 's dec k . This second narrator's story is not itself u nder
m i ned or l i m ited . It represents, I propose, the eth nographic standpoi nt,
a s u bjective position and a h i storical site of narrative authority that truth
fu l l y j u xtaposes d i fferent truth s . Wh i l e Marlow i n itial l y "abhors a l ie," he
learns to l ie-that i s, to com m u n i cate with i n the col l ecti ve, partial fic
tions of c u ltu ra l l ife. He te l l s l i m i ted stories . The second narrator sal
vages, com pares, and ( i ronical l y) be l ieves these staged truths. This i s the
ach i eved perspective of the serious i nterpreter of c u ltu res, of local , pa r
tial knowledge. The voice of Con rad 's "outermost" narrator is a stabi l iz
i n g voi ce whose words are not meant to be m i strusted . 5
5 . For a read i ng c lose to my own but with a d i fferent overal l emphasis see
). H i l l is M i l ler 1 96 5 . Here we fi nd strong argu ments for seeing Heart of Darkness
not as a positive choice for the " l ie of cu lture" but as someth ing that u nderm i nes
100 DISCOURSES
a l l truth, a more tragic, dark, u lti mate l y n i h i l istic text. U ndoubted ly i n both form
and content the tale grapples with n i h i l ism . Nonetheless, it does d ramatize the
successfu l construction of a fiction, a contingent, u nderm i ned , but fina l l y potent
story, a mean i ngfu l economy of truths and l ies. B iograph ical evidence rei nforces
my suggestion that Heart of Darkness is a story of qual ified but d i sti nct success
in truth-tel l i ng. I have al ready noted that the tale was written j u st when Conrad
fi n a l l y decided to stake everything on his career of writing in Engl ish. In the
autumn of 1 898 he left Essex and the Thames estuary (the place between land
and sea) for Kent to res ide near other writers- H . G . Wel l s, Stephen Crane, Ford
Maddox Ford , Henry James. The move, immed iately fol l owed by h i s last re
corded search for a maritime post, i naugurated h i s most prod uctive years of l it
erary work. A serious writing block was broken ; Heart of Darkness emerged i n
an u ncharacteristic rush . F rom th is standpoint o f decision t h e tale reaches back
a decade to the begi n n i n g of Korzen iowski's turn to writing, when, in the Congo,
h i s luggage contained the first chapters of A/mayer's Folly. I n the read ing I am
sketc h i ng out Heart of Darkness is centra l l y about writing, about tel l i ng the truth
i n its most a l ienated , nondia logical form . Conrad does succeed in becom ing an
English writer, a l i m ited truth-te l ler. It is not surprisi ng, then, that in the b l u rred
cacophony of the j u ngle Marlow yearns for Engl ish words. Ku rtz was partly ed
ucated in Brita i n , and h i s mother, we reca l l , was half-Engl ish . From the begin
n i ng Marlow searches for Ku rtz's i ntimate and elemental voice; and i n the end
"th is i n itiated wra ith from the back of Nowhere honoured me with its amazing
confidence before i t van ished altogether. This was because it could speak English
to me" (p. 50) . I can not here d iscuss the many com plexities i n the staging and
va l u i ng of d i fferent languages in Heart of Darkness.
6. I n Reading for the Plot ( 1 984 : 25 9-260) Peter Brooks nicely observes that
Heart of Darkness presents its truth as a "narrative transaction" rather than a
"summing up" (as i n Ku rtz's last words). Mean ing in the narrative is not a re
vealed kernel ; it exists outside, dia logica l l y, in specific transmissions; it is "lo
cated in the i n terstices of story and frame, born of the relationship between tel lers
and l i steners." In stressing the ta le's " i nterm inable analysis" B rooks m i n i m izes the
fi rst narrator's stab i l izing fu nction as a spec ial l i stener (reader), not named or
given a l i m ited c u l tu ra l fu nction l i ke the others on the deck. This l istener's invis
i b i l ity guarantees a certai n i ronic authority, the possibi l ity of see i ng and not bei ng
seen, of speaking without contrad iction about relative truths, or deciding thei r
u ndecidabi l ity.
O N E T H N O G R A P H I C S E L F - FA S H I O N I N G 101
I n com paring the experiences of Mal i nowski and Con rad , one is
struc k by the i r l i ngu i stic overdeterm i natio n . I n each case th ree languages
are at work, p rod u c i ng constant trans l ation and interference. Conrad's
pred icament is extreme l y complex. J u st before leav i ng for Africa he h ad
u naccou ntably begu n writi ng what wou ld become A/mayer's Fo lly. After
com pos ing the ope n i ng chapters, he ran i nto obstacles . Around th is time
he came to know a cou s i n by ma rriage, Marguerite Poradowska, with
whom he became i n some significant way amorously i nvol ved . She was
married and a wel l-known French author; it was l a rge ly a l iterary en
tanglement. Con rad wrote her rather pass ionate and self-revelatory let
ters- i n F rench . Poradowska, who l ived i n B russels, was i n stru menta l i n
a rranging h e r ki nsman's Congo employment. Then, i n the months j ust
before he left for Africa, Con rad retu rned to Po land for the first time si nce
he had run away to sea fifteen years before . T h i s renewed h i s Pol is h ,
w h i c h h a d rem a i ned good, and revived its assoc iation w i t h c h i ldhood
p l aces and a m bivalent fee l i ngs . F rom Pol and (actu a l ly the Russian
U krai ne) he rushed a l most d i rectl y to take u p h i s post i n the Congo .
There h e spoke Frenc h , h i s most fl uent acq u i red tongue, b u t kept a d i ary
i n Engl ish and may have worked on the chapters of A/ma yer. ( H e c l a i m s
a s m u c h i n h i s " B i ographical N ote" of 1 900 . ) I n Africa Con rad estab
l ished a friends h i p with the I rishman Roger Casement and genera l l y
m a i nta i ned a pose o f a n Engl ish nautical gentleman . H is i ntense letters
to Poradowska conti n ued , as a l ways, i n F ren c h . H is mother tongue h ad
j u st been revived . The Congo experience was a ti me of m ax i mal l i ngu is
tic complexity. In what language was Con rad consistently t h i n k i ng? It is
not surprising that words and t h i ngs often seem d isjointed in Heart of
Darkness as Ma rlow searches in the dark for mea n i ng and i nterlocutio n .
As for Mal i nows k i , i n t h e field he kept h i s private d iary i n Pol ish and
corresponded i n that langu age with h i s mother, who was beh i nd enemy
l i nes i n Austr i a . H e wrote i n Engl i s h on anthropological topics to h i s
p rofessor, C . G . Sel igman, i n London . To h i s fiancee, " E . R . M ." ( E l sie R .
Masson), i n Austra l i a he wrote frequently, a l so i n Engl ish . There were,
however, at l east two other women, old flames, on h is m i nd , at least one
of them associ ated with Pol a n d . H is most i nti mate Pol is h friend, Sta n i s l as
Witkiew i cz ("Stas" i n the Diary), soon to become a major ava nt-garde
a rtist and writer, a l so hau nted h i s consc iou sness. The two h ad traveled
together to the Pac i fic and had fa l l en out j u st before Ma l i nowski's Trobri
and sojourns. H e yearned to set thi ngs right, but his friend was now in
Russia . These powerfu l Engl i s h and Pol i sh associations were i n te rru pted
1 02 DISCOURSES
I n both Heart of Darkness and the Diary we see the crisis of a self at some
"fu rthest po i nt of n avigation ." Both works render an experience of lone
l i ness, but one that is fi l led with other people and with other accents and
that does not perm it a feel i n g of centered ness, coherent d ia logue, or au
thentic com m u n io n . In Con rad's Congo h is fe l low wh ites are d u p l i c itous
and u ncontro l led . The j u ngle i s cacophonous, fi l led with too many
7 . The " Pol ish" d i a ry is extraord i nari ly heteroglot. Mario Bick ( 1 967: 299),
whose task was to com p i l e a glossary and genera l l y to "sort out the l i ngu istic
melange," spec ifies that Mal i nowski wrote "in Po l i sh with freq uent u se of En
glish, words and ph rases in German, French, Greek, Spanish, and Latin, and of
cou rse terms from the native languages" (there were fou r : Motu, Ma i l u , Kiriwin
ian, and Pidgi n ) .
O N E T H N O G R A P H I C S E L F - FA S H I O N I N G 1 03
voices-therefore m u te, i n co herent. Mal i nowski was not, of cou rse, iso
lated in the Trobriands, either from natives or from local whites . But the
Diary is an u nsta b l e confusion of other voices and worl d s : mother, l ov
ers, fiancee, best friend, Trobrianders, loca l m i ss ionaries, traders, as wel l
as the escapist u n i ve rses, the nove l s h e can never resi st . Most fieldwork
ers w i l l recogn ize th is m u l tivoca l pred i cament. But Ma l i nowski experi
ences (or at l east h i s Diary portrays) somet h i n g l i ke a real spi ritu a l and
emotional c r i s i s : each of the vo ices represents a tem ptation ; he is p u l led
too many ways . Thus, l i ke Marlow in Heart of Darkness, Ma l i nowski
c l i ngs to his work routi nes, his exerc ises, and his d iary-where con
fused l y, bare l y, h e brings h i s d i vergent worlds and desi res together.
A passage from the Diary wi l l i l l ustrate h i s pred icament:
The passage i s confu sed ; but we can extract perhaps the central i ssue on
which it turns : the i m poss i b i l ity of bei n g si ncere and thus of havi ng an
eth ical center. Ma l i nowski feel s the req u i rement of personal coherence.
A p u n itive God i s watc h i n g his every (i nconsi stent) move. He is thus not
free to adopt d i fferent personae in d i fferent situations. He suffers from the
fact that th i s r u l e of si ncerity, an eth ics of u n i fied persona l i ty, mea ns that
he wi l l have to be u n p l easantly truthfu l to va rious friends and lovers. And
th i s wi l l mean-has a l ready meant- los i n g friend s : "Alternative be
tween a l i e and spo i l i ng a re l ations h i p ."
There i s no way out. There m u st be a way out. Too much truth
tel l i ng u nderm i nes the com prom i ses of co l lective l i fe . Ma l i nowski's so
l ution consists of construct i n g two rel ated fictions-of a self and of a
1 04 DISCOURSES
ta l k of chains and purchases, made me forget the j u ngle and the pil
grims in a del icious sensation of having come u pon someth ing u n m i s
takably rea l . Such a book being there was wonderfu l enough ; but sti l l
more astounding were the notes penci l led in the margi n , and plai n l y
referri ng t o t h e text. I cou ldn't bel ieve my eyes ! They were i n c i pher!
Yes, it looked l i ke c i pher. Fancy a man l uggi ng with him a book of that
description into th is nowhere and studying it-in ci pher at that ! I t was
an extraagant mystery. (pp. 3 8 -39)9
The passage has re l i gious overtones-a m i racu lous rel ic, an abrupt
movement i n i m agery from d i rt and decay to transcendence and l i ght
and thence i nto myste ry, the naive witness i n g of a moment of faith . We
m ust be carefu l not to i nterpret the Inquiry's appea l to Marlow s i m p l y as
nosta lgia for the sea , though that is part of its charm . The Russian "har
leq u i n " who turns out to be the book's owner seems to read the treatise
pri mari ly in t h i s way; for he takes carefu l notes, presumably on the
book's content, as i f he were studying seamansh i p . For Marlow, however,
the i nspiration of the book proceeds i n some way d i rectly out of the
writ i ng itse lf, wh ich, tra nscend i ng the c h a i n s and s h i ps and tackle, is
" l u m i nous with another than a professiona l l ight." Marlow heeds not the
content but the language . H e is i nterested i n the old sai lor's pai nstaking
craft; h i s way of making the book and his "ta l k" seem conc rete-even to
the abstract n u merical tab l es.
What charms Marlow is not primari l y the poss i b i l ity of s i ncere au
thors h i p . The old sa lt, "Towser or Towson-some such name-Master i n
H i s Maj esty's N avy," i s persona l l y e l usive ; i t is not h i s bei ng that cou nts
but h i s language. The man seems to d i ssolve i nto vague typical ity; what
matters is h i s p l a i n Engl i s h . Significantly, though, the text fa i l s to u n i te its
two equ a l ly devout readers; for when they fi nal ly meet, the Russian is
overjoyed to greet a fel low seaman, whereas Marlow is disappoi nted not
to fi nd an Engl i s h m a n . Readers h i p is in q uestion . The same physical
book provokes d i fferent, eq ua l l y reverent reactions. I can not expl ore
here the biograph ical significance of the disj u nctu re : Con rad had j ust
shed h i s offic i a l Russian citizensh i p for British national ity, and arguably
the harleq u i n is connected with the young wanderer, Korzen iowski, who
was beco m i n g Con rad . It is enough to notice the rad ical relativity : the
d i stance between two read i ngs. The "cipher" makes the point graph i
ca l ly, a n d if t h e margi na l i a t u r n o u t later t o b e i n a European language,
9. Page references here and el sewhere are from the 1 9 7 1 Norton ed ition .
O N E T H N O G R A P H I C S E L F - FA S H I O N I N G 1 09
i s h i s fi rst fu l l y rea l ized success . I n both nove l s and eth nograph ies the
se lf as a uthor stages the d i verse d i scou rses and scenes of a bel i evable
worl d .
worth noti ng that the persona of the pa rtici pant-observer anth ropologist
was not the professional i m age about which Ma l i nowski fantasized i n
the Diary (wh i c h i n volved kni ghthoods, " Royal Soc ieties," " New H u
manisms," and the l i ke) . Rather it was an arti fact of the version he con
structed retrospective l y in Argonauts. In fus i n g anthropol ogy with fie ld
work M a l i nowski made the most, the best story, of what c i rcu mstance
had obl iged h i m to attempt.
Such considerations lead us to a problem in d iscuss i ng M a l i now
ski's-and i ndeed nearly a l l -ethnographic prod uctio n . Than ks to a
growi ng n u m be r of confessional and analytic accounts, we know more
and more about fieldwork experiences and the i r constra i nts . B ut the ac
tual writi ng of ethnograph ies rem a i n s obsc u re and u nanalyzed . We know
someth i n g about Ma l i nowski's Trobriand research of 1 9 1 4 and 1 9 1 8 but
v i rtu a l l y noth i n g of what he was doing in the Canary I s l ands d u r i n g 1 92 0
a n d 1 92 1 . ( H e w a s writi ng Argonauts of the Western Pacific. )
T h e Diary l eaves u s hangi ng. There is a sudden gap i n t h e writi ng
that, as we learn from sma l l revel ations when the text struggles to re
sume, signal s the arriva l of word that h i s mother has d ied . Then the des
perate envoi : "Tru l y I l ac k rea l character." S i lence. Three years l ater Mal
i nowski reappears as the author of Argona uts, the charter of the new
fieldworker-anthropologist. What has i ntervened ? L i ke Con rad i n the pe
riod between the rout of h i s African adventu re and the success of Heart
of Darkness he has accepted th ree major comm itments : ( 1 ) to writi ng, (2)
to marri age, and (3) to a l i m ited audience, language, and cu lture .
T h e Canary Islands a re a n i ntrigu i ng scene for Ma l i nowski's writi ng
c u re . H e goes there for his health, but the choice is overdeterm i ned . One
is tem pted to see th is place as a l i m i na l site at the outer edge of E u rope,
propitious for a d i s p l aced Po le writing Pac ific eth nography. More i m por
tant, however, is the fact that he had earl ier vacati oned in the Canaries
with his mother. Now he is there aga i n with his new wife, completing
his fi rst major work. He is fu l l y i n the rea l m of su bstitution, of a series of
com pro m i ses and rep l acements . For Ma l i nowski , as for Con rad , th ree
such su bstitutions are cruc i a l : ( 1 ) fam i l y, with mother repl aced by wife;
(2) la ngu age, with the mother tongue aba ndoned for Engl ish ; and (3)
writing, with i nsc r i ptions and texts s u bstituted for i mmed iate ora l expe
rience . The arbitrary code of one language, Engl ish, is fi n a l l y given pre
cedence. The mother tongue recedes, and (here the persona l and the
po l i tical coi ncide) English dom i n ates-represents and i nterprets- Kiri
w i n i a n . C u ltural attach ment is enacted as marri age. The yearn i n g for
s i n cere i nter l ocutory speech gives way to a p l ay on written substitutes .
1 12 DISCOURSES
Some of these trans itions and repl acements were s u rely at stake i n the
successfu l writing on the Canary I s lands . Mal i nowsk i 's Diary ends with
the death of a mother; Argonauts i s a rescue, the i nscription of a c u l tu re. 1 0
I
/-..
A few fi nal reflections on the cu rrent status of the ethnograph i c author:
When Ma l i nowski's Diary was fi rst pub l i shed , it seemed scandalous. The
q u i ntessenti a l a nth ropo l ogist of Argonauts did not, in fact, a l ways main
ta i n an u nderstand i ng, benevo lent attitude toward h i s informants; his
state of m i nd i n the field was anyth ing but coo l l y objective; the story of
ethnogra p h i c research i n c l u ded in the fi n i s hed monograph was styl ized
and selective . These facts, once entered i nto the publ i c record of anthro
po logical science, shook the fiction of cu ltura l rel ativism as a stable sub
jectivity, a standpo i nt for a self that understands and represents a cu ltural
other. I n the wake of the Diary cross-c u l tu ra l com prehension appeared a
rhetorical con struct, i ts balanced com prehens ion traversed by ambiva
lence and power.
We recal l the fate of Ku rtz's violent scrawl i n Hea rt of Darkness,
" Exterm i nate a l l the brutes." Marlow tears off the dam n i ng, truthfu l s u p
plement when he gives K u rtz 's d isq u i s ition on savage customs to the Bel
gian press. It i s a tel l i ng gesture, and it suggests a troubl ing q uestion
about Ma l i nowski and anth ropo logy : What i s a l ways torn off, as i t were,
to construct a pub l i c , bel i evab l e d i scourse? In Argonauts the Diary was
excl uded , written over, in the process of giving wholeness to a culture
(Trobriand) and a self (the scientific eth nographer) . Thus the d isc i p l ine of
fie ldwork-based anth ropo logy, in constituting its authority, constructs
and reconstructs coherent c u l tu ra l others and i nterpreting selves . If th i s
eth nographic self-fash io n i ng pres u pposes l ies o f o m i ss ion a n d o f rheto
ric, it a l so m a kes possi b l e the te l l i ng of powerfu l truths. But l i ke Marlow's
accou nt aboard Nellie, the truths of c u ltura l descri ptions are mean i ngfu l
to spec i fi c interpretive com m u n ities i n l im iting h i storical c i rcumstances .
Thus the "tearing off," N ietzsche rem i nds us , is s i m u l taneously an act of
censors h i p and of mea n i ng creation, a suppression of i ncoherence and
contrad ict ion. The best eth nographic fictions are, l i ke Ma l i nowski's , i n -
tricate l y truthfu l ; but the i r facts, l i ke a l l facts i n the huma n sc iences, are
c l assified , contextual ized , na rrated , and i nten s ified .
I n recent years new forms of ethnographic rea l ism have emerged ,
more d i a logical and open-ended i n narrative sty l e . Self and other, c u ltu re
and its interpreters, appear less confident entities . Among those who
have revised eth nogra phic authority and rhetoric from with i n the d isci
p l i ne I s ha l l mention j ust th ree (whom C l ifford Geertz has marked off for
critique i n a series of p rovocative lectu res on the writi ng of eth nography) :
Pau l Rab i now, Kev i n Dwyer, and Vi ncent Crapanzano . 1 1 ( For the i r s i n s
of self-d i s p l ay Geertz ca l l s t h e m "Ma l i nowski 's C h i l d ren .") These th ree
can stand for m a n y others cu rrently engaged i n a com plex field of textual
experi ments at the l i m i ts of academ ic eth nography. 1 2 I have said that
anth ropo l ogy sti l l awa its i ts Con rad . I n va rious ways the recent experi
menta l ists are fi l l i ng that role. They teeter prod uctive l y, as Con rad did
and as, more a m b iva lently, Geertz h i mself ba l ances-between rea l ism
and modern i s m . The experi menta l ists revea l i n the i r writi ngs an acute
sense of the fash ioned, conti ngent status of a l l c u ltu ra l descri ptions (and
of a l l cu l tural descri bers) .
These self-reflexive writers occu py i ron i c pos itions with i n the gen
era l project of eth nograph ic s u bjectivity and cu ltu ra l descri ptio n . They
stand, as we a l l do, on an u n certa i n h i storical ground, a p l ace from
which we can beg i n to a n a l yze the ideological matrix that prod uced eth
nography, the p l u ra l defi n ition of c u ltu re, and a self pos itioned to me
d i ate between d i screpant worlds of mean i ng . (To say that this h istorical
ground is, for example, postco l o n i a l or postmodern i s not to say much
except to name what one hopes no longer to h ave to be . ) I n fact most of
the self-conscious hermeneutic ethnographers writing today get about as
far as Con rad did i n Heart of Darkness, at least i n thei r presentations of
narrative authority. They now gestu re toward the problematic other nar
rator on the deck of the Nellie as they say, with Marlow : "Of cou rse i n
th i s you fel l ows see more than I d i d the n . You see me, whom you know."
1 1 . G ee rtz's lectures ( 1 983), "Works and Lives: The Anth ropologist as Au
thor," were not yet publ i shed as of this writing. I n the section of the oral presen
tation I a m d i scussing he refers pri mari l y to Rabinow 1 9 7 7 ; Crapanzano 1 980 ;
and Dwyer 1 98 2 .
1 2 . T h e d iscu rsive fie l d cannot, o f cou rse, b e l i m ited t o t h e d isci p l i ne of
anthropology or its frontiers; nor is i t adeq u ate l y captu red in terms l i ke reflexi\·e
or dialogica l. For provisional su rveys see Marcus and Cushman 1 98 2 ; Cl ifford
1 986a; and Chapter 1 .
Store, avenue des Gobelins. 1 920s. Photograph by Eugene Atget.
Part 1\vo � Displacements
The coupling of two realities, irreconcilable in appearance,
upon a plane which apparently does not suit them . . .
-MAX E R NST, "WHAT IS THE MECHANISM OF C O LLAGE?"
4. On Ethnographic Surrealism
ll7
l l8 DIS PLACEMENTS
1 . My broad use of the term rough l y coincides with Susan Sontag's ( 1 9 77)
view of su rrea l ism as a pervasive- perhaps dom inant-modern sensi b i l ity. For a
treatment that d i sti ngu i shes the specific trad ition I am d iscussing from the sur
rea l ism of Breton's movement see Jam i n 1 980. A "corrective" to this cha pter,
reasserting strict defi nitions of both su rreal ism and ethnography, can be found i n
jam i n 1 986.
2 . Research on the common ground of twentieth-centu ry social science and
the avant-garde is sti l l u ndeveloped . Thus my d i scussion is very pre l i m i nary. On
the French context see Boon 1 9 72; Duvignaud 1 9 79; Hol l ier 1 9 79; jamin 1 979,
1 980; Lourau 1 9 74; and Tiryakian 1 9 79.
O N E T H N O G R A PH I C S U R R E A L I S M l l9
u n ities, new ideal types for h i stori cal descr i ption. In th is sense eth no
gra p h i c su rreal is m i s a utopian construct, a statement at once about past
and futu re poss i b i l ities for c u ltura l analysis.
In "The Storytel ler" Wa l ter Benj a m i n descri bes the transition from a
trad itiona l m ode of com m u n i cation based on conti n uous ora l narrative
and shared experience to a c u ltura l style characteri zed by bu rsts of " i n
formation" -the photograp h , t h e newspaper c l i p, t h e perceptual s hocks
of a modern city. Benj a m i n beg i n s h is essay with the Fi rst World War :
Real ity is no l onger a given, a n atu ra l , fam i l iar envi ron ment. The
self, cut loose from its attachments, m u st d iscover mean ing where it
may-a pred icament, evoked at its most n i h i l istic, that u nderl ies both
su rrea l is m and modern eth n ography. Earl ier l i terary and arti stic refrac
tions of Benj a m i n's modern world are we l l known : the experience of
Baudelai re's u rban flaneur, R i m baud's systematic sensual dera ngements,
the ana lytic decom position of rea l ity begu n by Cezanne and com pleted
by the c u b i sts, and espec i a l l y Lautreamont's famous defi n ition of beauty,
"the chance encou nter on a d i ssect i n g tab l e of a sewing m ac h i ne and an
u m bre l l a ." To see c u ltu re and its norms-beauty, truth, rea l i ty-as a rti
fici a l arrangements susceptible to detached analysis and com parison
with other poss i b l e d ispos itions is c ru c i a l to a n eth nographic attitude.
In his c l ass ic History of Surrealism ( 1 965) Mau rice N adeau stressed
the formative i m pact of warti me experiences on the fou nders of the s u r
rea l i st movement- B reton, E l uard , Aragon, Peret, Sou pa u l t. After Eu
rope's col lapse into barbarism and the manifest ban kru ptcy of the ideol
ogy of progress, after a deep fiss u re h ad opened between the experience
of the trenches and the offi c i a l language of heroism and victory, after the
romantic rhetorica l conventions of the n i neteenth century had proved
themsel ves i ncapab l e of representi ng the rea l ity of the war, the world was
permanently su rrea l i st. F resh from the trenches, G u i l laume Apo l l i n a i re
coi ned the term i n a letter of 1 9 1 7 . H i s Calligrammes ( 1 9 1 8 : 34 1 ) with
1 20 D I S PL A C E M E N T S
the i r fractu red form and heightened attention to the perceived world,
annou nced the postwar aesthetic :
The war had th rust me, as a soldier, i nto the heart of a mechanical
atmosphere . Here I discovered the beauty of the fragment. I sensed a
new real ity i n the deta i l of a machi ne, in the common object. I tried
to fi nd the p l astic value of these fragments of our modern l i fe . 3
Before the war Apol l i n a i re had decorated h i s study with African "fet
ishes," and in h i s long poem "Zone" these objects wou ld be i nvoked as
"des Ch rist d ' u ne autre forme et d ' u ne autre croyance." For the Paris
avant-garde, Africa (and to a l esser degree Oceania and Ameri ca) pro
vided a reservo i r of other forms and other bel iefs . This suggests a second
element of the eth nograph ic su rreal i st attitude, a bel i ef that the other
(whether access i b l e in d reams, fetishes, or Levy-B ru h l 's mentalite primi
tive) was a cruc i a l obj ect of modern researc h . U n l i ke the exoticism of
the n i neteenth centu ry, which depa rted from a more-or- less confident
cu ltura l order in search of a temporary frisson, a c i rcu mscribed experi
ence of the bizarre, modern su rrea l ism and eth nography began with a
rea l ity deep l y i n questio n . Others appeared now as serious human alter
natives ; modern cu ltu ra l rel ativism became possible. As artists and writ
ers set about after the war putti ng the pieces of cu lture together i n new
ways, the i r field of selection expanded dramati cal ly. The "prim itive" so
cieties of the planet were increasingly avai lable as aesthetic, cosmolog
ical, and scientific resou rces . These possibi l ities d rew on someth ing
more than an o l der Orienta l ism; they req u i red modern ethnography. The
postwar context was structured by a bas ica l l y i ron i c experience of c u l
tu re . F o r every l ocal custom or truth there was a lways an exotic alterna
tive, a possible j uxtaposition or i ncongru ity. Be low (psychologica l ly) and
3. Quoted i n Sontag 1 97 7 : 204. Pa u l Fusse l l 's incisive study The Great War
and Modern Memory ( 1 975) a l so stresses the F i rst World War's i n itiation of a
generation into a fragmented , "modern ist" world .
O N ETH N O G R APHI C S U R R E A L I S M 121
beyond (geograph i ca l l y) ord i na ry real ity there existed another real ity.
Su rrea l ism shared t h i s i ro n i c situation with rel ativist eth nography.
The term ethnograph y as I am u s i n g it here is evidentl y d i fferent from
the empi rical researc h tec h n i q ue of a h u man sc ience that in France was
cal l ed eth nology, in England soc i a l anthropo logy, and in America c u l
tura l anthropology. I am referring t o a more general c u l t u ral p red isposi
t i o n that c uts th rough modern anthropology a n d that t h i s science shares
with twentieth-centu ry a rt and writi ng. The eth nographic l abe l suggests
a characteristic attitude of part i c i pant observation among the artifacts of
a defam i l iarized c u ltural rea l ity. The su rrea l i sts were i ntensely i nterested
in exotic worlds, among w h i c h they i n c l uded a certai n Paris. Thei r atti
tude, wh i le comparabl e to that of the fieldworker who strives to render
the u nfam i l iar com prehensible, tended to work in the reverse sense,
making the fam i l iar strange . The contrast i s in fact generated by a contin
uous p l ay of the fam i l ia r and the strange, of wh ich eth nography and s u r
rea l ism are two e l ements . Th is p l ay is constitutive of the modern c u ltura l
situation I a m ass u m i ng as the ground for my account.
The world of the c ity for Lou is Aragon's Payson de Paris or for B reton
in Nadja was a sou rce of the u nexpected and the sign ificant-significant
i n ways that suggested beneath the d u l l veneer of the rea l the poss i b i l ity
of another more m i raculous world based on rad i ca l ly d i fferent pri n c i ples
of c l ass i fication and o rder. The su rreal ists freq uented the Marche aux
Puces, the vast flea m arket of Paris, where one cou ld red iscover the ar
tifacts of c u l tu re, sc ram bled and rearranged . With l uc k one cou ld bring
home some b izarre or u nexpected object, a work of art with nowhere to
go- " ready-mades" such as Marce l Duchamp's bottle rack, and objets
sauvages, African or Ocea n ian scu l pt u res . These objects-stripped of
their fu nctiona l context-were necessary fu rn i s h i ngs for the avant-garde
stud io.
It is best to suspend d i sbe l ief i n considering the practi ces-and the
excesses-of s u rrea l i st "ethnographers." And it is i m po rtant to u nder
stand the i r way of ta king c u l tu re seriously, as a contested rea l ity-a way
that i nc l uded the r i d ic u l i ng and reshuffl i n g of its orders. Th is m uch i s
necessary if one is t o penetrate t h e m i l ieu that spawned a n d oriented the
emerging French scho l a r l y trad ition . More genera l l y, it i s advisable not
to d i sm iss su rrea l i s m too q u ickly as frivo l ous, in contrast with the serieux
of eth nographic science. The connections between anth ropological re
searc h and researc h i n l iteratu re and the arts, a l ways strong in this cen
tu ry, needed to be more fu l ly explored . Su rrea l ism i s eth nography's secret
122 D I S PLACEMENTS
Noth ing i s more d izzying than to see a Kaby l ie come downsta i rs with
babouches on . How can he stand without los i ng his s l i ppers? I 've tried
to watch, to do it. I don't see how. And I don't understand either how
women can wa l k on their h igh heels.
deceased col leagues ( D u rkheim, Robert Hertz, Henri H u bert) to com ple
tion . A D reyfu sard and soc i a l ist in the trad ition of j a u res, he wrote for
L'h umanite and took part i n str i kes, elections, and the pop u l a r u n i versity
movement. U n l i ke D u rkhe i m , h i s rather austere uncl e, Mauss was gre
garious, bohe m i a n , and someth i ng of a bon vivant.
Some reca l l Mauss as a loyal D u rkhe i m i a n . Others see a foreru nner
of stru ct u ra l i s m . Some see pri mari ly an anthropologi st, others a h istori an .
Sti l l others, c iting h i s rabb i n ical roots, h i s tra i n i ng i n Sanskrit, and h i s
l ife long i nterest i n ritu a l , a l l y h i m with students o f re l igion s u c h as h i s
friends Marcel G ranet, H u bert, a n d Leenhardt. Some stress Mauss's icon
oclasm, others h i s coherent soc i a l i st-h u ma n i st vis ion . Some see a bri l
l i ant armc h a i r theorist. Others remember a sharp empirical observer. The
d i ffe rent versions of Mauss a re not irreconci lable, but they do not q u ite
add u p . People read ing and remembering h i m a l ways seem to find some
th i ng of themselves (from Leroi-Gou rhan 1 982 : 3 2-3 3 ) :
For a period o f two years when I was attend i n g nearly a l l h i s cou rses i t
was agreed that a comrade and 1 - a Russian Jew, Deborah Lifchitz
who d i ed i n the Nazi deportation-would take notes i n turn and i n a
way that wou ld l et us compare them to determ i ne the real content of
Mauss's teac h i ng. We never managed to construct anyth ing coherent
because it was too rich and always ended u p at the horizon. Later a
record of h i s cou rse was publ i shed by a group of former students.
Wel l , there was a total d i vergence between what they noted and what
Deborah and I took down ! T h i s i s the secret, I bel ieve, of the rea l spe l l
he cast on h i s fo l l owers .
tel l ing deta i l ; the other provocati ve, far-fl u ng, N ietzschean . Yet i n a cu
rious, compel l i n g way the two are complementary : while Bata i l le was
steadied by Metraux's erudition, Metraux found h i s passion for eth nog
raphy confi rmed by h i s friend's wi l l i ngness to express what, accord i ng to
Le iris, they h ad in com mon-"a violent ardor for l ife combi ned with a
piti less awareness of its absu rd i ty" ( Leiri s 1 966a : 2 5 2 ; see a l so Bata i l l e
1 95 7 : 1 4 ; a n d Metraux 1 963 : 6 7 7-684) . The l ifelong association between
Bata i l le and Metra ux can be seen as emblematic of that enduring conti
gu ity, if not a l ways s i m i larity, that has kept French eth nography on speak
i ng terms with the avant-garde .
Batai l le's most i nfl uenti a l book was h i s l ate treatise L 'erotisme
( 1 9 5 7) . Its orientation, and that of Bata i l le's work genera l ly, can be traced
to Mauss by way of Metraux's report of a lectu re aro u nd 1 92 5 . I n L'ero
tisme Bata i l l e i ntrod uces the book's key chapter, on transgression, with
the p h rase "Transgression does not negate an i nterd i ction, it transcends
and completes it." Metraux spec ifies that h i s characteristic form ula is
o n l y a pa raph rase of "one of those profound aphorisms, often obscu re,
that Marcel Mauss wou ld th row out without worrying about the confu
sion of h i s students ." Metraux h ad heard Mauss say in a lectu re, "Taboos
are made to be violated ." Th is theme, which Bata i l l e wou ld often repeat,
became a key to h i s th i n ki ng. Cu ltu re is ambivalent in structu re. One
may refra i n from m u rder, or one may go to war; both acts are, for Ba
ta i l le, generated by the i nterd iction on ki l l i ng . Cu ltu ra l order incl udes
both the r u l e and the transgress ion. T h i s logic appl ies to a l l man ner of
ru les and freedoms-for example to sex ual norma l ity and its partner the
perversions. In Metraux's words, "Mauss's proposition, in the apparent
absurd ity of its form, manifests the i nev itable con nection of confl icti ng
emotions: [quoti ng Bata i l le) ' U nder the i m pact of negative emotion, we
must obey the i nterd icti o n . We violate it if the emotion is positive' " (Me
traux 1 963 : 682-683 ; Batai l le 1 95 7 : 72-7 3 ) .
Bata i l le's l ifelong project was to demystify a n d valorize th is "positive
emotion" of transgress ion in a l l its various forms, and i n this he was true
to h i s su rreal ist beg i n n i ngs. ( I n the twenties Bata i l le was fi rst an assoc iate
then a critic of the B reton grou p . ) One of h i s fi rst publ ished texts was part
of a col lection on pre-Co l u m bian a rt, i n which he col laborated with Me
tra ux and Rivet. H is appreciation of h uman sacrifice ( " For the Aztecs
death was not h i ng") j u xtaposes in surrea l i st fashion the beautifu l and the
ugly, the normal and the repugnant. Thus Tenochtitlan is s i m u l taneously
a " h u man slaughterhouse" and a gorgeous "Ven ice" of canals and flow-
O N ETH N O G R A P H I C S U R R E A L I S M 127
Levi-Strauss. The logic developed by Bata i l le, which I can not p u rsue
here, has provided a n i mportant conti nu ity in the ongo i n g rel ation be
tween c u ltural ana l ys i s and early s u rrea l i s m i n France. It l i n ks the twen
ties' context to a later generation of rad ical critics, i n c l u d i n g Michel Fou
cau lt, Rol a nd B a rthes, j acq ues Derrida, and the Te l Quel group.4
I t i s worth noti n g that the col lection of essays i n which Metraux,
R i vet, and Bata i l le co l la borated was part of the fi rst popu lar exh ibition of
pre-Co l u mbian a rt in France. The exh ibit h ad been orga n ized by
Georges-Henri Riviere, a m u s i c student and amateur of jazz who wou l d
become France's most energetic eth nographic m u seo logist. Riviere was
wel l con nected soc i a l l y, Rivet pol itica l l y. The latter u nderstood perfectly
that the c reation of anthropo l ogical researc h i n stitutions req u i red a fash
ionable enth u s i as m for th i ngs exotic. Such a vogue cou ld be exploited
fi nanc i a l l y and chan neled i n the interests of science and p u b l i c i n struc
tion . Ri vet, i mpressed by Riviere's su ccessfu l pre-Co l u m bian show, h i red
h i m on the spot to reorgan ize the Trocadero m u seu m , whose col lections
were in a state of d i sorga n ization and d i srepa i r. Th i s was the begi n n i ng
of a prod uctive co l l aboration between the two ch ief animateurs of
French ethnograph ic i n stituti ons, one that wou l d resu lt in the Musee de
4. The trad ition is visible in "Hom mage a Georges Bata i l le," publ ished i n
1 963 b y Critique, which i n c l udes essays b y Alfred Metraux, Michel Leiris, Ray
mond Queneau, Andre Masson, and Jean Wah l of the prewar generation, and by
Michel Fouca u l t, Roland Barthes, and Phi l i ppe Sol lers of the emerging critical
trad ition . (Another o utgrowth of eth nographic su rreal i s m that can not be pu rsued
here is its con nection with Th i rd World modern ism and nascent anticolon ial d is
cou rse. It is enough to mention a few promi nent names : Aime Cesai re (a long
time friend of Leiris), Octavi a Paz, and Alejo Carpentier, who was a col laborator
on the journal Documents . )
128 D I S PLACEMENTS
I ' Homme and i n Riviere's Musee des Arts et Trad itions Popu l a i res (see
Riviere 1 9 68, 1 979) .
Before the fu l l deployment of these i n stitutions, i n the early years of
the l n stitut d' Eth nologie, Mauss's cou rses remai ned the cruci a l forum for
an e mergi ng eth nography. This teac h i n g was a c u rious scholarly i nstru
ment, not fu ndamenta l ly at odds with surreal ism and capable of sti mu
lating the l i kes of both Metraux and Bata i l le . I t is reveal i ng to consider i n
th i s l ight a we l l -known evocation o f Mauss :
Th i s account from the pen of Levi -Strauss suffers perhaps from a tendency
in its fi nal sentences to portray Mauss as a protostructu ra l ist. 5 The drive
to reach bed rock, to grasp on l y the pu rest u nderl ying material is an as
p i ration more characteristic of Levi-Strauss than of Mauss, who publ ished
relative l y l ittle not because he had d i st i l led elemental truths but because
he was preoccu pied with teac h i ng, ed iti ng, and pol itics, and because,
know i n g so much, he found that the truth had become too complex. As
Lou i s Du mont reca l l s, " H e had too many i deas to be able to give com
plete expression to any of them" ( 1 9 7 2 : 1 2) . Levi-Strauss's descri ption of
the great teacher's provocative u se of antithesis and paradox in the pre
sentation of ethnograph i c knowledge ri ngs true, however, in the context
I have been d i scussing. Eth nograph i c truth for Mauss was restless ly sub
versi ve of su rface real ities . Its pri ncipal task was to d iscover, i n h i s fa
mous phrase, the many " l u nes mortes," pale moons in the "fi rmament of
5 . Levi -Strauss's most elaborate attempt in th i s vei n is h i s bri l l iant "I ntroduc
tion a !'oeuvre de Marcel Mauss" ( 1 950). For a good corrective see Maurice
Leenhardt 1 95 0 .
O N ETHNOGRAPHIC SURREALISM 129
Taxonomies
cubists' break with the canons of real ism had set the pace for a genera l
assa u lt on t h e norma l . Ethnography, w h i c h shares w i t h su rreal ism a n
abandonment o f t h e d isti nction between h igh a n d l o w cu ltu re, provided
both a fu nd of non-Western a l ternatives and a preva i l i ng attitude of i ro n i c
partic i pant observation a m o n g t h e h ierarc h ies a n d mea n i ngs of col lec
tive l i fe .
It i s i n structi ve t o attem pt an i nventory o f eth nograph ic perspectives
as revealed by thei r use in Documen ts. Before one has caught the drift,
one is su rprised, for example, to come u pon an artic l e by Car l E i n stei n
author o f Negerp/astik ( 1 9 1 5 ) , a pioneering account o f African scu l ptu re
viewed in the l i ght of c u b i sm-entitled "Andre Masson, etude ethnolo
gique." What d id it mean i n 1 92 9 to study an avant-garde pai nter "eth
nologica l ly " ? From the outset E i n ste i n sounds the cubist-su rrea l i st battle
c ry :
pri m i tive-art amateu rs who doubt the purity of a Bao u l e drum because
the figure carved d n it is hold i n g a rifle. The eth nographic su rrea l i st,
u n l i ke either the typical art critic or anth ropologi st of the period, d e l i ghts
in c u ltura l i m pu rities and d i sturb i n g syncretisms. G r i a u l e eq uates the Eu
ropean 's del ectation of African art with the African's taste for texti les, gas
cans, a lcoho l , and firearms. If Africans do not choose to i m itate o u r h igh
c u ltural prod ucts, tan t pis ! H e conc l udes:
" n ightingale" begi n s , " Except i n spec i a l cases, this does not have to do
with a b i rd " ( Desnos 1 92 9 : 1 1 7) .
Crachat, "spittle," i s redefined b y G riau l e using b l ack African and
I s l a m i c evidence with the res u l t that spit becomes assoc iated with the
sou l , and with both good and evi l spi rits. In E u rope, natu ra l ly, to spit i n
someone's face i s an a bsol ute d i shonor; i n West Africa i t can be a mode
of bless i n g . "Spittle acts l i ke the sou l : bal m or garbage" (Gri a u l e 1 929).
The eth nographer, l i ke the su rrea l i st, i s l icensed to shock. Lei ris takes u p
Griau l e's defi n ition a n d goes fu rther: spittle i s t h e permanent sperm l i ke
s u l l y i ng of the noble mouth , an organ associated i n the West with i ntel
l i gence and language. S p i t thus resym bo l i zed denotes a cond ition o f i n
escapable sacri l ege ( L e i r i s 1 92 9 ) . I n t h i s newly recom posed defi n ition to
tal k or to th i n k is a l so to ejac u l ate.
An a pproach to representation by means of j uxtaposition or col l age
was a fam i l iar su rreal i st tac k (Matthews 1 9 7 7 ) . Its i ntent was to break
down the convention a l " bod ies"-objects, identities-that comb i ne to
produce what Barthes wou l d l ater ca l l "the effect of the rea l " ( 1 968) . I n
Documents the j uxtapos ition o f t h e contributions, a n d espec i a l l y o f their
photographi c i l l ustrations, was designed to provoke th i s defam i l i ariza
tion . The fi rst issue of 1 92 9 begins, for example, with an art i c l e by Lei ris,
" Picasso's Recent Canvases," profuse l y i l l ustrated with photographs.
(These were years when Picasso seemed to be break in g and ben d i ng,
a l most savagel y, the norm a l shape of the h u ma n frame . ) These deformed
i m ages are fol lowed by "The Outcasts of N ature" by Bata i l le, a charac
teristic apprec iation of frea ks, i l l ustrated by fu l l -page eighteenth-century
engravi n gs of S i amese twi n s . N ext an i l l u strated review of an exh i b ition
of African scu l ptu re provides fu rther visual d i s location of the " natu ra l "
body a s rea l i stica l ly conceived i n t h e West. T h e body, l i ke a c u l tu re sem i
otica l l y i magi ned , i s n o t a conti nuous w h o l e b u t an assembl age o f con
ventional sym bo l s and codes .
Documen ts, part i c u l a r l y i n its u se of photographs, creates the order
of a n u nfi n i s hed col l age rather than that of a u n ified o rganism . Its i mages,
in the i r eq u a l iz i n g gloss and d i stan c i ng effect, present in the same plane
a Chatelet show advertisement, a Hol l ywood mov i e c l i p, a P icasso, a
G i acomett i , a doc u mentary photo from co l o n i a l N ew Cal edo n i a, a
newspaper c l i p , an Eskimo mask, an Old Master, a m usical i n strument
the world's i conography and c u ltural forms presented as evidence or
data. Evidence of what? Evidence, one can only say, of su rpri s i ng, de
c l assified c u l t u ra l orders and of an expa nded range of h u man a rtistic
1 34 D I S PLACEMENTS
The h i sto ry of French eth nography between the world wars can be
told as a ta l e of two m useu m s . The old Trocadero m useu m and the new
M u see de I ' Homme exerted sign i ficant i nfl uences, both practical and
ideolog i c a l , on the cou rse of research and the comprehension of i ts re
s u l ts . If the "Troca" of the tvventies, with i ts m i sl abeled, m i sc l assified
objets d ' a rt, corresponded with the aesthetics of ethnograph i c s u rrea l
i s m , the com p l ete l y modern Pa l a i s de Cha i l l ot i ncarnated the emerg i ng
scholarl y parad igm of eth nograp h i c h u m a n i s m . The scientific gai n s rep
resented by the M u see de I ' Homme were cons iderable. It provided both
needed tec h n ical fac i l ities and the eq u a l ly necessary del i neation of a
field for study-the " h u man," i n a l l its physica l , archaeologica l , and eth
nogra p h i c m a n i festations. The coa l escence of a researc h parad igm c re
ates the poss i b i l i ty of an acc u m u lation of knowled ge and thus the phe
nomenon of scholarly progress. What is less often recogn ized, for the
h um a n sciences at l east, i s that any conso l idation of a parad igm depends
on the exc l us i o n or re l egation to the status of "art" of those elements of
the changi n g d i sc i p l i ne that cal l the c redent i a l s of the d i s c i p l i ne itself
i nto q u estion, those research practi ces that, l i ke Documents, work at the
edges of d i sorder.
Before 1 93 0 the Trocadero was a j u mb l e of exotica. Its arrangements
em phasized " l ocal color" or the evocation of foreign sett i ngs : costumed
m a n n eq u i ns, panopl ies, dioramas, m assed specimens. A journa l i st cou ld
write that a visit was l i ke " u n voyage en p l e i ne barbarie" ( D i az
1 9 85 : 3 78). S i nce the co l l ection lacked an u p-to-date scientific, pedagog
ical v i s i o n , i ts d i sorder made the m useu m a pl ace where one cou ld go to
encou nter c u riosities, fet i s h i zed obj ects . It was there that P i casso,
a round 1 908, began to make a serious study of / 'art negre.
When I went for the first time, at Derain's u rg i ng, to the Trocadero
M u seu m , the smel l of dam pness and rot there stuck i n my throat. It
depressed me so m uch I wanted to get out fast, but I stayed and stud
ied. ( G i lot 1 9 64 : 2 6 6)
9 . Accord i ng to Rivet and Riviere's proud cal c u l ations i n Minota ure no. 2
( 1 933), 3 , 500 "ethnographic objects" were co l l ected , along w i th six thousand
photographs, a l arge col l ection of Abyss i n ian pai nti ngs, th ree h u n d red manu
scri pts and a m u l ets, notations of thirty languages and d i a lects, and h u n d reds of
record i ngs, "ethnographic observations," botan ical spec i mens, and so on. Th is,
the m i ssion's "booty," i n Rivet and Riviere's words, was the public measure of a
successfu l m i ssion. Barthes ( 1 95 7 : 1 40) d issects the word mission : an i m perial
"mana term ," h e cal ls it, which can be appl ied to any and all colon ial u ndertak
i ngs, giving them as req u i red a heroic, redemptive a u ra .
1 0 . This account shou ld serve as a corrective t o Douglas' tendency to por
tray Griau l e and the French trad ition genera l l y as formal istic and enamored of
1 38 DISPLACEMENTS
ogi sts i n U N ESC0 . 1 1 The i rs was a cosmopol itan trad ition that had re
mai ned congruent, i n i m portant ways, with the eth nograph ic su rrea l ism
of the twenties. It shou ld be remem bered that su rreal ism has been a gen
u i nely i nternational phenomenon with branches on every conti nent. It
has sought the articu lation less of c u l tu ra l differences than of h u man dif
ferences. The same can be said overa l l of French eth nographyY But
though it shared the scope of su rrea l ism, the eth nograph ic humanism of
the Musee de I ' Homme d id not adopt a n earl ier su rrea l ism's corrosive,
defam i l iariz i n g attitude toward c u l tu ral rea l ity. The aim of sc ience was
rather to col lect eth nographic artifacts and data and to d isplay them i n
reconstituted , eas i l y i nterpretable contexts . This enta i l ed losses a s we l l
as gai ns . I n deed i t i s possible to imagine a n eth nograph ic su rrea l i st c ri
tiq ue of the Museum of Man poi nting tentatively at the shape-or rather
at the activity-of a more supple and less authoritative h u manism .
The Musee de I ' Homme's African scu l ptu res were displayed region
a l l y along with re l ated objects, their sign i ficance function a l l y i nter
preted . They d i d not find a pl ace beside the Picassos of the Musee d'Art
Moderne, l ocated a few streets away. As we have seen , the emergi ng
doma i n s of modern art and eth nology were more d i sti nct in 1 93 7 than a
decade before. 1 3 It i s not merely whi msical to q uestion these apparently
natura l c l assifications. At issue is the loss of a d i sruptive and creat ive p l ay
of hum an categories and d ifferences, an activity that does not s i m p l y
d isplay a n d com prehend t h e d i versity o f cu ltura l orders b u t open ly ex
pects, a l lows, i ndeed desi res its own d i sori entation .
Such an activity i s lost i n the consol idati on and d i splay of a stable
eth nograph ic knowledge. In the twenties the knowledge brand ished by
a you nger eth nography a l l ied with surrea l ism was more eccentric, u n-
point the su bvers ive critical activities of the ava nt-garde cou l d be seen
as essenti al for the l ife of soc iety; the c i rcumscribed position of "art" i n
modern c u l t u re cou l d b e transcended , a t least programmatical ly.
It is hard to genera l ize about the Col lege, a body so short- l ived and
idiosyncratic in its members h i p . Lei ris, for example, was preoccu pied
not with col lective rites but rather with those autobiograph ical moments
i n whi ch the a rticu l ation of self and soci ety can be brought to conscious
ness . To this end he cu ltivated a k i nd of method ical c l u ms i ness, a per
manent i nabi l ity to fit. H i s own ch ief contri bution to the Co l lege (before
resign i ng because of q u a l ms about loose sta ndards of evidence and the
danger of fou n d i n g a coterie) was an essay entitled "The Sacred in Every
day Life " ( 1 93 8b) . In t h i s text, a bridge between eth nography and self
portra iture, Leiris s ketched many of the topics he later developed i n La
regie du jeu ( 1 948 -1 976) . Obj ects of u n usual attraction ( h i s father's re
vo lver), dangerous zones (the racetrack), taboo sites (the parental bed
room), secret spots (the W. C . ) , words and ph rases with a spec ial magical
resonance-these sorts of data wou l d evoke "that ambiguous attitude
tied to the approach of someth i ng both attracti ve and da ngerous, presti
gious and rejected , that m ixtu re of respect, des i re, and terror that can be
taken as the psychological mark of the sacred" ( lei ris 1 93 8 b : 60) .
I n L'Afrique fantome ( 1 934) Le iris sharply q uestioned certa i n scien
tific d i sti nctions between "subj ective" and "objective" practices. Why,
he wondered , are my own reactions (my dreams, bod i l y responses, and
so on) not i m portant parts of the "data" prod uced by fie l dwork? I n the
Co l lege de Soc iologie he gl i m psed the possibi l ity of a ki nd of eth nogra
phy, analytica l ly rigorous and poetic, focused not on the other but on the
se lf, its pecu l i ar system of symbols, rituals, and soc i a l topograph ies. The
exception wou ld be made to i l l u m inate the ru le without confirm ing it.
B u i l d i ng on the work of Robert Hertz, Lei ris and his col l eagues cu ltivated
a gauche, or l eft-handed , sense of the sacred . I n Leiris' case th is attitude
generated a l ifework of self-portraiture, an awkward and forever
i mperfect process of socia l ization whose title, La regie du jeu, wou l d
express t h e ambiguous two-sidedness o f order t h e Col lege was con
cerned to i n vestigate . From the late th i rties on, however, Leiris held h is
l i terary and eth nograph i c work rigorously apart. H is provocative field
journa l , L 'Afrique fantome, rema i n s an iso lated example of su rreal ist eth
nography. (see Chapter 6) . 1 4
1 4 . A n essay that h ighl ights the "ethnographic" d i mensions of Lei ris' career
is Cl ifford 1 986c, from which parts of this d iscussion are adapted . Cha ney and
O N ETH N O G R A P H I C S U R R E A L I S M 1 43
Pickeri n g ( 1 986a , b) offer a rich account o f a nother poss ible example o f "sur
rea l i st eth nography" : Mass Observation, the B ritish soc i a l documentary project
of 1 93 7-1 943 . I nstigated by Charles Madge, a journa l i st and su rreal i st writer,
Tom H arrisson, an ethnographer and orn ithologist, and H u mphrey Jen n i ngs, a
documentary fi l m maker and su rrea l i st painter, Mass Observation envisaged a
comprehen sive ethnography of B ritish popu lar c u l ture conceived as a defa m i l
iarized, exotic worl d . Its goa l was t o mobi l ize eth nographers from a l l cl asses i n
a democ rati c expansion o f social consc iousness a n d a constant interchange of
observations. As Madge and jen n i ngs put i t, these observations, "though subjec
tive, became object ive because the subjectivity of the observer is one of the facts
u nder observation" (quoted in Chaney and Pickeri n g 1 986a :47). The project an
tici pated l ater conceptions of reflexi ve ethnography and anth ropology as cultura l
criti c i s m . (See Chapter 1 ; also Marcus a n d F i scher 1 986; jackson 1 98 7 . ) The
speci fic m i xtu res of soc i a l , aesthetic, and scientific aims in the i n terwar "docu
mentary" movements of France, England, and the U n i ted States deserve system
atic comparison . (See a l so Stott 1 9 73 . )
1 5 . T h e col lection i n c l udes texts b y Bata i l le, Cai l lois, G uastal la, Klos
sowski, Kojeve, Lei ris, Lewitsky, Mayer, Pau l han, and Wah l , with extensive com
mentaries by the ed itor. O n the College see a l so Lourau 1 9 74 and an exce l lent
account i n J a m i n 1 980.
1 44 D I S PLAC E M E NT S
Every man creates without knowing it, a s he breathes. But the artist is
aware of h i mself creating. His act engages his entire being. He is for
tified by h i s wel l -loved pa i n .
1 6 . For a stingi ng critique of these assumptions see "La grande fam i l le des
hommes," in Barthes 1 95 7 .
O N ETH N O G R A P H I C S U R R E A L I S M 1 45
the excl uded sou rce of the projection . What was not d isplayed i n the
Musee de I ' Homme was the modern West, its art, i n stitutions, and tech
n i q ues . Thus the orders of the West were everywhere present i n the Mu
see de I ' Homme, except on d ispl ay. An i m portant i mpact was lost in the
wel l -c l assified h c. ' l s , for the m u se u m encou raged the contemplation of
m a n k i n d as a whole, see n , as it were, from a d i stance, coo l l y, tolerantly.
The identity of the West and its " h u ma n i s m " was never exh i b ited or ana
l yzed , never open ly at issue.
To speak of "man" and the " h u ma n " is to run the risk of red u c i n g
conti ngent d ifferences t o a system o f u n i versal essences . Moreover, the
authority arrogated by the h u m a n i st too often goes unquestioned . As
Maurice Merlea u - Ponty wou ld po i nt out: "In its own eyes, Western hu
m a n i s m is the l ove of h u m a n i ty, but to others it i s merely the custom and
i nstitution of a gro u p of men, the i r password , and somet i mes the i r battle
cry" ( 1 9 4 7 : 1 8 2 ) . The problems assoc iated with a h u m a n i st (or anthro
pological) vision have lately become a l l too apparent. T h i rd-world voi ces
now ca l l i nto q uestion the right of any local i nte l l ectu a l trad ition to con
struct a museum of m a n k i nd (see, for example, Adotevi 1 972-7 3 ) ; and
in France rad ical c u l tu ra l critics have announced with eq uan i m ity the
death of m a n . I can not dwe l l here on the ambigu ities of such analyses of
the h u m a n ist West and its globa l d i scou rses (see Chapter 1 1 ). One sho u l d
be wary, i n any event, o f abandon i n g too q u ickly t h e v i s i o n o f a Mauss
or a R ivet-a h u m a n ism that sti l l offers grounds for resistance to oppres
sion and a n ecessary counsel of tolerance, com prehension, and mercy.
C ulture/Collage
brought by B ritish m i ssionaries about the time Mal i nowski was on the
scene, has been taken over and m ade new. Now it i s l ud i c warfare, ex
travaga nt sexual d i spl ay, po l itical com petition and a l l iance, parody.
Someth i n g amaz i ng has been concocted from elements of trad ition,
b u i l d i ng on the m i ssiona ries' ga me which has been "rubbished ," worki ng
in sym bo l s d rawn from the m i l itary occu pation of the i s lands during the
Second World Wa r. The fi l m takes us i nto a staged swi rl of brightly
pai nted , feathered bod ies, ba l ls, and bats . In the m idst of all th i s on a
cha i r sits the u m p i re, ca l m l y i nfluenc i ng the game with magical spe l l s .
He i s chew i n g bete l n ut, w h i c h he shares out from a stash h e l d on h i s
l a p . I t i s a bright b l u e pl astic Ad idas bag. It is beautifu l .
Perhaps a n acq uai ntance with ethnograph ic su rrea l ism can help us
see the b l ue p l astic Adidas bag as part of the same kind of i nventive
cultura l process as the African-looking masks that i n 1 907 sudden l y ap
peared attached to the p i n k bod ies of the Demoiselles d'Avignon .
O N ETHN O G R A PH I C S UR R EALI S M 1 49
they were a lone with a man, they wou ld a l l too much l i ke to have sexual
i ntercou rse."
8 . C h i n rubbing or nose rubbi ng, as among the Asmat, is not a Jaqaj
custom of greeti ng. They u sed to lay thei r right hand i n the l eft hand of
the other, who then c lasped the first man's fingers . Men kiss each other
on the cheeks but do not kiss any women, not even the i r own wives.
Women usual l y do not k i ss one another.
9 . B reath i s not associ ated with the notion of spi rit. B reath ing proves
that somebody is sti l l al ive .
1 0 . Women adorn the i r upper arms and the place between the
breasts with scarifications. The g i r l s glad ly suffered any pa i n in order to
have these marks. The men are greatl y interested in the breasts, abur,
and i n the size of the female gen i tals, jo. The women i n tu rn gossi ped
about the be l l ies, kandom, and the anuses, mo, of the men . These pa rts
of the body always tu rned up i n my l i st of words of abuse.
1 1 . C h i l d ren were not a l lowed to touch the inside of their mother's
thighs. The " i nside of the th ighs of h i s wife" was the pl ace where the
a ncestor Kapaqait took the seeds for p lanti ng vegetables. The pubic hair
of women and the fi bres of the i r peri nea l bands were smoked i n the
peace pipe. They sa id that the hymen should rema i n u ntouched u nti l
after the first menstruation . Sperm and u r i ne cou ld be used as med i c i ne.
The myth of Ujoqot rel ates how he c reated a h u man be ing by smearing
his sperm on a coconut.
1 2 . The anus, mo, had a spec ial cover, a tai l , ek, of fibres. Whenever
a man was i l l , he wou l d always ask whether he was lying decently. To
touch a man's anus was e ither an appea l to h i s strength or a very serious
i nsu lt. B rea k i n g wind proved that one had eaten too m uch . If it happened
in the presence of men o n l y it did not matter, but in the presence of
women, espec i a l l y i n the presence of one's own wife, it cou l d be per i l
o u s for t h e m or her. Women i ncu rred t h e r i sk o f be i ng ki l led if they
looked at the excrements of the i r husbands. Husbands feared the i r end
less reproaches about eati ng too much .
1 3 . The pen i s , paqadi, or the pubic h a i r of a man drew l ess atten
tion . They d id not wea r any shame cover. The term paqadi, penis, was
often heard as an ex pletive. The most stu pid th ing a person cou ld do,
they sa id, was to h u rt his own anus or pen is.
1 4 . The fl u i d ooz i ng out of a decaying corpse was not used for any
spec i a l pu rpose . The on l y thi ng that happened after a corpse had de
cayed was that c h i l d ren were told to tram ple the ground where the burial
O N E TH N O G R A P H I C S U R R E A L I S M 151
platform had bee n . T h i s was done so that they m i ght become the worthy
successors of the deceased .
1 5 . Body odou r, espec i a l ly that of the armpits, was bel ieved to have
a spec i a l defens ive power aga i n st spi rits . A person 's shadow did not get
any attention . One was free to go and stand on another man's shadow.
N O TE S
5 . A Poetics of Displacement :
Victor Segalen
THE F 1 D 1 LED account of Pau l Gaugu i n's last weeks was sent to
RST ETA
Paris from the Marq uesas by a you ng naval doctor who had arrived j ust
too late to meet the great rec l u se. It was a sign ificant m i ssed rendezvous,
for Victor Sega len was to become an i m portant contributor to what may
be cal l ed a postsymbol ist poetics of d isplacement. Th is poetics, d rama
tized by Gaugu i n 's fl ight from Europe, had a l ready sent Arth u r Rimbaud
to Abyss i n i a . It wou ld prope l B l a i se Cend rars arou nd the globe, Lei ris to
Africa, Artaud to the Tara h u maras . The new poetics rejected establ ished
exoticism s-those for example of a Pierre Loti-and it d iffered from Pau l
Claudel 's q u est for a profound, " i n s ide" Connaissance de /'est. The new
poetics reckoned with more troub l i ng, less stable encou nters with the
exotic .
Born i n Brittan y i n 1 8 78, Segalen voyaged widely i n Po lynesia from
1 902 to 1 905 and i n C h i na, where he spent nearly five years before h i s
death i n 1 9 1 9 . A poet, nove l i st, archaeologist, a n d trave l writer, Sega len
partici pated in the Paris l i terary m i l ieu of late symbo l ism-but from a
d i stance. H i s work i s hard to define. An expanded gen re of travel l itera-
1 52
A POETI C S O F D I S PLAC E M E NT: V I CT O R S E GALEN 153
l itica l from which to engage the other. Sega len d id not warm to the Chi
nese. He fe lt none of the i nsti nctive sym pathy and erotic attraction he
had for Tah itians. For aristocratic C h i nese perhaps; but here he lacked
soc i a l access. Sega len preferred C h i na's monuments and what he cou l d
i magi native l y resc ue from an i m perial trad ition that seemed menaced
after 1 9 1 0 by mass violence, rebel l ion, and head long modern ization (Se
ga len and Manceron ( 1 985 : 9 2 , 1 20, 1 3 7).
Trave l i ng through C h i n a (as portrayed i n h is texts), he seldom looks
i nto people's i ntimate l ives, l i ke a candid photographer, or rubs e l bows
with the crowd ; he is se ldom face to face with i nd ividua l s . Sega len often
seem s to be on horseback-wa l ki ng, in physical contact with the u neven
grou nd, but at a certa i n height. The mounted trave ler sees out over th i ngs
wh i le avoiding the map maker's com mand i n g overview. In a world of
gates, porta l s, and courts, the horseman rides through Chi nese places
but without presu m i n g to be " i n side Ch i na." He rejects Claudel ian par
ticipation, knowledge of the East as co-bi rth ("co-naissance" ) . Segalen
does not experience and revea l the deep, h idden truths of C h i n a .
Mou nted a n d mobi le, he moves over a n d around i t s s u rfaces. T h e sur
faces are com p l ex, loop ing.
I n h i s fi rst book, Les immemoriaux ( 1 907a), Sega len tried rea l i stica l ly to
evoke i nd i ge nous experience, what ethnographers of the time were be
gi n n i ng to cal l the native poi nt of v iew. Th is is probably h i s best-known
and least characteristic work. It speaks e loquently on behalf of trad itiona l
Po lynes ia-and it fa l l s rather too easi ly i nto an elegiac lament for the
van i s h i ng prim itive. The novel 's standpo i nt is that of Teri i , a recitant, or
ora l performer of genea l ogies and myths. It begi ns with a cri s i s : Teri i
forgets, fa lters i n the m idst of an i m portant recitatio n . Th i s ruptu re of ora l
trad ition i s tied to t h e a rriva l of E u ropean s h i ps i n Tahiti, the presence of
a new, confusing power. The novel fo l lows Teri i's d i sgrace and fl ight, h i s
travels, h i s encou nters with m i ssionaries; and it ends with a tragi c prog
nos i s : the death of "Maori Civi l ization ." Les immemoriaux is a rather suc
cessfu l ethnographic nove l . Sega len was a sensitive observer of the c u l
tura l situation i n F rench Po l ynesia aro u nd t h e turn o f t h e century, a n d h i s
d iscri ptions o f trad ition a l ritu a l a re based on t h e best scholarsh i p ava i l
a b l e a t t h e t i m e . I n add ition there is a happy correspondence between
Sega len's own symbo l ist fasci nation for the orph ic power of ora l expres-
A P O E T I C S O F D I S PL A C E M E NT : V I C T O R S E G A L E N 155
And it's the busi ness o f the n i ght-wa l kers, the haere-po with long mem
ories, to pass on from a ltar to alta r, from priest to d i sciple the pri mal
stories and exploits that m u st never die. And so as soon as n i ght fal l s
t h e haere-po h u rry about thei r task; from every o n e o f the d iv i ne ter
races, from every marae bu i l t on the c i rcle of beaches, a monotonous
m u r m u r rises in the darkness, mixing with the howl ing voice of the s u rf
and su rroun d i ng the isl and with a gird l e of prayers. ( 1 907a : l l )
The move from Tah iti to Ch i na was a shift from the sonorous and ora l to
the v i s u a l and writte n . Sega len, who p layed the piano, com posed a bit,
and even col l aborated with Debussy, fou nd C h i n a an acoustic desert . Its
m u s i c and song repel led h i m ( 1 985 : 1 4 3 -1 44) . C h i nese speech i s bare l y
evoked i n h i s writings, but i n scriptions-ch a racters, gestu res, arc h i tec
ture, pa i ntings-abound . It is no l onger a q u estion of evocation, of Se
gal e n merging h i s voice with that of the other. As he put it in a l etter to
Debussy, " I n the e n d , I came here looking for neither Europe nor C h i n a
b u t for a v i s ion of C h i na" ( Bou i l ler 1 9 6 1 : 1 00) . Sega len's other is a con-
1 56 D I S PLACEMENTS
struct of des i re and a manifest fiction- l i ke its recent analogue, the "J a
pan" of Roland Barthes in Empire of Signs ( 1 970).
Though he was a scholar and con noisseu r of thi ngs C h i n ese, Sega
len often portrayed an u ncerta i n real ity-multiform, sh ifti ng, giving way.
H i s co l lection of travel observations written i n 1 9 1 0, Briques et tuiles
( 1 975), i s a series of d i screte encou nters, notes, and prose poems that
enact the movement of a traveler th rough a cou ntry that is, to adapt B re
ton's phrase, an "erosion fixe ." H is fasc i nation with ru i ns is a pos itive
aestheti c of movement and process . C hina appears as l i ght su rfaces and
cru m b l i ng forms, wal ls and doors with noth ing beh i n d . Sega len wa l ks
rides-t h rough th i s cou ntry, entranced by its wooden structures, the de
cay accepted and bu i l t i n . (Co u l d not a French traveler see the same
today among Cal iforn ia's ru i n s ?) He mocks E u rope, where stone cathe
dra l s are bu i lt as if for the ages: " D u ration does not come from so l id ity;
i m m utabi l ity l ives not i n you r dwe l l i ngs but i n you , slow men, ongoing
men ! " ( 1 9 7 5 : 4 7) .
H e wrote to h i s friend Henry Manceron : " I th i n k I've h it u pon a
rather sati sfactory formu l a for the art of C h i nese monuments by simply
replac i ng the stasi s the Egypti ans and G reeks have taught us to put there
with a k i nd of dynamism that m ust not be stripped of its perpetu a l l y no
mad ic character. Houses and tem ples are sti l l tents and p latforms, j ust
waiting for the process ion to depart" ( 1 985 : 9 1 ) .
T h i s fee l i ng for the dynam i s m o f C h i nese monuments provoked a
correspond ing movement on the part of the trave ler, abandon i ng any
fixed p lace of "observation ." From Briques et tuiles (Segalen's e l l i pses
regi ster the bumpy motion) :
Pal aces, i m mobi le by accident and agai nst you r nature; l ight construc
tions . . . can't return you to the swaying of the pl atform bearers . . .
It's I that w i l l move toward you ; and the undulation of my wa lki ng,
with each of you r cou rtya rds a station, wi l l retu rn to you the shoulders'
rhythms and the osci l l ations by which you once were ani mated . I w i l l
wa l k to you . ( p . 3 2 )
The pa inting that comes next isn't one that hangs h igh u p but i s
t o b e opened with a touch o f t h u m b and i n dex, l i ke t h e half-moon fan
carried in Autu m n and Spring . . . and actua l l y it's called :
FLYING FAN
Don't give it any rest : don't try to inspect it laid out flat, or cou nt
the ivory i n l ays ; but give it m ovement, a lways; stroke the air and se
cretly, out of the corner of an eye, look into each gentle breath it sends,
bit by bit guess at the fu rtive scenes : the background, black and sh in
ing. Sudden ly a battlement opens: wi ngs beat : eyes rol l : a sku l l caves
i n : out comes a pagoda, with a s i ngle spurt spread i n g to the open
sky . . .
D i d you see it? Fan , keep fan n i n g .
A figu re composes itself: a naked m o n k , ecstatic . j ust two eyes
are left of h i s enti re body, but they' re very m uch a l ive . (The rest is d ry
or rotted . ) He l ets u s know that what's seen, alone, is good . Fan, keep
fan n i n g . . .
Now a wide-open face stares out at you ; so magical l y and deeply
that it wi l l fix itself to you r features and may become your face if you
don't, sti l l fan n i ng, change it to something else less question ing: the
curved stroke of a Pai nter's horizon; the vast u nd u lation of the sea ;
slow wi ng-beat of the great rose goose i n the sky; the gathered ,
stri pped , spare caress of every des i re . . . Fan , keep fan n i ng . . .
1 58 D I S PLAC E M E NT S
But the pai n ted face evokes itself again, with insolence, clearer
at every turn . It gazes from too c lose. What can it mea n ? Are you
provoking it? Met anywhere else: what an i ntolerable experience ! L i ke
the appearance of an overly i nsistent friend, l i ke a too-faithfu l regret,
l i ke a m ute wa nting to ask a q uestion.
But we don't i n habit the true world . We can reject what offends
or troubles u s, effaced more eas i l y than a regret, with a quick fl ick of
the hand .
So c lose up you r fi ngers : at once, the face is gone . . . (pp. 34-
36)
The seq uence of Ch i nese pa i nti ngs is control led by a con sciousness
that moves through a n exotic but i nti mate imaginaire. As Sega len wrote
i n a letter, "The tra nsfer from the E m p i re of C hina to the Empire of the
se lf is constant" (Bou i l ler 1 9 6 1 : 1 0) . Read i ng h i s l ater works, one begins
to suspect why he never fin ished the long-pl a n ned essay on exoticism,
"an aesthetic of the d i verse." China h ad confou nded the exoticist's q uest
for d i versity. Sega l en's C h i n a was more d i stant and mysterious than the
sensuous, acoustica l ly present world of Tah iti . But d i sta nce and mystery
wou ld not be paths to " l e D i vers ." They wou ld provoke the end less con
struction of doubles and a l legories of the self.
Sega len never wrote a coherent theory of his exotic encou nters . I n stead
he engaged i n a series of writi ng experi ments, se lf-conscious fictional
exc ursions that probed and q uestioned the search for d i versity. Theory,
as the word's etymo l ogy m i ght i m p l y, was i n separable from displace
ment, transfer, and trave l .
Sega len's nove l Rene Leys ( 1 922) is perhaps h i s most sustai ned se lf
reflexive work. Th i s bri l l iant mystery story about the i m peria l Forbidden
City u nderm i nes the classic exoticist topography of barriers and thresh
olds surroundi ng a "secret ." Rene Leys is a subtle med itation on depth
truth, its disclosure, and the end l ess wi l l to know. The narrator, named
Sega len (the novel is loosely based on rea l events he witnessed i n Peking
d u r i ng 1 9 1 2 , the last days of the Ch' i ng dynasty), is obsessed with the
Forbidden City and with the h idden center of Ch ina, the emperor. He
m ust know everyth i n g possi ble about "The With i n ." (Sega len in fact
d reamed of writi ng a large book on C h i n a as seen by the emperor, Le fils
du cie/.) A you ng Belgian named Rene Leys who has grown up in Peking
A POETI C S OF D I S PLACE MENT: VICTOR S E GALEN 1 59
and is a master of l a n guages (and of role play i ng) serves as i ntermed iary.
The youth passes i n and out of the wal led com pound, revea l i ng to the
avid n arrator more and more amaz i n g stories of sed uction and i ntrigue.
In a n echo of Lot i 's famous seduction of Az iyade, v i o l ating the Tu rkish
harem, Rene Leys becomes the secret lover of the empress. I n a forbid
den place the u l t i mate (female) other is possessed .
Soon, however, . t h i s fam i l ia r Orienta l ist d rama goes awry. Segalen's
knowledge is vicarious. He and Rene Leys a re doubles, sec ret sharers. A
too-i nti mate u ndersta n d i n g u n ites them, makes them com p l i c it-we are
led to s u spect- i n the very i nvention and revel ation of the exotic
"With i n ." The narrative begins to u n rave l . Dou bts emerge; stories be
com e contrad ictory. We begi n to q u estion the exi stence of any secret or
centra l truth i nside the pal ace, a world that emerges as m u ltifarious and
labyri nth i ne, where no one, espec i a l l y not the em peror, can know a l l
that goes o n . A t the same t i m e w e are unable to d is m i ss what w e hear as
l ies and fantasy. The story has too m u c h h i storical spec ific ity, fo l l ow i n g
very c l osel y as it does t h e overth row o f the e m p i re . Rene Leys is final ly
ki l l ed for his " i ns ide" activities : there m u st have been someth ing; it can
not all h ave been made u p .
Rene Leys mai nta i n s a subtle u ncertai nty a s t o what if anyth i ng goes
on with i n the pa lace. We are fi nal l y brought to see the sed uctive, even
leth a l force of the narrator's d es i re for know l edge, penetration, and d is
closu re . I ndeed the pa rable resonates widely: cou ntless stories of con
cea l ment, reve l ation, and i n itiation are structu red by a s i m i l a r d es i re that
posits secrets i n order to revea l them, i magi nes an other with a true
"with i n ." By the end of Rene Leys there are no more u lti mate depths: the
sea rc h for revelations i s shown to be end l ess. What rem a i n s are su rfaces,
m i rrors, doubles-an eth nography of signs without essential content.
tracks. Met on the path a strangely fam i l iar man, blond, fifteen years
you nger, wa ndering, " ready for anyth i ng, ready for other pl aces, ready
to l ive other poss i b i l ities . . . ." Victor Segalen starti ng out for Tah iti .
I
A
Is Segalen's quest for d iversity fi nal l y trapped by a field of s u bjective
desi res ? Yes and no. H is writing departs i n search of the Diverse, only to
A POETI C S O F D I S PLACEMENT: VI CTOR SEGALEN 161
confront the Same i n new gu i ses . Each time, h owever, there i s a sma l l
difference. Segalen encounters doubles a n d reflections, but the m i rrors
a re never perfect. A d ispl acement occ u rs . By the end of h i s career the
self, not the other, has become exotic . It is th i s ope n i ng of a fissu re in the
s u bj ect, however s l ight-a passage in time, a su rpri s i n g angle of vi
sion-that constitutes " l e D i vers ."
Sega len someti m es writes i n stereotypic terms a bout the tropics. I n
a l ette r from C h i n a he d reams o f a retu rn to Po lynes i a , remem bering its
sensuous ease : "The who le i s land came to me l i ke a woman. And i ndeed
woman out the re gave me gifts that whole cou n tries can't give anymore
. . . I knew caresses and rendez-vous, l i berties th at req u i red noth
i n g more than a vo ice, eyes, a mouth , and lovely ch i l d ish words"
( 1 985 : 1 06) . Th is vision of the other as fem i n i zed and c h i l d is h is an ob
vious projection . The exotic is domesticated to male yearn i ng .
Even fam i l i a r Orienta l ist vis ions refract strange l y i n Segalen . H e
presses h i s des i re t o an i m possible l i m i t and t h u s t o its possi b l e su bver
sion . Sexua l possession and easy eroticism are n ot h i s u lti mate goa l s . H i s
"veritable amoureuse" i s a you ng gi rl , a v i rgi n : "My Essai sur l exo tisme '
wi l l say it: the you n g girl is farthest from us, thu s i ncom parably precious
to all devotees of the D i verse" (pp. 1 06-1 07). The most d istant, i n acces
s i b l e , tabooed obj ect provokes h i s strongest des i re, a des i re that does not
a i m at penetration or possession. I n 1 9 1 2 he wrote from Tientsi n that h i s
wife wou l d soon b e givi ng bi rth to " a c h i l d I hope wi l l b e o f the fem i n i ne
sex, for pure reasons of exoticism" (p. 1 1 9) . Segalen's exotic "amou
reu se" was not s i m p l y the c h i ldish woman of color, of the harem , Rene
Leys's em press, the yiel d i n g female, a forbidden place to be entered . Th i s
object was more com plex.
Postface
1 65
1 66 D I S PLAC E M E NTS
Few adventu res, research that i n itially excites h i m but soon re
veal s itself too i n h u man to be satisfyi ng, an i ncreased erotic obsession,
an emotional void of growing proportions. Despite h i s d i staste for c iv
i l ized people and for the l i fe of metropol itan cities, by the end of h i s
jou rney he yearns for t h e return .
H i s attempted escape has been a complete fai l u re, and anyway
he no longer bel ieves in the value of escape. Even with capital ism's
increasi ng tendency to render a l l true human contacts i mpossi ble, isn't
it with i n his own c i v i l ization that a Westerner can find opportu n ities
for self-rea l ization at the emotional level ? In any case he wi l l learn
aga i n that here as everywhere else man can not escape h i s i solation :
the result bei ng that he wi l l sta rt out aga i n , one day or another, caught
up in new phantoms-but this time without i l l usions. Such is the
schema of the work the author would perhaps have written if, con
cerned above a l l to offer as objective and s i ncere a document as pos
sible, he had not stuck to h i s travel notebook, publish i ng it as is.
This schema i s perceptible, at least i n latent form, th roughout a
journal i n which are noted, pel l-me l l , events, observations, fee l i n gs,
dreams, ideas.
It's u p to the reader to d i scover the germs of a com ing to con
sc iousness attai ned only wel l after the return, wh i l e at the same time
fol lowi n g the author among peoples, sites, vicissitudes from the Atlan
tic to the Red Sea . ( Leiris 1 966a: 54-55)
tory. ) " F rom the start, writing th i s jou rna l , I 've struggled agai nst a poison :
the idea of publ ication" ( 1 9 3 4 : 2 1 5 ) .
Wou ld it b e enough to retu rn from Africa, l i ke Con rad's Marlow, with
only a s i ngle potent word ? What sorts of erasu res, l i es, are necessary to
make an acceptable story? Or cou ld one outmaneuver narrative and
somehow tel l a l l , transc ri b i n g with eq ual rigor the boring, the pass ionate,
the i n teresting, the u nexpected , the bana l ? Another way of tel l ing: as if a
thousand snaps hots cou ld testify to the rea l i n their own way : this was .
c;a a ete. Et r;a, r;a, r;a . "To be i n facts l i ke a c h i l d . Th at's where I ' d l i ke to
get" ( 1 934 : 2 3 4 ) . Desi re for a regress ion to exi stence before the need to
col lect oneself, to account for th i ngs and one's l ife.
But L 'Afrique fa n to m e portrays the su rrea l i st-ethnographer en
meshed i n writi ng- h i mself through the others . Toward the end of an
i ntense period of resea rch on za r possess ion in Eth iopia, a sacrifice is
made spec i fica l ly for Lei ris. His jou rna l records that he tasted the blood
of the a n i mal but d i d not perform the gourri, the dance of the possessed .
We see h i m seated a mong the zar adepts, the room th ick with i ncense,
sweat, and perfu me. H i s head is smeared with butter, and-as requ i red
by ritua l-the dead a n i m a l 's entra i l s are co i led around h i s brow. He does
not, however, i nterrupt h i s note taki ng.
Le iris holds the superb title of "secretary-archivist" for the Dakar- Dj ibouti
m i ssion . As such he is expected to produce a h i story of the exped ition
and its h i storic crossi ng of the Dark Conti nent; but this story is, i n effect,
a l ready i nscribed before he has taken down a single note or written out
his fi rst identification card for one of the 3 , 600 objects the m ission wi l l
acq u i re . A narrati ve i s i m pl i c i t i n the very name of the u ndertaking: Mis
sion Dakar-Dj i bouti . Mission fu nctions as an al l-pu rpose term for any
redem ptive colon i a l errand, whether m i l itary, evangel i ca l , ed ucational,
med ica l , or eth nographic (see Barthes 1 979) . It suggests hundreds of
other voyages, a l l of them heroic, confident gestures of a stable subject
who conquers, i n structs, converts, decri bes, adm i res, represents . . .
other people and the i r wor lds.
"Ne v i sitez pas ! ' Exposition Colon i a l e" (surrea l i st slogan of 1 93 1 ).
J ust as the Dakar- Dj i bouti team is prepa ring for its departu re, an
enormous panoply of exotic worlds is being laid out i n the boi s de Vi n
cennes. Pav i l ions from a l l the colon ies, costumes, statues, masks, curi-
TELL ABOUT YOUR TRIP: M I C H E L LEIRIS 1 69
osities of every sort, "savage dances" regal e the trave ler i n a l and of wel l
ordered enchantment. Offi c i a l m arked paths l ead the vis itor without
confusion from one outpost of progress to the next- I ndoc h i na, French
West Africa, Madagascar, N ew Ca ledon i a, G u i nea, Marti n i q ue, Re
u n io n . A h i story of the M i ssion Dakar-Dj i bouti, the one Leiris is expected
to write, of an exped ition passing through th i rteen African cou ntries of
wh ich ten are under Frenc h dom i nation risks appearing to be this k i nd of
series.
Then Eth iopia, never colon i zed, i nterrupts the exped ition's smooth
progress and provokes the longest, most troubled pages from the pen of
its secretaire-arch iviste. Here the m i ssion encou nters the fi rst serious ob
stac les to its a uthority; it m ust a lter its cou rse, make the best of a tense
po l itical s i tuation . At Gondar Leiris grapples with the s h i fting ro les, de
cepti ons; and u ndomesti cated eroticism of h i s work with the zar adepts ;
and he loses for good whatever sh reds rem a i n of the confidence needed
to shape an authoritati ve story about Africa. The narrative i m p l ied in the
m i ssion's name u n rave l s i n the day-to-day ephemera of h i s journ a l .
To be replaced by what? Le i r i s has for some time been strugg l i n g
aga i n st certa i n na rrati ve pos itions, standpoi nts fi rm ly ass igned t o whites
in the colon ies, whatever the i r personal po l itical or aesthetic proc l ivities.
Early in the trip at a performance of d r u m m i n g and danci n g : " I rem a i n
for a moment, lost i n t h e crowd , then , seeing that a seat is reserved for
me bes ide the adm i n i strator, I dec ide, with many hes itations, to take it"
( 1 934 : 3 2 ) .
I f t h e co l o n i a l standpoint c a n b e recogn ized a n d , to a degree, held
at a d i stance, others are less perceptible. It is not u nti l l ate in the voyage
that Le i ris breaks with the a l ternative, l i bera l stance offered by scienti fic
eth nography, a d iscu rsive position that " u nderstands" Africa, its peop l es,
and its cu ltures, i n the i r own terms if poss i b l e . Eth nography studies its
objects sym pathetica l ly, systematical ly. " I ntense work, to which I give
myself with a certa i n ass i d uousness, but without an ounce of passion . I'd
rather be possessed than study possessed people, have carn a l knowledge
of a 'zari ne,' rather than sc ientifica l l y know a l l about her. For me, ab
stract know l edge wi l l never be anyth i ng but a second best" ( 1 934 : 3 24 ) .
Sti l l another position from w h i c h , confidently, t o tel l a story is of
fered by the voyager who goes native and returns to evoke i n itiation, loss
of self, terror, e n l ightenment. Before leaving for Africa Lei ris had been
i m p ressed by Wi l l iam Seabrook's adventu re story of H a i tian voodoo, The
1 70 D I S PLAC EMENTS
Leiris conti n ues to searc h , however, for a satisfactory way of tel l i ng-of
col lecti ng and d i splayi ng-an exi stence. The l ast pages of L'Afrique fan
tome conta i ns a s ketc h for a nove l centering on a patent alter ego, a
character named after Axel Heyst from Con rad's Victory. Heyst enacts
Lei ris' various sexua l obsessions and fears-his worries about the i m mi
nent return to E u rope, reu n ification with his wife, the eternal problem of
measuring u p to an obscu re, pun itive standard of man hood . The convo-
TELL AB OUT YOUR TRIP: MICHEL LEIRIS 171
l utions of the p l ot are i ntrigu i ng, i f i ncon c l u sive (pp. 499-5 04) . More
i m portant is the i m p l icit n arrative model for the work, wh ich prefigures
lei ris' later l iterary prod uctions.
The nove l 's projected form owes less to Con rad's Victory than to
Hea rt of Darkness, a tale leiris m u c h ad m i red (p. 1 96) . l i ke Con rad he
portrays the death of a mysterious colon ial figure ( HeysUKu rtz) as seen
by a second character ( " l e docte u r" /Marlow) who pieces together h i s
story from fragments - l etters, doc u ments, hearsay, a n d a n el usive per
sonal contact. Once a p l a u s i b l e account of the protagon ist's death is es
tab l ished, the second figu re fabricates a fa l se vers ion for use in a partic
u l a r context where it wi l l be bel i evable. The enacted process of
col l ecti n g and tel l i ng a personal story becomes itself the focu s of narra
tion . lei ris' n ovel out l i ne i nc l udes the l aborious documentation of a l ife
story, the lie of any s i ngle vers ion of it, and the i nterp lay of character,
writer, and aud ience i n its m ise en scene.
A theatrical conception of the subj ect appears l ater i n Lei ris' sc hol
arly recko n i n g with h i s zar research , its ambiguous, d i stu rbi ng p l ay of
roles: La possession et ses aspects theatra ux chez les Ethiopiens de Con
dar ( 1 958). I ndeed his l iterary works a l ways m a n i fest their "aspects thea
traux," giv i n g freq uent gl i m pses beh i nd the scene of writing. Leiris' prac
tice resem bles that of a d i sci p l i ned actor, comb i n i ng s i m u ltaneously
d i ss i m u lation and s i n cerity i n a q uest for presence that never q u ite
comes off.
Th is d isci p l i ne is v i s i b l e in the seq uel to L 'Afrique fantome. Man
hood ( 1 946) adopts a narrative form that successfu l l y d raws on both the
i nti m ate jou rna l and the nove l i stic fiction w h i l e fa l l i ng i nto neither gen re .
I n t h e book's fi rst priere d'inserer (i nserted i n a l ater prefatory essay, "On
literatu re Considered as a B u l lfight") the author sti l l seeks a way to
"speak of h i mse l f with a maxi m u m of l uc i d i ty and si ncerity." He does this
paradox i ca l l y, though, by avoid i n g forms that present themselves as
expressions of a self-reve l atory s u bject. Le i ri s turns our attention away
from an authentic voice to " I ' objet fabri q u e," a blatant self-c reation that
he offers, dead pan, to the publ i c . Manhood, a novel of education, ends
with the emergence not of a n identity but of a personage . It stops short,
u nfi n i s hed, with words q uoted from a d ream : "I expl a i n to my m istress
how necessary it is to construct a wa l l arou nd oneself by means of
clothi ng."
The "si ncerity" Lei ris seeks has as l ittle to do with the romantic no
tion of confession (an u n med i ated true speech) as the "objectivity" he
1 72 DISPLACEMENTS
bad l y" . . . " I ntense work, to w hich I give myself with a certa i n assidu-
ousness" . . . "We're bored , all of us" . . . "The masks' mothers used to
be offered h u m a n sacrifices; th i s is Tabyon's story" . . . " Departu re from
Bordeaux at 5 : 5 0 P . M . " . . . "Another n ight at Mal kam Aya hou's" . . .
"We're approach i n g Malaka l . G reen grasses. Yel low grasses."
Le i ri s' l ife of writi ng combi nes an acute sense of the fut i l ity of ex is
tence with a tenac ious des i re to sa l vage its mea n i ngfu l deta i l s-q uota
tion, perception, memory. He retu rns to h i s field notes. H i s 1 98 1 work,
Le ruban au cou d'Oiympia, adopts once aga i n a fragmentary form
co l l ected textu a l evidences of a n existence. I ts priere d'inserer records a
double goa l : "for a moment, to give the protagon i st of this sort of, some
ti mes open someti mes d i sgu i sed , p u b l i c confession the i ntox icated feel
i n g of l iv i ng a second l ife; t o make t h e rece i ver perce ive what, speaking
of a n actor and h i s p l ay [son jeu) he'd ca l l 'presence .' "
Priere d'inserer- l oose somewhere between the written book, the
des i red reader. Starti ng u p . The next Leiris . . .
7 . A Politics of Neologism :
Aime C esaire
"V E ERITION" ? The l ast word o f A i me Cesai re's " Notebook o f a Re-
turn to the N ative Land" bri ngs the whole i n c red i ble poem to an i m pos
s i b l e term-or tu rn . The " N otebook" is a tropological landscape i n
w h i c h syntactic, semantic, a n d ideological tran sformations occ u r. Ce
sa i re's poems m a ke demands. To engage t h i s writi ng (the best Engl i s h
tra n s l ation t o date is by Clayton Esh leman and A n nette S m i th) is an active
work of reth i n k i n g . 1 How does one grasp, translate a l anguage that i s
b l atantly m a k i n g itse l f u p ? Esh l eman and Sm ith have gone to great
lengths of accu racy and daring; but Cesai re sti l l sends readers to d i ction
aries in several tongues, to encyc loped ias, to bota n i ca l reference works,
h i stories, and atlases. H e is attached to the obsc u re, acc u rate term and
to the new word . He makes readers confront the l i m its of thei r l anguage,
or of a n y s i ng l e language. He forces them to construct read i ngs from a
debris of h i storical and futu re poss i b i l ities. H i s world is Cari bbean-hy
brid a n d heterog lot.
1 . All poetry by Cesa i re i s quoted from the 1 983 Eshleman and Smith trans
lation (Cesai re 1 9 7 3 ) .
1 75
1 76 DISPLACEMENTS
Cesai re's poems veer. This req u i res a special page ; and the page
itself is q uestioned by h i s verse . N owhere are the size and format of "the
book" so standard ized as in France. On the na rrow pages of earl ier ed i
tions Cesa i re's exorbitant l i nes were stu bbed . Lengthy conti nuations
separated i nto d iscrete u n its. Where these had hardened i nto printing
errors, Esh leman and Sm ith, with Cesai re's help, have corrected the pros
ody. Their ed ition provides an u n usual ly large page, giving the poetry the
space it needs to swerve extravagantly between vertical and horizontal
momentu ms. For example the famous end ing of the " Notebook" :
No page can rea l ly accommodate the fi nal horizonta l rush of words from
"and the great" to "veerition ." Esh l eman and Smith print it as a cont i n u
ous u n it, ru n n i ng out of page only once (before "ma levolent" ) . By con
trast the French of the "defi n i tive" Pres en c e africaine ed ition brea ks th is
long seq uence into two syntactical ly and spati a l l y d i stinct l i nes. E m i l e
Snyder's we l l -known translation opts for th ree separate l i nes, wh i l e john
Berger's Pengu i n version carves out fou r, moving even farther i n the
wrong d i rection of i magistic compression . After the p l u mmeti ng vertical
seq uence of "rise"s, Eshleman and Smith stay with Cesai re's fi nal ecstat ic
run-on sentence. On a page accommodating one h u ndred horizonta l
characters (Presence africaine, Snyder forty-five characters, Berger fifty
five) the " l i ne" zooms across and off-a long expu lsion.
The poem "stops" on a coi n age, itse lf a new tu rn . Cesa i re's great
lyric about fi n d i n g a voice, about retu rning to native ground, strands us,
fina l l y, with a made-up, Lat i n ate, abstract-sound i ng q uestion mark of a
word . So much for expectations of d i rect, i m med iate l i ngu i stic "authen
ticity." With Cesa i re we are i nvo lved in a poetics of cu ltu ral invention .
Eshleman and Sm ith have done we l l -as we l l as possib le-with the
poem's various neologisms (rhizulate, effarade, desencastration . ) ; but . .
A POLITI C S O F NEOLOGI S M : AIME CESAIRE 1 77
as they write i n the i r i n trod u ction : "Only Cesa i re h i mse l f was i n a posi
tion to reveal (in a private com m u n i cation) that 'verrition ' which preced
i n g transl ators and sc holars had i nterpreted as 'fl i c k' and 'sw i r l ' had been
co i ned on a Lati n verb, 'verri ,' mean i n g 'to sweep,' 'to sc rape a surface,'
and u l ti mate l y 'to scan .' O u r rend ition ('veerition') attem pts to preserve
the tu rn i n g motion (set aga i nst i ts oxymoro n i c mod ifier) as we l l as the
Lati n sou n d of the ori g i n a l -thus restitut i n g the long-lost mea n i ng of an
i mportant passage" (p. 26). The transl ators may be forgive n their c l a i m
to h ave restored a " l ong-lost mea n i ng." I n fact rad ical i ndeterm i nacy i s
t h e essence o f neolog i s m . N o d i ctionary or etymology c a n n a i l down the
s i g n i ficance, nor can an i nventor's (remem bered) i ntention . The rea l
strength of Cesa i re's l ast word i s that it forces open aga i n the semantic
u n i verse of the " Notebook" -j u st as it i s about to c l ose. Cesa i re does not
restore the "mea n i ngs" of language, c u lture, and identity ; he gives them
a turn .
Cesa i re's most fa mous neo l og i sm, negritude, has by now l ost its new
ness. It is too fam i l ia r as a l iterary movement and as a set of " pos itions"
in a n ongo i n g debate about black identity, essenti a l i s m , and oppos ition a l
consciou sness . Negritude, i n many o f i ts senses, h a s become w h a t Ce
sa i re never wanted it to be, an abstraction and an ideology. When the
word fi rst appeared in the " Notebook," i t was sheer pol itica l , poetical
i nventio n . Any neo l og i s m , perceived as such, annou nces itsel f as made.
N egritude i s less an e n d u r i n g fact or cond ition to be d i scovered and
named than i t i s a h istorica l creation, a language process . In an interview
with Ren e Depestre ( 1 980) Cesai re dec l i nes to defi ne h i s coinage i n any
way except h istorica l l y and conti ngently : "There's been a lot of theoriz
ing about negritude. I 've kept out of it, from personal d iscretion . B ut if
you ask me how I concei ve of negritude I ' l l say that in my opi n ion negri
tude i s primari l y a concrete, not abstract, com i ng to consc iousness ." He
goes o n to reca l l a generation's response to the dom i nant "atmosphere of
ass i m i lation" in the th i rties and forties. Spea k i n g with L i l ya n Kesteloot,
Ces a i re is even more ca refu l i n h i s hand l i ng of the term :
It can be said that our West Ind ian consciousness is necessari ly par
od ic, si nce it's caught i n a game of doubling and redoub l i ng, m i rrori ng
and separation, i n the face of a French colon ial consciousness embod
ied in ru l i ng institutions and the mass media. For this kind of d ivided ,
worried consciousness, naivete in art is forbidden . This is the sou rce
A POLITI C S OF NEOLOGI S M : AIME CESAIRE 1 79
my negritude is not a stone, its deafness h u rled aga i nst the c l amor
of the day
my negritude is not a l e u koma of dead l iq u id over the earth's dead
eye
my negritude is neither tower nor cathed ra l
it takes root in the red flesh of the soi l
i t takes root i n t h e ardent flesh o f the sky
it brea ks through the opaq ue prostration with its u pright patience
The fi rst and second pri nti ngs of the " Repl y to Depestre" conta i n a spe
cific reference to Aragon : "To hel l with it Depestre to he l l with it let
Aragon ta l k ." The reference wou l d be d ropped from Cesai re's Oeuvres
completes ( 1 9 76), the sou rce for Esh l eman and Sm ith . This movement
away from a speci fic controversy is reflected i n a more sign ificant textual
change . I n 1 95 5 Cesa i re had exhorted Depestre : "Marron nons-les De
pestre ma rron nons- les I comme j ad i s nous marron n ions nos maitres a
A POLITICS OF NEOLOGISM: AIME CESAIRE 181
fou et" ( let's escape them Depestre let's escape them I a s i n the past we
escaped our wh i p-wie l d i n g m asters) . I n the l ater version the exhortation,
once cast in a transitive form, " let's escape them" (the sl ave drivers, the
party l i ne), has been altered to an i nterrogative future form i n which
the play of sou nd becomes a s l i ghtly glosso l a l i c ri pple of n 's and r's.
"Marronnerons-nous Depestre marron nerons-nous ?" The reference to
"wh i p-wield i n g masters" is gone, and marronage is now a less l i m ited
and ongo i n g act of escape. I n the poem it is enacted as the m i x i n g up of
sound and sense, the ru n n i ng away with l anguage. Thus marronage is no
longer a bout s i m p l y esca p i n g (them) . It is a l so about reflexive poss i bi l ity
and poes i s . Cesa i re makes rebe l l ion and the remaki ng of cu lture-the
h i storical maroon experience- i nto a verb. A necessary new verb names
the New World poetics of conti n uous tra nsgression and cooperative c u l
tura l activity ( "Marronnerons-nous Depestre") . Fugitive s laves w h o c re
ated c u ltures in the swam ps of the G u ianas represented d isti n ct African
trad itions. Livi ng together they took over, used , and a l tered one another's
c u stoms, words, and pasts. So Cesai re, born i n Mart i n ique, i n vokes i n
cidents of H a itian h i story i n h i s letter t o Depestre, w h i l e pressi n g a poetic
rad ica l is m derived from R i m baud and su rrea l i sm . The fi n a l l i nes of "The
Verb 'Marro n ner' " a re scattered with words and p lace names from West
Afr i ca , France, H i spa n i c America, B raz i l , H a iti . Cesa i re veers among the
trad itions that h i story has offered to and i mposed on a Cari bbean identity.
H is bei ng and h i s poetics are elements of "A F reedom i n Passage" (the
l ast poem of the co l l ection) :
h e l ped so m u c h by b i rd s
whose m i ssion i s b y means o f po l le n
Paris, 912184
Dear A,
Around the Jard i n des Pl ante s : bou l es p l ayed in the old Roman space
. . . remember? Arenes de Lutece, h idden beh i nd bu i ld i ngs of the rue
Monge; Mouftard and its ma rket (gentrified); or the mosq ue, where you
can sti l l take a steam bath and drink m i nt tea from gold trays . Th i s year
the gardens are l ush-bl u r of blossoms from everywhere, goi n g to seed .
Peopl e scattered on green c h a i rs observe the plants. And statues : Bernar
d i n de Sai nt-Pierre s m i les down i n b l u i sh bronze at the myt h i c kids Pau l
et Vi rgi n i e . B uffon , back tu rned to everyone : a pigeon twitches o n h i s
meta l head . Over near the zoo and the Sei ne Lamarck i n a n attitude of
thought-above a risi ng s u n (sc ience? nature?). See you at the end of the
month . . .
913184
Dear P,
NAT U R E/C U LT U RE NAT U R E/C U LT U R E NAT U R E/C U LT U R E : it's sti l l the most
beautifu l , i ntense, fu n ny, etc . etc . exh ibit in Pa r i s : " Les Plus Beaux I n -
182
T H E J A R D I N D E S P L A NT E S : P O S T C A R D S 183
914184
Dear S,
Tal l tree, SO P H O RA JAPO N I CA, planted by B . J ussieu, 1 74 7 , i n the J a rd i n d u
Roy, seed sent from C h i n a b y R . P. d ' l ncarv i l le, . . . o r another, brought
from "The Levant." Strange th i ngs, a live and historica l (not at a l l l i ke
those seq uoia ri ngs with dates, 1 49 2 , 1 776, 1 9 1 4 ; or "the bed Napoleon
slept i n" ) . They' re l iv i n g in planetary- h u m a n time and space . . . the Age
of D i scovery transplanted . Outl iving u s . By the way, there's a new book
store with a p retty good poetry section, Mouftard and Pot de Fer:
"L'Arbre Voyageu r." Wi l l you be pass i ng through Ca l iforn i a this wi nter?
9/5/84
Dear T,
I n h u man Robinsonade-
RO B I N I E R de RO B I N ( Rob i n a Pseudo Accaci a L i n ne)
The fi rst s u bject i ntroduced i nto E u rope from seeds origi nati ng i n
N O RT H AM E R I CA b y Jean ROB I N i n h i s garden o f the pl ace Dauph ine
i n 1 60 1 . Transplanted to th i s spot i n the Roya l Garde n i n 1 63 6 by
Ves pas ier ROB I N , son of the above.
9/6/84
Dear B ,
You won't h ave forgotten t h e fantastic, l o ng, dappled a l l eyways of Ti l
leu ! . B u t maybe y o u d idn't s e e a l ittl e rock garden where they c u ltivate
shrubs, flowers, cacti, and herbs from C h i na, the Caucasus, Corsica,
N ew Zea land, Morocco, the H i m a l ayas, Pyrenees, B a l kans, Arctic, J a
pan . . . Cont i nents beside eac h other i n h u n d reds of beds. On a tru n k
supported b y a n i ron post :
PI STAC H E R ( P i stac i a Vera l . )
P l anted i n the seed l i n g garden aro u nd 1 700
1 84 D I S PLAC E M E NTS
917184
Dea r N ,
"Pri m itive" pa inting b y H a itians i s a recent avocation . ( B u t you know a l l
about th i s . ) And they took to it s o " natu ra l l y." A friend tel l s m e h e once
saw a H a itian artist pa i n t i ng the complex forests of " G u i nee" (place of
origin) with H e n ri Rousseau reprod uctions at hand. There are no African
j u ngles in H a iti . And the Douanier hadn't seen them either but copied
his in Paris from tropical spec i mens at the Jard i n . Right now I'm looking
i n at the entrance to one of the old d ream l i ke green houses. A tyger?
Beh i nd tal l panes . . . fabu lous, sha rp, sagging leaves . Fable of our
"Cari bbean" selves ?
917184
Dear L,
About the view from you r hote l , rue L i n ne . . . I can i magine the ivy
d renched gate of the Jard i n , and with i n , dark wa l ls of the " Labyri nth ." (Its
rising c i rcu l a r paths, assignations, strangers . . . ) And isn't th i s near the
great Cedar of Lebanon where around 1 860 ( i n an old pri nt) people with
top hats and long d resses stro l l ed to ad m i re the su perb, spread i ng form
and to marve l at the gathered i m perial u n i verse ? They m ust have heard
as one sti l l does-noises from the zoo, a n i m a l s that wou ld be devoured
some years l ater by bes ieged citizens of the Comm u ne. Pl ease stay i n
tou c h .
919/84
Dear C,
Thanks for sen d i ng me the new book by A l icia D ujovne O rtiz, Buenos
Aires . One of those m i racles of travel , the vertige horizontal. Jews from
Moldavia marrying Argenti n ians ( i m m igrants : Span ish, Ital ian, Albanian
. . . ), then a daughter: portena, i n Paris, writing French, remembering. I
l i ke her ambiva lent g l i m pses of Borges and the tango. A l so, espec i a l ly,
her love for the city's Jard i n Bota n i co-giant pl ants visited by cats and
old lad i es with bags of l i ver. The zoo's " h i nd u pl ace i n habited by a dusty
THE JARDIN D E S PLANTES : POSTCARDS 185
9/ 1 0184
Dear J,
Paris of the ren tree : streets fi l l ing aga i n , tem po picking u p . The low s u n
h a s a n a rtific i a l g l aze. I n t h e J a rd i n des Pla ntes, they' re bu i l d i ng a new
"Zootheq ue," u ndergro und. Pru n i ng has begu n . Contemplating winter.
I ' m i nfatuated yet aga i n with the pa l m s of the Luxembo u rg Gardens ("Au
tou r d ' u n e meme p l ace I I ' ample pal me ne se l asse . . . "), sym metrical,
perfect, i n boxes w i th i ro n feet. Vegetable extraterrestrials . . . six i nches
of a i r between the path and thei r . . . earth .
Indian woman spinning yam and rocking cradle with a
cord tied to her foot. In the background Franz Boas and
George Hunt help compose the picture.
Part Three � Collections
You do not stand in one place to watch a masquerade.
-AN IGBO SAYING
DURING THE WINTER of 1 984 - 8 5 one cou ld encou nter tribal objects
in an u n u s u a l n u m ber of locations around New York C ity. T h i s chapter
su rveys a half-dozen, foc u s i n g on the most controversi a l : the major ex
h i bition held at the Museum of Modern Art (MOMA), " ' Pri m itivism' i n
2 0th Centu ry A rt : Affi n ity of t h e Tri ba l a n d the Modern ." The chapter's
"eth nogra p h i c present" is l ate December 1 984 .
The "tri ba l " objects gathered on West F i fty-th i rd Street have been a rou n d .
They are travelers-some a rriv i n g from fo l klore a n d ethnograph i c m u
s e u m s i n E u rope, others from a rt ga l l eries a n d private co l l ections. They
have trave l ed fi rst c l ass to the Museum of Modern Art, e l aboratel y c rated
and i ns u red for i m portant s u m s . Previous accommodations have been
l ess l uxurious: some were stolen, others " p u rc hased" for a song by co
lon i a l ad m i n i strators, trave lers, anthropologists, m i ssionaries, sa i l ors i n
African ports . These non -Western objects have been by tu rns c u riosities,
eth nograph i c spec i mens, major art creations. After 1 900 they began to
turn u p i n E u ropean flea m arkets, thereafter mov i ng between avant-garde
1 89
1 90 COLLECTIONS
stud ios and co l l ectors' apartments . Some came to rest i n the u n h eated
basements or " l a boratories" of a nth ropology museums, su rrounded by
objects m ade in the same region of the worl d . Others encountered odd
fel low trave lers, l ighted and l abel ed i n strange d isplay cases. Now on
West Fifty-th i rd Street they interm i ngle with works by E u ropean mas
ters- Picasso, G iacomett i , B ranc usi, and others . A th ree-d i mensional
Eskimo mask with twel ve arms and a n u m ber of holes hangs beside a
canvas on w h i c h joan M i r6 has pai nted colored shapes. The people i n
N ew York look a t the two objects and see that they are a l i ke.
Travelers tel l d i fferent stories i n d i fferent places, and on West F i fty
th i rd Street an origi n story of moder n i sm is featu red . Aro u nd 1 9 1 0 Pi
casso and his cohort sudden l y, i ntu itive l y recogn ize that "pri m i tive" ob
jects a re in fact powerfu l "art." They col l ect, i m itate, and are affected by
these objects . Thei r own work, even when not d i rectly i nfl uenced , seems
odd l y rem i n i scent of non-Western forms. The modern and the pri m itive
converse across the centu ries and conti nents. At the M useum of Modern
Art a n exact h i story i s to ld featu ring i nd ividual artists and objects, the i r
encou nters i n spec ific stud ios a t prec i se moments. Photographs docu
ment the cruci a l i nfl uences of non-Western artifacts on the pioneer mod
ern ists . T h i s focused story is surrou nded and infused with another-a
loose a l l egory of re l ations h i p centeri ng on the word affinity. The word is
a k i nsh i p term , suggesti n g a deeper or more natu ral rel ationsh i p than
mere resemblance or j uxtaposition . It con notes a com mon q u a l ity or es
sence joi n i n g the tri bal to the modern . A Fam i ly of A rt is brought to
gether, globa l , d i verse, rich l y i nventive, and m i racu lously u n i fied , for
every object d i s p l ayed on West Fifty-th i rd Street looks modern .
The exh i b ition at MOMA is h i storica l and d idactic. It is com ple
mented by a comprehensive, scholarly cata l ogue, which i n c l udes d i ver
gent views of its topic and i n which the show's organ izers, Wi l l iam Rubin
and K i rk Varnedoe, argue at length its u nderl ying premises (Rubin 1 984) .
One of the v i rtues of an exh i b i tion that bl atantly makes a case or tel ls a
story is that it encou rages debate and makes possible the suggestion of
other stories. Th u s i n what fol l ows d i fferent h i stories of the tribal and the
modern wi l l be proposed in response to the sharply foc used h i story on
d isplay at the Museum of Modern Art. But before that h i story can be seen
for what it is, however-a spec ific story that exc l udes other stories-the
u n iversal i z i n g al legory of affi n i ty must be cleared away.
Th is a l legory, the story of the Modern i st Fam i l y of Art, is not rigo r
ously argued at MOMA . (That wou ld req u i re some expl icit form of either
H I S TO R I E S O F TH E T R I B A L A N D TH E M O D E R N 191
1 . The term tribal i s used here with considerable rel uctance. It denotes a
kind of soc iety (and a rt) that cannot be coherently spec ified. A catchal l , the con
cept of tribe has its source in Western projection and adm i n i strative necessi ty
rather than i n any essential qual ity or group of traits. The term is now common l y
used i nstead of primitive i n ph rases s u c h as tribal art. T h e category t h u s denoted ,
as th i s essay a rgues, is a product of h i stori ca l l y l i m i ted Western taxonom ies.
Wh i l e the term was orig i n a l l y a n i m position, however, certai n non-Western
groups have embraced it. Tri ba l status is in many cases a crucial strategic ground
for identity. I n thi� essay my use of tribe and tribal reflects common usage wh i l e
suggesting ways i n w h i c h t h e concept is systematica l l y d i storting. See Fried 1 9 75
and Stu rtevant 1 98 3 .
2 . These poi nts were made b y Wi l l iam Stu rtevant a t t h e sympos i u m o f an
thropologi sts and art h i storians held at the Museum of Modern Art i n New York
on November 3 , 1 984.
1 92 COLLE CTI O N S
resembl ance o r coi nc idence) because an exh i b ition of tribal works that
seem i m pressi vely " modern" in sty l e can be gathered . An eq u a l l y stri king
col lection cou ld be made demonstrating sharp d i ssi m i l arities between
tribal and modern objects.
The q u a l ities most often said to l i n k these objects are the i r "concep
tua l ism" and "abstraction" (but a very long and u lti mate l y incoherent l ist
of s hared tra i ts, i n c l u d i n g "magic," "ritua l ism," "envi ron menta l ism," use
of "natura l " materials, and so on, can be derived from the show and
espec i a l l y from its cata l ogue) . Actual ly the tri bal and modern a rtifacts
are si m i lar o n l y in that they do not featu re the pictorial i l l usion ism or
scu l ptu ra l natura l ism that came to dom i nate Western European art after
the Renaissance. Abstraction and conceptual i sm are, of cou rse, perva
sive in the arts of the non-Western World . To say that they share with
modern i s m a rejection of certai n natura l ist projects is not to show a ny
th i n g l i ke an affin ity. 3 I ndeed the "triba l i sm " selected in the exh i bition to
resemble modern ism i s itself a construction designed to accom pl ish the
task of resembl ance. lfe and Ben i n scu l ptures, h ighly natura l i stic in style,
are exc l uded from the "tri ba l " and pl aced i n a somewhat arbitrary cate
gory of "court" soc i ety (wh i c h does not, however, i n c l ude large c h i eftan
sh i ps) . Moreover, pre-Co l umbian works, though they have a pl ace in the
cata logue, are large l y omitted from the exh i bition . One can q uestion
other selections and exc l usions that result i n a col lection of only " mod
ern" - looki ng tribal objects . Why, for example, are there relative ly few
" i m p u re" obj ects constructed from the debri s of colo n i a l cu lture con
tacts? And i s there not an overa l l bias toward c lean, abstract forms as
aga i n st rough or crude work?
The "Affin ities" room of the exhi bition i s an i ntrigu ing but enti rely
problematic exerc i se i n formal m i x-and-matc h . The short i ntroductory
3. A more rigorous formu l ation than that of affi nity is suggested in Le iris
1 95 3 . H ow, Leiris asks, can we speak of African scu l ptu re as a single category ?
He warns of "a danger that we may u nderestimate the variety of African scu l p
ture; as we are less able to appreciate the respects in which cultures or th i ngs
unfa m i l iar to u s differ from one another than the respects in which they differ
from those to which we are used , we tend to see a certa i n resemblance between
them, which l ies, in point of fact, merely in the i r common differentness" (p. 3 5 ) .
Thus, t o speak o f African scu l pture o n e i nevitably shuts one's eyes "to t h e rich
diversity actua l l y to be found i n th is scu l ptu re in order to concentrate on the
respects i n which it is not what our own scu lptu re genera l l y i s ." The affin ity of
the tribal and the modern is, in this logic, an i m portant optical i l lusion-the
measure of a common differentness from artistic modes that dom inated in the
West from the Renaissance to the late n i neteenth centu ry.
HISTORIES O F THE TRIBAL AND THE MODERN 1 93
text beg i n s wel l : " A F F I N ITI ES presents a group of tribal obj ects notable for
the i r a ppea l to modern taste." I ndeed th i s i s a l l that can rigorously be said
of the objects in this room. The text conti n u es, however, "Se lected pai r
i ngs of modern and triba l obj ects demonstrate common denominators of
these a rts that a re i ndependent of d i rect i nfluence." The ph rase common
denominators i m p l i es someth i n g more systematic than i ntrigu i ng resem
blance. What can it poss i b l y mea n ? Th i s i ntrod uctory text, cited i n its
enti rety, i s e m b l ematic of the MOMA u ndertaki ng as a whole. Statements
carefu l l y l i m iting its p u rv iew (spec ify i n g a concern o n l y with modern i st
pri m itivism and not with tribal l ife) coexi st with freq uent i m p l i cations of
someth i n g more. The affi n ity idea itself i s wide-ranging a nd pro m i sc u
ous, as a re a l l u s i o n s t o u n i versa l h u m a n capac ities retrieved i n the en
cou nter between modern and tri ba l o r invocations of the expans i ve h u
man m i nd-the hea l thy capac ity of modern ist consciousness t o q u estion
its l i m its and engage otherness.4
N owhere, h owever, does the exh i b ition or cata logue u nderl ine a
more d isqu ieti n g q u a l ity of modern ism : its taste for appropri ati ng or re
deem i ng otherness, for constituti ng non-Western a rts in its own i mage,
for d i scoveri n g u n iversa l , a h i storical " h uman" capacities. The search for
s i m i l a rity itse lf req u i res j ustification, for even if one accepts the l i m ited
task of exploring " modernist primitivism," why cou ld one not learn as
m u c h about Picasso's or Ernst's creative processes by analyzing the dif
ferences separat i n g the i r a rt from tri bal models or by trac i ng the ways
the i r a rt moved away from, gave new twists to, non-Western forms ? 5 T h i s
s i d e of t h e process is u nexpl ored i n t h e exh i b ition . T h e preva i l i n g view
point is made a l l too clear in one of the "affi n ities" featu red on the cata
logue's cove r, a j u xtapos ition of Picasso's Girl before a Mirror ( 1 932) with
a Kwakiutl half-mask, a type q u ite rare among Northwest Coast c rea
tions. Its task here is s i m p l y to prod uce an effect of resemblance (an effect
actu a l l y c reated by the camera angle) . I n th i s exh i bition a u n i versal mes
sage, "Affi n ity of the Tri ba l and the Modern ," is prod uced by carefu l se
l ection and the m a i ntenance of a speci fic angle of vision .
The notion of affi n i ty, an a l legory of kinsh i p, has an expans ive, eel-
4 . See, for exa mple, Rubi n's d i scussion of the myth ic u n i versals shared by
a Picasso pa inting and a Northwest Coast half-mask (Rubin 1 984 : 3 28-330). See
a l so K i rk Varnedoe's assoc iation of modern i st pri mitivism with rationa l , scientific
exp loration (Rubin 1 984 : 2 0 1 -203, 652-65 3 ) .
5 . This point was made by C l i fford Geertz a t t h e November 3 , 1 984, sym
pos i u m at the Museum of Modern Art (see n . 2 ) .
1 94 CO LLECTI ONS
(a) (b)
(c)
HISTORIES OF THE TRIBAL AND THE MODERN 195
6. The c l ash between Krauss's and Varnedoe's dark and l ight versions of
pri m itivism is the most stri king i ncongru ity with i n the cata logue . For Krauss the
cru c i a l task is to shatter predom i nant European forms of power and subjectivity;
for Varnedoe the task i s to expand the i r purview, to q uestion, and to innovate.
1 96 C O LLE CTI O N S
aga i n ; from aborigi nal bark pa i nti ngs (Kiee) to massive pre-Co l umbian
monu ments (Henry Moore) ; from weightless Eskimo masks to Stone
henge-the cata logue succeeds in demonstrating not any essenti a l affin
ity between tri bal and modern or even a coherent modern ist attitude to
ward the pri miti ve but rather the restl ess des i re and power of the modern
West to col l ect the world .
Setting aside the a l l egory of affi n ity, we are left with a "factua l ," narrowl y
foc u sed h i story-that o f t h e "d iscovery" o f pri mitive art b y Picasso a n d
h i s generation . It is tem pti ng t o s a y that t h e " H i story" section o f t h e ex
h i bition is, after a l l , the rigorous part and the rest mere l y suggesti ve as
soc i ation . U nden i a b l y a great deal of sc holarly research in the best
Kunstgesch ich te trad ition has been brought to bear on this specific h i s
tory. N u merous myths a re usefu l l y q uestioned ; i m portant facts are spec
ified (what mask was in whose studio when); and the pervasiveness of
tri ba l i nfl uences on early modern ist a rt- E u ropean, Engl ish, and Ameri
can - i s shown more a m p l y than ever before . The cata logue has the merit
of i n c l ud i ng a n u m ber of articles that dampen the celebratory mood of
the exhi bition : notably the essay by Krauss and usefu l contri butions by
Christian Feest, P h i l i ppe Peltier, and Jean-Lo u i s Pa ud rat deta i l i ng the a r
rival of non-Western artifacts i n Europe . These h i storical artic les i l l u mi
n ate the less ed ify i ng i m perial ist contexts that su rrou nded the "di scov
ery" of tri ba l obj ects by modern i st artists at the moment of h igh
colon i a l ism .
If we ignore the "Affi n ities" room at MOMA, however, and focus on
the "serious" h i storica l part of the exh i bition, new critical questions
emerge. What is exc l uded by the spec ific foc us of the h i story? Isn't th is
factual narration sti l l i nfused with the affinity a l legory, si nce it is cast as
a story of c reative gen i u s recogn izing the greatness of triba l works, dis
coveri ng common art i stic " i nform i ng pri nciples" ? Cou ld the story of th i s
i ntercu ltural encou nter b e told differently? I t is worth m a k i n g the effort to
extract another story from the materials i n the exh i bition-a h i story not
of redemption or of d i scovery but of rec lassification . This other h i story
assumes that "art" is not u n i versa l but is a changing Western cu ltural
category. The fact that rather abru ptly, in the space of a few decades, a
l a rge c l ass of non-Western a rtifacts came to be redefi ned as a rt is a tax
onomic sh ift that req u i res critica l h i storica l d i scussion, not ce lebration .
That this construction of a generous category of art pitched at a globa l
H I S T O R I E S O F T H E T R I B A L A N D TH E M O D E R N 1 97
sca l e occu rred j ust as the planet's tri ba l peoples came massively u nder
E u ropean po l itica l , economic, and evange l ical domi nion can not be i r
relevant. But there i s no room for such complexities at the MOMA show.
Obviously the modern ist a ppropriation of triba l prod uctions as art i s not
s i m p l y i m perial ist. The project i nvol ves too many strong critiq ues of co
l o n i a l ist, evo l uti o n i st assu m ptions. As we s h a l l see, though , the scope
and u nderlyi n g logic of the "d iscovery" of tri bal a rt reprod uces hege
m o n i c Western ass u m ptions rooted in the colon ial and neoco l o n i a l
epoch .
Picasso, Leger, Apo l l i n a i re, and many others came to recogn ize the
e l ementa l , "magica l " power of African scu l ptu res i n a period of growing
negrophilie, a context that wou l d see the i rru ption onto the E u ropean
scene of other evocative black figu res : the j azzman, the boxer (AI
B rown), the sauvage joseph i ne Bake r. To tel l the h i story of modern ism's
recognition of Afri can "art" i n th is broader context wou ld ra ise ambigu
ous and d i sturb i n g q u estions about aesthetic appropriation of non
Western others, issues of race, gender, and power. Th i s other story is
large ly i nv i s i bl e at MOMA, give n the exh i bition's narrow focu s . It can be
g l i m psed o n l y in the sma l l section devoted to " La c reation du monde,"
the Afr i can cosmogony staged i n 1 92 3 by Leger, Cend rars, and M i l haud,
and i n the broad ly pitc h ed if sti l l largely u ncritical catal ogue a rticle by
Lau ra Rosenstock devoted to it. Overa l l one wou ld be hard p ressed to
ded uce from the exh i bition that a l l the enth usiasm for t h i ngs negre, for
the "magic" of African art, had anyth ing to do with race. Art in th i s
focused h i sto ry h a s n o essential l i n k w i t h coded perceptions o f black
bod ies-the i r vita l ism, rhythm, magic, eroti c power, etc . -as seen by
w h i tes. The modern i s m represented here is concerned o n l y with artistic
i nvention, a positive category separable from a negative pri m itivism of
the i rrationa l , the savage, the base, the fl ight from civi l i zation .
A d i ffe rent h istorical focu s m ight bring a photograph of j osep h i n e
Baker i n to the v i c i n ity o f t h e African statues that were exciting t h e Pari
sian avant-garde i n the 1 9 1 Os and 1 920s; but such a j u xtaposition wou l d
b e unth i n kable i n t h e MOMA h istory, for it evokes different affi n i ties from
those contributing to the category of great art. The black body i n Paris of
the twenties was an ideo l ogical a rtifact. Archaic Africa (wh ich came to
Paris by way of the futu re-that is, America) was sexed , gendered , and
invested with "magic" in specific ways . Standard poses adopted by " La
Bakai re," l i ke Leger's designs and costumes, evoked a recogn izable "Af
rican ity"-the naked form emphas i z i ng pelvis and buttocks, a seg-
1 98 COLLECTIONS
mented sty l i zation suggesting a strangely mechan i ca l vital ity. The inclu
sion of so ideologica l ly loaded a form as the body of Josephine Baker
among the figu res c l assified as a rt on West Fifty-th i rd Street wou ld sug
gest a different account of modernist primitivism, a d i fferent analysis of
the category negre in /'art negre, and an exploration of the "taste" that
was someth i ng more than j ust a backd rop for the d iscovery of tribal art
i n the open i ng decades of th i s centu ry. 7
Such a focus wou ld treat art as a category defined and redefi ned i n
specific h i storical contexts and re lations of power. Seen from this angle
and read somewhat agai nst the gra i n , the MOMA ex h i bition docu ments
a taxonom ic moment: the status of non-Western objects and "h igh" art
are i m porta ntly redefined , but there is noth i ng permanent or transcen
dent about the categories at stake. The appreciation and i nterpretation of
tri ba l objects takes place with i n a modern "system of objects" which
confers va l u e o n certa i n th i ngs and withholds it from others (Baudri l lard
1 968). Modern ist pri mitivism, with its claims to deeper humanist sym
pathies and a w ider aesthetic sense, goes hand-i n-hand with a developed
ma rket i n tribal art and with defi n itions of arti stic and cu ltural authentic
ity that are now widely contested .
S i nce 1 900 non-Western objects have genera l l y been c lass ified as
either pri m i tive art or eth n ographic spec i mens. Before the modern i st rev
o l ution assoc iated with Picasso and the s i m u ltaneous rise of c u ltural an
thropo logy assoc i ated with Boas and Ma l i nowski, these objects were d if-
7. On negrophilie see Laude 1 968; for paral lel trends i n l i teratu re see B la
chere 1 98 1 and Lev i n 1 984 . The d iscovery of thi ngs " negre" by the E u ropean
avant-garde was med i ated by an i magi nary America, a land of noble savages
s i m u ltaneously standing for the past and future of human ity-a perfect affi n ity of
prim itive and modern . For example, jazz was associated with primal sources
(wi ld, erotic passions) and with technology (the mechan ical rhyth m of brushed
drums, the g leam i n g saxophone). Le Corbusier's reaction was characteristic : " I n
a stupid variety show, joseph i ne Baker sang ' Baby' with such an intense and
d ramatic sensibi l ity that I was moved to tears . There is in this Ameri can Negro
music a lyrical 'contem porary' mass so invincible that I cou ld see the fou ndation
of a new sentiment of music capable of being the expression of the new epoch
and also capable of c l assifying its E u ropean origins as stone age-just as has
happened with the new architecture" (quoted in Jencks 1 973 : 1 02). As a sou rce
of modern ist i nspiration for Le Corbusier, the figu re of Josephine Baker was
matched only by monumenta l , almost Egyptian, concrete gra i n elevators, rising
from the American plains and built by nameless "pri m i tive" engi neers (Banham
1 986: 1 6) . The h i stori cal n arrative impl icit here has been a feature of twentieth
century l i terary and artistic i n novation, as a redemptive modernism pers istently
"di scovers" the pri m itive that can justify its own sense of emergence.
HISTO R I E S OF THE TRIBAL AND THE MODERN 199
ferently sorted-as anti q u ities, exotic curiosities, orienta l ia, the remains
of early man, and so o n . With the emergence of twentieth-century mod
ern ism and anth ropology figu res formerly ca l l ed "fetishes" (to ta ke j ust
one c lass of object) became works either of "sc u l ptu re" or of "materia l
cu ltu re ." The d i sti nction between the aesthetic and the anthropological
was soon i n stitutiona l l y rei nforced . I n art ga l leries non-Western objects
were d isplayed for the i r formal and aesthetic q u a l ities; in eth nograph i c
m u s e u m s they were represented i n a "cu ltura l " context . I n t h e l atter an
African statue was a ritual object belonging to a d i sti nct group; it was
d i splayed in ways that e l ucidated its use, sym bol ism, and fu nct ion . The
i nstitutiona l i zed d i sti nction between aesthetic and anthropo logical d i s
cou rses took form d u r i ng the years documented at MOMA, years that
saw the com pl eme ntary d iscovery of pri m i tive "art" and of an anth ropo-
200 COLLE CTI O N S
logica l concept of "culture" (Wi l l iams 1 966) . 8 Though there was from
the start (and cont i n ues to be) a regu l a r traffic between the two domains,
th i s d i sti nction is u n c h a l l enged in the ex h i bition . At MOMA treating
tribal objects as art means exc l ud i ng the origi nal cu ltura l context. Con
s ideration of context, we are fi rm ly told at the exh i b ition's entrance, i s
the busi ness o f anth ropologists. Cu ltural background i s not essential to
correct aesthetic apprec iation and analysis: good a rt, the masterpiece, i s
u n i versa l l y recogn izable.9 The pioneer modern ists themsel ves knew l i ttle
or noth i n g of these objects' eth nographic meani ng. What was good
enough for Picasso is good enough for MOMA. I ndeed an ignorance of
c u l t u ra l context seems a l most a precondition for artistic apprec iatio n . I n
th i s object system a tri ba l piece i s detached from one m i l ieu i n order to
c i rc u l ate freely i n a nother, a world of art-of museums, markets, and
connoi sseurs h i p .
S i nce t h e early years o f modern ism a n d cultural anth ropo logy non
Western objects have found a " home" either with i n the d i scourses and
i nstitutions of a rt or with i n those of anthropology. The two dom a i ns have
exc l uded and confi rmed eac h other, inventive l y d isputing the right to
contextual ize, to represent these objects. As we shal l see, the aesthetic
anth ropo l ogical opposition is systematic, presuppos i ng an u nderl y i ng set
of attitudes towa rd the "tri bal ." Both d i scou rses assume a prim itive world
in need of preservation, redem ption, and representation . The concrete,
i n ventive existence of tribal cu ltures and artists is suppressed in the pro
cess of e ither constituting authentic, "trad itiona l " worlds or appreciati ng
the i r prod ucts i n the t i meless category of "art."
Noth i ng on West F i fty-th i rd Street suggests that good triba l art is being
produced i n the 1 980s . The non-Western artifacts on d i splay are l ocated
Margaret Mead once referred to the cu ltures of Paci fic peoples as "a
world that once was and now is no more." Prior to her death in 1 9 78
she approved the basic plans for the new Hall of Pacific Peoples. (p. 1 )
word s : " STATUS and RAN K were [sic] i m po rtant featu res of Samoan soci
ety," a statement that wi l l seem strange to anyone who knows how i m
portant they remai n i n Samoa today. E lsewhere in the hal l a blac k-and
wh ite photograph of an Austra l ian Aru nta woman and c h i ld, taken
a round 1 900 by the pioneer eth nographers Spencer and G i l len, is cap
tioned in the present tense. Aboriginals apparently must a l ways i n habit
a myth ic time. Many other examp les of tem pora l i ncoherence cou ld be
c i ted-old Sepi k objects descri bed in the present, recent Trobriand pho
tos labeled in the past, and so forth .
The poi nt is not s i mply that the i m age of Samoan kava d r i n k i ng and
status soc iety presented here is a d i stortion or that in most of the Ha l l of
Pac ific Peoples h i story has been a i rbrushed out. (No Samoan men at the
kava ceremony are wearing wri stwatches; Trobriand face pa i nting is
shown without noti ng that it i s worn at cricket matches . ) Beyond such
q uestions of accu racy i s an i ssue of systematic ideological cod i ng. To
locate "triba l " peoples i n a non h i storical t i me and ourselves i n a d i ffer
ent, h i storical t i me is c learly tendentious and no longer c red i ble (Fabian
1 98 3 ) . This recogn ition throws doubt on the perception of a van i s h i ng
tribal world, resc ued , made val uable and mean ingfu l , either as eth no
graph ic "c u l tu re" or as prim itive/modern "art." For in th i s tem poral or
dering the rea l or gen u i ne l ife of tri bal works always precedes the i r col
lection, a n act of salvage that repeats an a l l-too-fam i l iar story of death
and redem ption . In this pervasive a l l egory the non-Western world is a l
ways va n i sh i ng and modern i z i ng-as i n Wa lter Benjam i n 's a l legory of
modernity, the tribal world is conceived as a ru i n . (Benjam i n 1 9 77) . At
the H a l l of Pac ific Peoples or the Rockefe l ler Wi ng the actual ongo i ng
l ife and " i mpure" i nventions of tri ba l peoples are erased in the name of
c u l tu ra l or a rtistic "authentic ity." S i m i larly at MOMA the prod uction of
tribal "art" is enti rely i n the past. Tu rn i ng up in the flea markets and
museums of l ate n i neteenth-centu ry E u rope, these objects are desti ned
to be aesthetica l ly redeemed , given new va l ue in the object system of a
generous modern ism .
The story reto ld at MOMA, the struggle to ga i n recogn ition for tribal art,
for its capac ity " l i ke a l l great art . . . to show i mages of man that tran
scend the parti c u l a r l ives and ti mes of the i r creators" (Rubi n 1 984 : 73), is
taken for granted at another stoppi ng place for triba l travelers i n Manhat
tan , the Center for African A rt on East Sixty-eighth Street. Susan Vogel ,
HISTORIES OF THE TR I B A L AND THE M ODERN 203
the executive d i rector, procl a i m s i n her i ntrod uction to the catal ogue of
its i naugural exh i b ition, "African Masterpieces from the Musee de
! ' H o m me," that the "aestheti c-anthropological debate" has been re
so lved . It is now widely accepted that "ethnographic speci mens" can be
d i stinguished from "works of art" and that with i n the l atter category a
l i m ited n u mber of " masterpieces" are to be fou n d . Vogel correctl y notes
that the aesthetic recogn ition of tribal objects depends on changes i n
Western taste . For example i t took the work o f Francis Bacon, Lucas Sa
maras, and others to m a ke it poss i b l e to exhibit as art " rough and horri
fyi n g [African) works as we l l as refined and lyrical ones" (Vogel
1 985 : 1 1 ) . Once recogn i zed, though, art is apparentl y a rt. Thus the se
lection at the Cente r i s made on aesthetic criteria alone. A pro m i nent
p l acard affi rms that the abi l ity of these objects "to transcend the l i m ita
tions of t i me and p l ace, to s peak to us across time and c u lture . . . p laces
them among the h i ghest poi nts of h u m an ac h ievement. It is as works of
a rt that we regard them here and as a testament to the greatness of thei r
creators."
There could be no c learer statement of one side of the aesthetic
anthropo logical "debate" (or better, system) . On the other (anth ropo l og
i c a l ) side, ac ross town, the H a l l of Pac ific Peoples presents co l lective
rather than i nd i v i d u a l prod uctions-the work of "c u lt u res." But with i n
a n i nstitutiona l i zed pol arity interpenetration o f d i scou rses becomes pos
s i b l e . Sc i ence can be aestheticized, art made anth ropo logi ca l . At the
American M useu m of N atura l H istory ethnographic exh i bits have come
i n c reas i n g l y to rese m b l e a rt shows. I ndeed the H a l l of Pac ific Peoples
rep resents the l atest i n aestheticized scienti sm . Objects are d ispl ayed in
ways that h i g h l i ght the i r formal properties. They are suspended i n l ight,
held in s pace by the i ngen ious use of Plexiglas. (One is sudden l y aston
i shed by the sheer wei rd ness of a smal l Ocea n i c figu rine perched atop a
th ree-foot-ta l l transparent rod . ) Wh i l e these artisti ca l l y d i splayed artifacts
are sc ientifical l y exp l a i ned , an older, functional ist attempt to present an
i ntegrated picture of spec i fic soc i eties or c u lture areas is no l onge r seri
ously p u rsued . There i s a n a l most d adaist q u a l ity to the labe l s on eight
cases devoted to Austra l i a n aborigi nal soc iety (I c ite the com plete series
in order) : " C E R EMONY, S P I R I T F I G U R E , MAG I C I A N S AND SORC E R E RS, SAC R E D
ART, S P E A R TH ROW E RS, STO N E A X E S A N D KN IVES, WOM E N , BOOM E RA N G S . "
E l sewhere the h a l l 's pieces of c u lture have been recontextual ized with i n
a new cybernetic, anthropo l ogical d i scourse. For i nstance fl utes and
str i n ged i n struments are captioned : " M U S I C is a system of organized
204 COLLECTIONS
sound i n man's [sic) a u ra l environ ment" or nearby : " COMM U N I CAT ION is
an i m portant fu nction of organized sou nd ."
I n the anthropological H a l l of Pacific Peoples non-Western objects
sti l l have primari ly scientific va l ue . They a re in add ition beautifu l . 1 ° Con
verse ly, at the Center for African Art artifacts are essentia l ly defi ned as
"masterpieces," the i r makers as great artists . The d i scourse of connois
seu rsh i p reigns. Yet once the story of art told at MOMA becomes dogma,
it is poss i b l e to rei ntroduce and co-opt the d i scou rse of eth nography. At
the Center tribal contexts and fu nctions are descri bed a l ong with i nd ivid
u a l h i stories of the objects on d i sp l ay. N ow firm ly c l assified as m aster
pieces, African objects escape the vague, a h i storical location of the
"tri ba l " or the "prim itive ." The cata logue, a sort of c atalogu e raisonne,
d i scusses each work i ntensive l y. The category of the masterpiece i nd ivid
uates : the pieces on d i splay are not typica l ; some are one of a kind . The
famous Fan god of wa r o r the Abomey shark-man lend themse l ves to
precise h i stories of i nd ividual creation and appropriation in v i s i b l e co
l o n i a l situations. Captions spec ify which Griau l e exped ition to West Af
rica i n the 1 9 3 0s acq u i red eac h Dogan statue (see Le i ri s 1 934 and Chap
ter 2 ) . We learn in the cata logue that a su perb Bam i l eke mother and c h i l d
was carved b y a n artist named Kwayep, that t h e statue was bought by
the colon i a l ad m i n istrator and anthropo l ogist Henri Labou ret from K i ng
206 COLLECTIONS
N 'J i ke . Wh i le tribal names predom i nate at MOMA, the Rockefel ler Wi ng,
and the American Museum of Natu ra l H i story, here personal names make
thei r appearance.
I n the "African Masterpieces" cata logue we learn of an eth nogra
pher's exc i tement on fi nding a Dogan hermaphrod ite figu re that wou ld
l ater become famous. The letter record i ng th i s exc itement, written by
Den i se Pau l me in 1 93 5 , serves as evidence of the aesthetic concerns of
many early eth nographic col l ectors (Vogel and N'diaye 1 985 : 1 2 2 ) .
These i nd i v i d u a l s, w e a re to ld, cou ld i ntu itively d i stinguish masterpieces
from mere art or eth nographic spec i mens. (Actua l l y many of the i nd ivid
ual eth nographers beh i nd the Musee de I ' Homme col l ection, such as
Pau l me, M ichel Le i ris, Marcel Griau le, and Andre Schaeffner, were
friends and col laborators of the same "pioneer modernist" arti sts who, i n
the story told a t MOMA, constructed the category o f prim itive art. Thus
the i ntu itive aesthetic sense i n q uestion i s the product of a h istorica l l y
spec ific m i l ie u . See Chapter 4 . ) T h e "African Masterpieces" catal ogue
i n s i sts that the fou nders of the Musee de I ' Homme were art con noisseu rs,
that th is great anthropological m u se u m never treated a l l its contents as
"ethnograph ic spec i mens." The Musee de I ' Homme was and is secretly
an a rt m u se u m (Voge l 1 985 : 1 1 ) . The taxonom ic spl it between art and
artifact i s thus hea l ed, at least for se lf-evident "masterpieces," enti rely i n
terms o f the aesthetic code. Art is art i n any m useum .
I n th i s exh i bition, a s opposed to the others i n New York, i nformation
can be provided about each i nd i vidual masterpiece's h istory. We learn
that a Kiwara n i a ntel ope mask studded with m i rrors was acq u i red at a
dance given for the colon i a l ad m i n istration i n Ma l i on Basti l le Day 1 9 3 1 .
A rabbit mask was pu rchased from Dogan dancers at a ga l a so i ree i n
Par i s d u ri ng the Colo n i a l Exh i bition of the same year. These are no longer
the datel ess "authentic" triba l forms seen at MOMA. At the Center for
African Art a d i fferent h istory documents both the artwork's u n i q ueness
and the ach i evement of the d i scern i ng col lector. By featuring rar ity, ge
n i us, and con noisseu rs h i p the Center confirms the exi stence of autono
mous a rtworks able to c i rc u l ate, to be bought and sold, in the same way
as works by Picasso or G iacomett i . The Center traces i ts l i neage, appro
priately, to the former Rockefe l ler Museum of Pri m itive Art, with i ts c lose
ties to col lectors and the art market.
I n its i naugura l exh i b ition the Center confi rms the predomi nant
aesthetic-eth nographic view of tribal art as someth ing located i n the past,
good for bei ng col l ected and given aesthetic val ue. Its second show
(March 1 2 J u ne 1 6 , 1 985) is devoted to " l gbo Arts : Com m u n ity and Cos-
-
H I STO R I E S OF THE TRIBAL AND THE MODERN 207
mos ." It te l l s another story, l ocating art forms, ritua l l i fe, and cosmo logy
in a s pec ific, changing African soc iety-a past and present heritage.
Photographs show "trad ition a l " masks worn i n danced masquerades
a round 1 98 3 . (These i n c l ude sati ri c figu res of w h i te colon i sts. ) A deta i l ed
h istory of c u ltura l c h ange, struggle, and reviva l i s provided . In the cata
logue C h i ke C. A n i a kor, an l gbo scholar, writes along with co-ed i tor H e r
bert M . Cole of "the conti n u a l ly evo l v i ng lgbo aesthetic" : " I t is i l l usory
to th i n k that w h i c h we comfortably l abel 'trad itiona l ' art was i n an earl ier
time i m m u ne to changes i n sty le and form; it i s th us u n p roductive to
lament changes that reflect c u rrent rea l ities. Conti n u ity with earl ier forms
w i l l a l ways be fou n d ; the p resent-day pers i stence of fam i ly and com
m u n ity va l ues e n s u res that the arts w i l l thri ve . And as a l ways, the l gbo
w i l l c reate new art forms out of the i r i nventive spi rit, reflecting the i r dy
nam i c i nteractions with the environment and the i r neighbors and ex
pressing c u ltu ra l ideals" (Cole and A n i akor 1 984 : 1 4) .
Cole and A n i akor p rovide a q u ite d i fferent h i story o f "the tri ba l " and
"the modern " from that tol d at the Museum of Modern Art-a story of
i nvention, not of rede m ption . In his foreword to the cata logue C h i n u a
Achebe offers a v i s i o n o f c u lture a n d o f objects that sharply c h a l lenges
the ideology of the art co l lection and the masterpiece. l gbo, he tel l s us,
do not l i ke col l ecti ons.
Achebe's i mage of a "ru i n " suggests not the modern i st a l l egory of re
dem ption (a yearn i ng to make thi ngs whole, to th i n k archaeo logica l ly)
208 C O LLECTI O N S
The Earth Deity, Ala, with her "children " in her mbari
house. Obube Ulakwo, southeast Nigeria, 1 966.
H I ST O R I E S O F THE TR I B A L A N D THE M O D E R N 209
1 1 . The sh ifting balance of power i s evident i n the case of the Zun i war
gods, or Ahauuta . Zuni vehemently object to the d isplay of these figures (terrify
ing and of great sacred force) as "art." They are the only trad itional objects
si ngled out for th is objection . After passage of the N ative American Freedom of
Rel i gion Act of 1 9 78 Z u n i i n itiated th ree forma l legal actions c l a i m i n g return of
the Ahauuta (wh ich as comm u n a l property are, in Zuni eyes, by defin ition stolen
goods). A sale at Sotheby Parke-Bernet i n 1 9 78 was interru pted, and the figure
was eventua l ly retu rned to the Zu n i . The Denver Art Museum was forced to
repatriate its Ahau utas in 1 98 1 . A c l a i m agai nst the Sm ithsonian remains u n re
solved as of this writing. Other pressu res have been appl ied elsewhere in a n
ongoing campaign . I n these new conditions Zun i Ahauuta c a n no longer b e rou
t i n e l y displayed . I ndeed t h e figure Pau l Klee saw i n Berl i n wou l d have run the
risk of being seized as contraband h ad it been s h ipped to New York for the
MOMA show. For general background see Tal bot 1 98 5 .
2 10 C O LLECTI O N S
th us contri bute to the i r c u rrent resu rgence i n New Zealand soc iety (Mead
1 984) . 1 2 Tri bal authorities gave perm ission for the exh i bition to travel ,
and they partici pated i n its open i ng ceremonies i n a visible, d isti nctive
man ner. So d id Asante l eaders at the exh ibi tion of the i r art and cu ltu re at
the Muse u m of Natural H i story (October 1 6, 1 984 -March 1 7, 1 98 5 ) .
Although t h e Asa nte display centers on eighteenth- a n d n i neteenth
centu ry artifacts, evidence of the twentieth-century colonial suppression
and recent renewa l of Asante cu lture is incl uded , a long with color photos
1 2 . An article on corporate fund ing of the arts in the New York Times, Feb.
5, 1 985, p. 27, reported that Mob i l O i l sponsored the Maori show in large part
to please the New Zea l and government, with which it was col laborating on the
construction of a natural gas convers ion plant.
H I STO R I E S O F THE TRIBAL AND THE MODERN 2ll
of modern ceremon i es and newly made "trad itiona l " objects brought to
New York as gifts for the m useu m . I n th i s exh i b ition the location of the
art o n d i splay-the sense of where, to whom, and in what ti me(s) it be
longs- i s q u ite d ifferent from the location of the African objects at
MOMA or i n the Rockefe l ler Wi ng. The tri bal is fu l ly h i storica l .
Sti l l a nother representation of tribal l ife and art can be encountered
at the Northwest Coast co l lection at the I BM Gal lery (October 1 0 -De
cem ber 2 9 , 1 984), whose obj ects have traveled downtown from the Mu
seu m of the American I n d i a n . They are d i splayed i n poo ls of i ntense l ight
(the beautifyi ng "boutique" decor that seems to be modern ism's gift to
m useum d i spl ays, both eth nographi c and artisti c) . But th i s exh i bition of
trad itiona l masterpieces ends with works by l iv i n g Northwest Coast art
i sts . Outside the ga l lery i n the I BM atri u m two large totem poles have
been i nsta l l ed . One i s a weathered spec i men from the Museum of the
American I n d i a n , and the other has been carved for the show by the
2 12 COLLECTI ONS
1 3 . I n places the search becomes sel f-parod ic, a s i n the caption for works
by jackie Winsor: "Wi nsor's work has a prim itivist feel , not only in the raw phys
ical presence of her materi a l s, but a l so in the way she fabri cates. Her labor
driving nails, b i n d i ng twi ne-moves beyond simple systematic repet ition to take
on the expressive character of ritua l i zed action."
HISTORIES OF THE TRIBAL AND THE MODERN 213
The non-Western objects that exc ited Picasso, Dera i n , and Leger
broke i nto the rea l m of offi c i a l Western art from outside. They were
q u ickly integrated , recogn i zed as masterpieces, given homes with i n an
anthropological -aesthetic object system . By now th i s process has been
suffi c iently ce lebrated . We need ex h i bitions that question the boundaries
of art and of the art world, an i nfl ux of tru l y i n d i gesti ble "outside" arti
facts. The rel ations of power whereby one portion of h u ma n ity can se
lect, va l ue, and col l ect the pure prod ucts of others need to be criticized
and transformed . T h i s i s no sma l l task . I n the meanti me one can at least
i magi ne shows that featu re the i m pu re, " i nauthentic" productions of past
and prese nt tribal l ife; exh i bitions rad i ca l ly heterogeneo us in the i r global
mix of styles; exh i bitions that locate themselves i n spec ific m u lticu ltura l
j u nctu res ; exh i bitions i n w h i c h nature rema i n s " u n natu ra l " ; exh i b itions
whose pri n c i p l es of i ncorporation are open ly q uestionable. The fol low
i n g wou ld be my contri bution to a d i fferent show on "affi n ities of the
tribal and the postmodern ." I offer j ust the fi rst paragraph from Ba rbara
Ted l ock's su perb descr i ption of the Z u n i Shal ako ceremony, a fest ival that
is o n l y part of a com plex, l iv i ng trad ition ( 1 984 : 246) :
Imagine a sma l l western New Mex ican v i l l age, its snow- l i t streets
l i ned with white Mercedes, q uarter-ton pickups and Dodge vans. Vi l
l agers wra pped i n black blankets and flowered shaw l s are stand ing
next to visitors i n blue velveteen blouses with rows of d i me buttons
and volu m i nous sat i n skirts. The i r men are in black Stetson s i l ver
banded h ats, pressed jeans, Tony Lama boots and m u lticolored Pen
dleton blan kets . Strangers d ressed in dayglo orange, p i n k and green
ski jackets, stocking caps, h i k i n g boots and m i ttens. Al l crowded to
gether they are looking i nto newl y constructed houses i l l u m i nated by
ba re l i ght b u l bs dangl i n g from raw rafters edged with Woolworth's red
fabric and flowered b l ue print cal ico. Ci nderblock and pl asterboard
white wa l l s are layered with str i ped serapes, C h i mayo blankets, Nav
ajo rugs, flowered fri n ged em broidered shawls, black si l k from Mex i co
and purple, red and b l u e rayon from Czechoslovakia. Rows 'of Hopi
cotta � dance k i l ts and ra i n sashes; I s leta woven red and green belts;
Navajo and Zuni s i lver concha belts and black mantas covered with
si lver brooches set with ca rved lapidary, ra i n bow mosa ic, channel in
lay, turquoise need lepoi nt, pink agate, alabaster, bl ack cannel coal
and bakel ite from old ' 78s, cora l , abalone shel l , mother-of-pearl and
horned oyster hang from poles suspended from the cei l i ng. Mule and
2 14 COLLECTIONS
215
216 COLLECTIONS
th roughout the chapter and particularly i n the fou rth part, where alter
native "triba l " h i stories and contexts are suggested .
Entering
You wi l l find yo urs e l f in a c l i m ate of nut castanets,
A musical whip
From the Torres Straits, from Mirzapur a sistrum
Called j umka, "used b y Aboriginal
Tri bes to attract small game
On dark nights," coo l i e ci gar e tt e s
And mask of Saagga, the Devi l Doctor,
The eyelids wo rked by strings.
james Fento n 's poem "The Pitt Rivers Museum , Oxford" ( 1 984 : 8 1 - 84),
from w h i c h th is stanza is take n , red iscovers a pl ace of fasci nation in the
eth nographic col lection . For th is visitor even the museum's desc ri ptive
labe l s seem to i n c rease the wonder (" . . . attract smal l game I on dark
n i g hts" ) and the fear. Fenton i s an adu lt-ch i ld exploring territories of dan
ger and desi re, for to be a c h i l d i n this co l lection ("Please s i r, where's the
withered I Hand?") is to ignore the serious ad monitions about h u man
evol ution and cu ltura l d ivers ity posted i n the entrance hal l . It is to be
interested i nstead by the c law of a condor, the j aw of a dolph i n , the h a i r
o f a witc h , o r "a jay's feather worn a s a charm I i n Bucki nghamsh i re ."
Fenton's eth nograph ic m u seum is a world of i ntimate encou nters with
i nexpl icably fasc i nati n g objects : personal fetishes. Here col lecting is
i nescapably tied to obsess ion, to recol l ection . Vi sitors "fi nd the l and
scape of the i r c h i l dhood marked out I Here in the chaotic pi les of sou
ven i rs . . . boxroom of the forgotten or hard l y poss i b l e ."
Go
As a h i storian of ideas or a sex-offender,
For the prim itive art,
As a dusty sem iologist, eq u i pped to u n ravel
The seven components of that witch's c u rse
Or the syntax of the m uti l ated teeth . Go
In groups to giggle at c u rious fi nds.
But do not step i nto the ki ngdom of your promi ses
O N C O L L E C T I N G A R T A N D C U LT U R E 217
Do n ot step i n th is tabooed zone " l aid with the snares of pri vacy and
fiction I And the dangerous th i rd w i s h ." Do not encou nter these objects
except as curiosities to giggle at, art to be ad m i red, or evidence to be
u nderstood scientifica l l y. The tabooed way, fol low�d by Fenton, is a path
of too- intimate fantasy, reca l l i ng the d reams of the sol ita ry c h i l d "who
wrestl ed with eagl es for the i r feathers" or the fearfu l vision of a you n g
gi r l , h e r turbu lent lover seen as a hou nd with "strange preterca n i ne eyes."
Th is path th rough the Pitt Rivers Museum ends with what seems to be a
scrap of autobiography, the vision of a personal "forbidden woods"
exoti c, desired , savage, and governed by the (paterna l ) l aw :
Fento n 's jou rney i nto otherness l eads to a forbidden area of the self. H is
i nti m ate way of engag i n g the exotic co l lection finds an area of des i re,
marked off and po l iced . The law is preoccu pi ed with property.
C. B . Macpherson's c l assic analysis of Western " possessive i nd i vid
u a l i sm " ( 1 962) traces the seventeenth-centu ry emergence of an idea l self
as owner: the i nd iv i d u a l s u rro u nded by accu m u l ated property and
goods . The same idea l can hold true for co l l ectivities making and rem ak
i ng thei r c u ltura l "sel ves ." For exa m p l e R i chard Hand ler ( 1 985) analyzes
the m a k i n g of a Quebecoi s c u ltural "patrimoi ne," drawing on Macpher
son to u n ravel the assu m ptions and paradoxes i nvol ved in "havi ng a cu l
tu re," selecti ng and cherish i ng an authentic col l ective "property." H i s
ana lysis s uggests that t h i s identity, whether c u ltura l or personal , presu p
poses acts of col lection, gatheri ng u p possess ions i n arbitrary systems of
va l u e and m ea n i ng . Such systems, always powerfu l and rule governed ,
change h i storica l l y. One can not escape the m . At best, Fenton suggests ,
one can transgress ( " poach" i n their tabooed zones) or make the i r se l f
ev ident o rde rs seem stra nge . I n Handler's s u btly perverse analysis a sys
tem of retrospection-revealed by a H istoric Mon u ments Comm ission's
selection of ten sorts of "cu l t u ra l property" -appears as a taxonomy war-
2 18 COLLE CTI ONS
thy of Borges' "Ch i nese encyc loped ia" : " ( 1 ) commemorative monu
ments; (2) c h u rc hes and chape l s ; (3) forts of the French Regime; (4) wind
m i l l s ; (5) roadside c rosses ; (6) commemorative i nscriptions and p l aques;
(7) devotiona l mon u ments; (8) old hou ses and manors; (9) old fu rn itu re ;
( 1 0) ' l es c hases disparues"' ( 1 985 : 1 99 ) . I n H and ler's d iscussion the col
lection a n d preservation o f an authentic doma i n o f identity can not be
natu ra l or i nnocent. It is tied up with national ist pol itics, with restrictive
l aw, and with contested encod i n gs of past and futu re .
Some sort of "gatheri ng" arou nd the self and the group-the assemblage
of a mate ri a l "world," the marki ng-off of a subjective doma i n that is not
"other" - i s probably u n i versal . Al l such col lections embody h ierarch ies
of val ue, exc l usions, ru le-governed territories of the self. But the notion
that this gathering i nvo lves the acc u m u lation of possess ions, the idea that
identity is a kind of wea lth (of objects, knowledge, memories, experi
ence) , is sure l y not u n iversa l . The i nd i vid u a l i stic acc u m u l ation of Mel a
nesian "big men" is not possessive in Macpherson's sense, for in Mela
nesia one acc u m u l ates not to hold objects as private goods but to give
them away, to red istri bute . In the West, however, col lecting has long
been a strategy for the deployment of a possess ive self, c u lture, and au
thentic ity.
C h i ldren's co l l ections a re revea l i ng i n th is l ight : a boy's accumu la
tion of m i n iatu re cars, a g i r l 's dol ls, a s u m mer-vacation "natu re m useum "
(with labeled stones a n d shel ls, a h u m m i ngbi rd i n a bott l e), a treasu red
bow l fi l led with the bright shavi ngs of crayons. In these sma l l ritu a l s we
observe the channe l i ngs of obsess ion, an exerc ise in how to make the
world one's own , to gather thi ngs around oneself tastefu l ly, appropriately.
The i n c l u sions i n a l l col lections reflect wider cu ltural ru les-of rational
taxonomy, of gender, of aesthetics. An excessive, someti mes even rapa
cious need to have is transformed i nto ru l e-governed , meaningfu l des i re.
Thus the self that m u st possess but can not have it a l l learns to se l ect,
order, c lassify in h ierarc h ies-to make "good " col l ections. 1
tween 1 908 and 1 93 6 . Her work suggests that the passion to col lect, preserve,
and d i splay is artic u l ated in gendered ways that are h i storica l ly specific. Beau
cage, Gom i l ia , and Va l l ee ( 1 976) offer critical med itations on the ethnographer's
com plex experience of objects .
2 . Walter Benj a m i n's essay " U n packing My Li brary" ( 1 969 :59-68) provides
the view of a reflecti ve devotee. Col lecting appears as a n art of l iving i ntimately
a l l ied with memory, with obsession, with the salvaging of order from d i sorder.
Benjam i n sees (and takes a certa i n p l easure in) the precariousness of the subjec
tive s pace atta i ned by the col lection. "Every passion borders on the c haotic, but
the col lector's passion borders on the c haos of memories. More than that: the
chance, the fate, that suffuse the past before my eyes are conspicuously present
in the accustomed confusion of these books. For what else is th i s co l l ection but
a d i sorder to wh ich habit has accommodated itself to such an extent that it can
appear as order? You have a l l heard of people whom the loss of their books has
tu rned i nto inva l i ds, of those who i n order to acq u i re them became criminals.
These are the very areas i n which any order i s a ba lancing act of extreme precar
iousness." (p. 60)
3. My u nderstanding of the role of the fetish as a m ark of otherness i n West
ern i n te l lectual h istory-from DeBrosses to Marx, Freud, and Deleuze-owes a
great dea l to the largely u n publ ished work of Wi l l iam Pietz; see "The Problem of
the Feti sh, I" ( 1 985 ) .
220 C O LLE CTI ONS
A h i story of anth ropology and modern art needs to see i n col l ecting both
a form of Western subjectivity and a changing set of powerfu l i nstitu
tional practices. The h i story of col lections (not l i m ited to museums) is
centra l to an u nderstand ing of how those soc i a l groups that i nvented
O N C O L L E C T I N G A R T A N D C U LT U R E 22 1
anthropology and modern art have appropriated exoti c th i ngs, facts, and
mea n i ngs. (Appropriate: "to make one's own," from the Latin proprius,
" proper," " property.") It is i m portant to analyze how powerfu l d i sc r i m i
nations m a d e a t partic u l a r moments consti tute the genera l system of
objects with i n w h i c h va l ued artifacts c i rc u l ate and make sense. Far
reach i ng q uestions are thereby rai sed .
What c riteria va l idate an authentic c u ltura l or artistic prod uct? What
are the d ifferenti a l val ues p laced on old and new creations? What mora l
and pol itical criteria j ustify "good ," respons i b l e, systematic col l ecti n g
practices? Why, for example, do Leo Froben i us' wholesale acq u i sitions
of African objects aro u nd the turn of the centu ry now seem excess i ve ?
(See a l so Co l e 1 985 a n d Pye 1 98 7 . ) How i s a "complete" co l lection de
fined ? What i s the proper bal a nce between scientific analysis and publ ic
d i splay? ( I n Santa Fe a su perb col lection of Nati ve American art i s housed
at the School of American Research i n a bu i l d i ng constructed , l itera l l y,
a s a vau lt, with access carefu l l y restricted . The Musee d e ! ' Homme ex
h i bits less than a tenth of its co l lections; the rest is stored in steel cabi nets
or heaped in corners of the vast basement . ) Why has it seemed obvious
u nti l recently that non-Western objects shou ld be preserved in E u ropean
museums, even when this means that no fine spec i mens are v i s i b l e i n
thei r cou ntry of origi n ? How are "anti q u ities," "curiosities," "art," "sou
ven i rs," "mon u ments," and "eth nographic artifacts" d i sti ngu i shed-at
d i fferent h i storical moments and in spec ific m arket cond itions? Why
h ave many anthropological m useu m s in recent years begu n to d isplay
certa i n of the i r obj ects as " masterpieces" ? Why has tou r i st art only re
cently come to the serious attention of anth ropologists ? (See G raburn
1 976, j u les-Rosette 1 984 . ) What has been the changing i nterpl ay be
tween natu ral - h i story col l ecti ng and the selection of anthropological ar
tifacts for d i splay and analysis? The l ist cou ld be extended .
The c ritica l h i story of col lecti ng i s concerned with what from the
materi a l world s pec ific gro u ps and i n d i v i d u a l s choose to preserve, va l ue,
and exchange. A l though th i s complex h istory, from at least the Age of
D i scovery, rem a i n s to be written , Baudri l l ard prov ides an i n itial frame
work for the deployment of obj ects in the recent capita l i st West. In h i s
accou nt it i s axiomatic that a l l categories o f meani ngfu l objects- i n c l ud
ing those m arked off as sc i entific ev idence and as great a rt-fu nction
w ith i n a ram i fied system of symbo l s and val ues.
To take j ust one exa m p l e : the New York Times of December 8, 1 984,
reported the w idespread i l lega l l ooti ng of Anasaz i archaeological sites in
222 C O LLE CTI O N S
the American Southwest. Pai nted pots and u rns thus excavated i n good
cond ition cou ld bring as much as $30, 000 on the market. Another arti c l e
i n t h e same issue conta i ned a photograph o f B ronze Age pots a n d j ugs
sa lvaged by a rchaeo logists from a Phoenician sh i pwreck off the coast of
Turkey. One accou nt featu red c l a ndest i ne col lecting for profit, the other
scientific col lecti ng for know l edge. The mora l eva l u ations of the two acts
of salvage were sharply opposed, bul_ the pots recovered were a l l mean
i ngfu l , beautifu l , and o l d . Commerc i a l , aestheti c, and sc ienti fic worth in
both cases presupposed a given system of va l u e . Th i s system finds i ntrin
sic interest and beauty i n objects from a past t i me, and it assu mes that
co l lecti ng everyday objects from ancient (preferably vanished) civi l iza
tions w i l l be more rewarding than col l ecti ng, for exam ple, decorated
thermoses from modern C h i n a or custom i zed T-sh i rts from Ocea n i a . Old
objects a re endowed with a sense of "depth" by the i r h i storica l ly m i nded
col lectors . Tem pora l ity is reified and sa lvaged as origi n , beauty, and
know l edge .
T h i s a rc h a i z i n g system h a s not a l ways dom inated Western col lect
i ng. The c u riosities of the New World gathered and appreciated in the
si xteenth century were not necessari ly va l ued as antiqu ities, the prod ucts
of pri m itive or "past" civi l izations . They frequently occu pied a category
of the marvelous, of a present "Golden Age" (Honour 1 9 75 ; M u l l aney
1 98 3 ; Rabasa 1 98 5 ) . More recently the retrospecti ve bias of Western ap
propriations of the world's c u ltu res has come u nder scruti ny (Fabian
1 98 3 ; C l ifford 1 986b) . C u ltura l or a rtistic "authenticity" has as m uch to
do with an i nventive present as w ith a past, its objectification, preserva
tion, o r reviva l .
Si nce the turn of the centu ry obj ects col lected from non -Western sou rces
have been c l ass i fied in two major categories : as (scientific) cu ltura l arti
facts or as (aesthetic) works of art. 4 Other col lecti b les-mass-prod uced
com mod ities, "tou rist art," cu rios, and so on-have been less systemati-
4 . For "hard" articulations of eth nographic cu ltural ism and aesthetic for
malism see S ieber 1 9 7 1 , Price and Price 1 980, Vogel 1 985, and Rubi n 1 984 .
The first two works argue that art can be u nderstood (as opposed to merely ap
prec iated) only in i ts original context. Vogel and Rubin assert that aestheti c qual
ities transcend the i r original local articulation, that "masterpieces" appea l to u n i
versal or a t least transcu ltural human sensibil ities. F o r a glimpse o f how the often
incompati ble categories of "aesthetic excel lence," "use," "rari ty," "age," and so
O N C O L L E C T I N G A R T A N D C U LT U R E 223
on a re debated in the exerc ise of assign ing a uthentic va l u e to tribal works, see
the rich ly i nconclusive sym pos i u m on "Authenticity in African Art" orga n i zed by
the journal African Arts (Wi l l ett et al . 1 9 76).
224 C O LLECTI O N S
(authentic)
2
connOisseurship history and folklore
t h e art museum the ethnographiC museum
the art m arket material culture, craft
art 41----1•
... � culture
orig i n a l , singular traditional, collect1ve
(masterpiece) (artifact)
not-culture not-a rt
new, uncommon
3 4
fakes, inventions tourist art, commodities
the museum of technology the curio colleCtiOn
ready-mades and ant1-art utilities
(inauthentic)
5. For a post-Freudian positive sense of the fetish see Lei ris 1 929a, 1 946;
for fetish theory's rad ical possibi l ities see Pietz 1 985, which d raws on Deleuze;
and for a repentant sem iologist's perverse sense of the fetish (the "punctum") as
a p l ace of strictl y personal mean ing unformed by c u l tu ra l codes (the "stu d i u m " )
see Barthes 1 980. Gom i l a ( 1 9 76) reth i nks eth nographic material cultu re from
some of these surrea l ist-psychoanalytic perspectives .
230 COLLECTIONS
C ulture Collecting
N O T E F ROM N EW G U I N EA
A l iatoa, Wiwiak D istrict, New G u i nea
April 2 1 , 1 932
We a re just com pleting a culture of a mounta i n group here in the
lower Torres Chel les. They have no name and we haven't decided
what to cal l them yet. They are a very revea l i ng people in spots, pro
viding a final basic concept from which a l l the mother's brothers'
cu rses and father's sisters' c u rses, etc . derive, and having articulate the
attitude toward incest which Reo [ Fortune] outli ned as fundamental in
h i s Encyc loped ia a rticle. They h ave taken the therapeutic measu res
which we recom mended for Dobu and Manus-having a dev i l in ad
d ition to the neighbor sorcerer, and havi ng got the i r dead out of the
vi l lage and local ized . But in other ways they are annoying: they have
bits and snatches of a l l the rag tag and bob tai l of magical and ghostly
bel ief from the Pacific, and they are somewhat l i ke the Plains i n their
receptivity to strange ideas. A picture of a local native reading the
i ndex to the Golden Bough j ust to see if they had missed anyth ing,
wou l d be appropriate. They are very d ifficu lt to work, l iving a l l over
the place with half a dozen garden houses, and never staying put for a
week at a time. Of course this offered a new chal lenge i n method
which was interesting. The difficu lties i ncident upon being two days
over i m possible mountains have been consum i ng and we are goi ng to
do a coasta l people next.
Sincerely yours,
MARGARET MEAD
"Cu ltures" are eth nographic col lections. S i nce Tylor's fou nd i n g def
i n ition of 1 8 7 1 the term has designated a rather vague "complex whole"
i n c l ud i ng everyth i n g that is l earned group behavior, from body tec h
n iq ues to sym bo l i c orders . There have been recurring attem pts to defi ne
c u l tu re more prec ise l y (see Kroeber and Kl uc khoh n 1 952) or, for ex
ample, to d isti ngu ish it from "soc i a l structu re ." But the i n c l usive use per
sists. For there are ti mes when we sti l l need to be able to speak hol i stic
a l l y of Japanese or Trobriand or Morocca n c u l tu re in the confidence that
we are designating someth i ng rea l and d ifferenti a l ly coherent. It is in-
O N C O L L E C T I N G A R T A N D C U LT U R E 23 1
creas i ngly clear, however, that the conc rete activity of representi ng a
cu lture, subcu lture, or i ndeed any coherent doma i n of col l ective activity
is always strategic and selective . The worl d 's soci eties are too systemati
cal l y i nterconnected to perm i t any easy isolation of separate or i ndepen
dently fu ncti o n i n g systems (Marcus 1 986) . The i ncreased pace of h i stor
ical c h ange, the com mon rec u rrence of stress in the systems u nder study,
forces a new self-consciousness about the way c u ltura l wholes and
bou ndaries are constructed and transl ated . The pioneering elan of Mar
garet Mead "com plet i n g a c u l tu re" in h i gh l and New G u i nea, col l ecti ng
a d ispersed popu lation, d iscovering its key c u stoms, nam i n g the resu l t
i n th is case "the Mounta i n Arapes h " - i s no longer poss i bl e .
To s e e eth n ography as a form o f c u l tu re co l lecti ng (not, o f cou rse,
the only way to see i t) h i g h l ights the ways that d i verse experiences and
facts a re selected , gathered, detached from the i r original tem pora l oc
casions, and give n enduring va l u e in a new arrangement. Col lecti n g
at l east i n the West, where t i m e is genera l ly thought to be l i near and
i rrevers i ble- i m p l ies a rescue of phenomena from i nevitable h i storical
decay or loss. The co l lection conta i ns what "deserves" to be kept, re
membered, and treasu red . Artifacts and customs a re saved out of t i me . 6
Anthropologica l c u lture co l l ectors h ave typica l ly gathered what seems
"trad ition a l "-what by defi n ition i s opposed to modern ity. From a com
plex h i storical rea l i ty (wh i c h i nc l udes cu rrent eth nograph ic encounters)
they sel ect what gives form , structu re, and cont i n u ity to a worl d . What
i s hybrid or " h istorica l " in an emergent sense has been less common l y
co l lected and presented as a system o f authenticity. For example i n New
G u i nea Margaret Mead and Reo Fortune chose not to study gro u ps that
were, as Mead wrote in a letter, " bad l y m ission i zed" ( 1 9 7 7 : 1 2 3 ) ; and it
h ad been self-evident to Ma l i nowsk i in the Trobriands that what most
6 . An exh i bition, "Temps perd u , tem ps retrouve," held during 1 985 at the
Musee d ' Eth nograph ie of Neuchatel systemati cal ly interrogated the tem poral pre
d i cament of the Western eth nographic m useu m . Its argu ment was condensed i n
the fol lowi n g text, each proposition o f wh ich was i l l ustrated museograph ical ly:
" Prestigious pl aces for locking thi ngs up, museums give val ue to thi ngs that a re
outside of l i fe : i n this way they resemble cemeteries. Acq u i red by d i nt of dol l ars,
the memory-objects partici pate in the grou p's changing identity, serve the powers
that be, and acc u m u l ate i n to treasu res, w h i l e personal memory fades. Faced with
the aggressions of everyday l i fe and the passing of phenomena, memory needs
objects-always man i p u l ated through aesthetics, selective emphasis, or the m ix
ing of gen res. F rom the perspective of the future, what from the present should
be saved ?" ( H a i nard and Kaehr 1 98 6 : 3 3 ; also H a i nard and Kaehr 1 985 . )
232 COLLECTIONS
deserved scientific attention was the c i rcu mscri bed "cultu re" th reatened
by a host of modern "outside" i nfl uences . The experience of Melanesians
becom i n g Ch ristians for thei r own reasons- l earn i ng to pl ay, and p l ay
with, the outsiders' games-did not seem worth sa l vagi ng.
Every appropriation of c u l tu re, whether by i n siders or outsiders, im
p l i es a spec ific tempora l pos ition and form of h i storical narratio n . Gath
ering, own i ng, c l assifyi ng, and val u i ng are certa i n l y not restricted to the
West; but e l sewhere these acti vities need not be assoc i ated with accu
m u lation (rather than red i stribution) or with preservation (rather th an nat
ural or h istorical decay) . The Western practice of cultu re col lecti ng has
its own local genea l ogy, enmeshed in d isti n ct E u ropean notions of tem
poral ity and order. It is worth dwel l i ng for a moment on this genealogy,
for i t o rga n i zes the ass u m ptions bei ng arduously u n lea rned by new theo
ries of practi ce, process, and h i storicity (Bou rd i eu 1 9 77, G iddens 1 979,
Ortner 1 984, Sah l i n s 1 98 5 ) .
A cruc i a l aspect o f t h e recent h i story o f t h e cu l tu re concept h a s been
its a l l iance (and d ivision of labor) with "art." C u l tu re, even without a
capital c, stra i n s toward aesthetic form and autonomy. I have a l ready
suggested that modern c u l tu re ideas and art ideas fu nction together in an
"art-cu l ture system ." The i nc l usive twentieth-centu ry cu lture category
one that does not privi lege "h igh" or " l ow" c u l tu re- i s plausible only
with i n th is syste m , for wh i le i n pri n c i p l e ad mitti ng a l l learned human
behavior, th i s c u lture with a smal l c orders phenomena i n ways that priv
i l ege the coherent, ba lanced , and "authentic" aspects of shared l ife.
S i nce the m id-n i neteenth centu ry, ideas of c u ltu re have gathered u p
those elements that seem to give conti n u ity a n d depth to col lective ex
i stence, see i n g it whole rather than d i sputed , torn , i ntertextua l , or syn
cretic . Mead 's a l most postmodern i m age of "a local native read i ng the
i ndex to The Colden Bough j ust to see if they had m issed anyth i ng" is
not a vision of authenticity.
Mead found Arapesh receptivity to outs ide influences "an noyi ng."
Their culture col lecti ng com p l i cated hers . H istorica l deve lopments
wou ld later force her to provide a rev ised picture of these d ifficu lt Mela
nesians. In a new preface to the 1 9 7 1 reprint of her th ree-vo l u me eth
nography The Mountain Arapesh Mead devotes severa l pages to letters
from Bernard Narokobi , an Arapesh then studyi n g l aw i n Syd ney, Austra
l i a . The anthropologist read i ly admits her astonishment at heari ng from
h i m : "How was it that one of the Arapesh-a people who had had such
a l ight hold on any form of co l lective style-shou ld have come fu rther
O N C O L L E C T I N G A R T A N D C U LT U R E 233
"artist" was set apart from, often aga i n st, soc iety-whether "mass" or
"bou rgeo i s ." The term culture fol lowed a para l lel cou rse, com i ng to
mean what was most e l evated , sen sitive, essenti a l , and prec ious-most
u ncommon- i n soc iety. L i ke art, cu lture became a genera l category;
Wi l l iams ca l l s it a "fi n a l cou rt of appea l " aga i nst th reats of vu l garity and
leve l i ng . It ex i sted in essenti a l oppos ition to perceived "anarchy."
Art and c u l tu re emerged after 1 800 as m utua l l y rei nforc i ng domains
of h u man va lue, strategies for gatheri ng, marki ng off, protecting the best
and most interesting creations of "Man ." 8 I n the twentieth century the
categories u nderwent a series of fu rther deve lopments . The p l u ra l , an
th ropologica l defi n ition of cu lture ( l ower-case c with the possibi l ity of a
fi nal s) emerged as a l i bera l a lternative to rac i st c l assifications of human
d i versity. It was a sensitive means for understand i ng different and d is
persed "whole ways of l ife" in a h igh colon i a l context of unprecedented
global i ntercon nectio n . Culture i n its fu l l evol utionary rich ness and au
thenticity, formerly reserved for the best creations of modern E u rope,
cou ld now be extended to a l l the world's pop u l ations. In the anthropo
logica l vision of Boas' generation "cu l tu res" were of eq ual val ue. In the i r
new p l u ra l ity, however, t h e n i neteenth-centu ry defi n itions were not en
t i rely transformed . If they became l ess el itist (d i sti nctions between "h igh"
and " l ow" cu lture were erased) and less E u rocentric (every human soc i
ety w a s fu l l y "cu ltu ra l " ) , nevertheless a certai n body o f assu m ptions were
carried over from the older defi n itions . George Stocking ( 1 968 : 69-90)
shows the com plex i nterre l ations of n i neteenth-century h u man i st and
emerg i n g anthropo logical defi n itions of cu lture . He suggests that anth ro-
8. As Vi rgi n i a Dom i nguez has argued, the emergence of this new subject
i m pl ies a spec ific h i storicity close ly tied to ethnology. Drawing on Foucault's
Order of Things ( 1 966) and writing of the scramble for eth nographic artifacts
during the "Museum Age" of the late n i n eteenth centu ry, she cites Douglas Cole's
summation of the preva i l i ng rationale: "It is necessary to use the time to col lect
before it i s too late" (Cole 1 985 : 50). "Too late for what?" Dom i nguez asks.
"There is a h i storical consciousness here of a special sort. We hea r an u rgency i n
the voices o f the col lectors, a fear that w e wi l l no longer b e able t o get o u r hands
on these objects, and that this wou ld amount to an i rretrievable loss of the means
of preserving our own h i storicity. There is a twofold d isplacement here. Objects
are col lected no longer because of their i ntri nsic value but as metonyms for the
people who prod uced the m . And the people who produced them are the objects
of exa m i nation not because of their i ntri nsic va lue but because of their perceived
contribution to our understand i n g of our own h i storica l trajectory. It is a certa in
view of 'man' and a certa i n view of ' h i story' that make this double displacement
possi ble" ( Dom i nguez 1 98 6 : 548) .
O N C O L L E C T I N G A R T A N D C U LT U R E 235
terd iscou rses, syncretisms, and reappropriations origi nating both outside
and i n s ide "the West." I cannot d i scuss the geopol itica l causes of these
deve lopments . I can o n l y h i nt at the i r tra nsform i ng conseq uences and
stress that the modern genea logy of cu lture and a rt that I have been
sketc h i n g i ncreasi ngly appears to be a l oca l story. "Cu lture" and "art"
can no longer be s i m p l y extended to non-Western peop l es and thi ngs.
They can at worst be imposed, at best translated-both h i storica l ly and
po l itica l ly conti ngent operations.
Before I su rvey some of the cu rrent cha l l enges to Western modes of
col lection a nd authentication, it may be worth portraying the sti l l
dom i nant form of a rt and c u lture col lecting i n a more l i m ited , concrete
setting. The system's underl y i n g h i storical asu m ptions w i l l then become
i nescapable. For if col l ecting i n the West sa l vages thi ngs out of non
repeatable ti me, what i s the assumed d i rection of th i s time? How does it
confer rarity and a uthenticity on the varied prod uctions of human ski l l ?
Col lecti n g presupposes a story; a story occu rs i n a "chronotope ."
A refugee in New York d u ri n g the Second World War, the anthropo logist
is bewi ldered and del ighted by a landscape of u nexpected j u xtapos i
tions. H is recol lections of those sem i n a l years, d u ri ng which he i nvented
structural anthropology, a re bathed in a magical l ight. N ew York is fu l l of
del ightfu l i ncongru ities. Who cou ld resist
New York (and this i s the source of its charm and its pecul iar fasci na
tion) was then a c i ty where anyth i n g seemed poss ible. Like the urban
fabric, the social and c u l tu ral fabric was ridd led with holes. All you
had to do was pick one and s l i p through it if, l i ke Al ice, you wanted
to get to the other s ide of the looki ng gl ass and find worlds so enchant
ing that they seemed u n real . (p. 2 6 1 )
The anth ropological flaneur is del ighted, amazed , but also troubled by
the chaos of s i m u ltaneous poss i b i l ities . Th i s New York has someth i ng i n
common with the early-centu ry dada-surrea l i st flea market- but with a
d ifference . Its objets trouves are not j ust occasions for reverie. T h i s they
s u re l y are, but they are a l so signs of van i s h i ng worlds. Some are trea
su res, works of great art.
Levi-Strauss and the refugee su rrea l i sts were passionate col l ectors.
The Th i rd Ave n ue a rt dealer they frequented and advised, J u l i u s earle
bac h , always had several Northwest Coast, Melanesian, or Eskimo
pieces on hand. Accord i n g to Edmund Carpenter, the su rrea l i sts felt an
i mmed iate affi n i ty with these obj ects' pred i l ection for "visual pu ns" ; thei r
selections were nearly a l ways of a very h igh quality. I n add ition to the
a rt dea lers anothe r sou rce for th i s band of pri m itive-art connoi sseu rs was
the Museum of the American I n d i a n . As Carpenter tel l s it: "The Su rrea l
i sts began to visit the B ronx warehouse of that Museu m , select i ng for
themse l ves, concentrating on a co l lection of magn ificent Eskimo masks.
These h uge visual puns, made by the Kuskokw i m Eskimo a century or
more ago, constituted the greatest col lection of its kind i n the world . But
restau rants, and so o n . I t i s enough to seriously smudge at least the spatial dis
ti nction between F i rst and Th i rd Worlds, center and peri phery i n the modern
world syste m .
O N C O L L E C T I N G A R T A N D C U LT U R E 239
Boas l oved to depict the i n d i ffe rence of this man from Vancouver I s
land toward Manhattan skyscrapers ( "we bu i l t houses next to one an
other, and you stack them on top of each other"), toward the Aq uari u m
("we th row s u c h fish back i n t h e lake") or toward t h e motion pictures
which seemed ted ious and senseless. On the other hand, the stranger
stood for hours spe l l bound i n the Ti mes Square freak shows with the i r
giants and dwarfs, bearded ladies and fox-ta i l ed gi rls, or i n t h e Auto
m ats where d ri n ks and sandwiches appear m i raculously and where he
felt transferred i nto the u n iverse of Kwakiutl fa i ry-ta les. (Jakobson
1 95 9 : 1 42)
240 CO LLECTI ONS
I strode up and down m i les of Man hattan aven ues, those deep chasms
over which loomed skyscrapers' fantastic c l i ffs. I wandered random ly
i nto c ross streets, whose physiognomy changed drastica l ly from one
block to the next : someti mes poverty-stricken , someti mes m iddle-class
or provincial, and most often chaotic. New York was decided l y not the
u ltra-m odern metropol i s I had expected , but an i m mense, horizontal
and vertical d isorder attri butable to some spontaneous upheava l of the
urban crust rather than to the del iberate plans of b u i l ders. (levi
Strauss 1 98 5 : 258)
Levi -Strauss's New York i s a j uxtapos ition of ancient and recent "strata,"
chaotic rem n ants of former " upheava l s ." As in Tristes tropiques meta
phors from geo l ogy serve to tran sform e m p i rical s urface i ncongru ities or
fau lts i nto leg i b l e h i story. For Lev i-Strauss the j umble of Man hattan be
comes i ntel l igible as an over l ay of past and futu re, legible as a story of
cu ltu ra l deve lopment. Old and new are side by side. The E u ropean ref
ugee encou nters scraps of h i s past as wel l as a trou b l i n g prefigu ration of
common destiny.
N ew York i s a site of trave l and reverie u n l i ke the onei ric c ity of
B reton 's Na dja or Aragon's Paysan de Paris . For Parisian emigres fi n d i n g
the i r feet on its streets and aven ues it is never a known pl ace, someth i n g
to b e made strange b y a certa i n su rrea l i st a n d eth nograph i c attention .
I nstead they are am bushed by the fam i l iar-an o l der Paris i n Greenwich
Vi l lage, gl i m pses of the E u ropean world i n i m m i grant neighborhoods,
med ieva l bu i l d i ngs reassembled at the Cloisters . B ut these rem i nders are
masks, surviva ls, mere col lectibles. I n New York one is permanently
away from home, depayse, both i n space and i n time. Post- and pre
figu rative N ew York is fa ntastica l l y suspended between a j umble of pasts
and a u n i form future.
Modern practices of art and cu lture col lecti ng, scientific and avant
ga rde, have situated themselves at the end of a global h istory. They have
occ u p i ed a pl ace-apocalyptic, progressive, revol utiona ry, or tragic
from which to gather the val ued i n heritances of Man . Concretizing th i s
tem pora l setup, Levi-Strauss's "post- and prefigu rative" N e w York antici
pates h u m a n ity's entropi c future and gathers up its d i verse pasts i n de
contextu a l ized , col l ecti b l e form s . The eth n i c neighborhoods, the prov i n
c i a l rem i nders, the C h i nese Opera Company, the feathered I ndian i n the
l i brary, the works of art from other conti nents and eras that turn up i n
dea lers' c l osets : a l l are s u rvivals, rem nants o f th reatened o r va nis hed tra
d itions. The world's c u l tu res appear in the c h ronotope as sh reds of hu
ma n i ty, degraded commod i ties, or e levated great art but a l ways fu nction
i ng as va n i s h i ng " l oopho l es" or "esca pes" from a one-d i mensional fate .
I n New York a j u mb l e of h u man ity has washed up i n one vertigi nous
place and t i me, to be grasped s i m u ltaneously in al l its prec ious d i versity
and emergi ng u n i form ity. I n th i s c h ronotope the pure products of h u man
ity's pasts are rescued by modern aestheti cs only as subl i mated art. They
are sa lvaged by modern anthropo logy as consu ltable archives for th i n k
i n g about the range of h u man i nvention . I n Levi -Strauss's setting the
prod ucts of the present-becom i ng-future are shal l ow, i m p u re, escapi st,
and " retro" rather than tru ly d ifferent- "antiq ues" rather than genu i ne
antiqu ities . C u l t u ral i nvention is subsumed by a com mod ified "mass c u l
tu re" ( 1 985 : 2 64 -2 6 7) .
The c hronotope o f New York su pports a gl obal a l legory of fragmen
tati on and ru i n . The modern anthropologist, lamenti ng the pass i ng of
h u man d ivers ity, col l ects and val ues its surviva l s, its enduring works of
art . Levi -Strauss's most prized acq u i sition from a marvelous New York
where everyth i ng seemed ava i l able was a nearly complete set of vol u mes
1 through 48 of the Annual Reports of the B u reau of American Ethnology.
These were, he tel l s us i n another evocation of the war yea rs, "sacrosanct
vol u mes, representing most of our knowledge about the American In di
ans . . . It was a s though the American Ind ian c u ltu res h a d sudden l y
come a l ive a n d become a l m ost tangi ble through t h e physical contact that
these books, written and publ ished before these cultures' defin ite exti nc
tion, establ i shed between the i r ti mes and me" ( Levi-Stra uss 1 9 76 : 50) .
O N C O L L E C T I N G A R T A N D C U LT U R E 245
Levi-Strauss stud ied and col lected their pasts, many "exti nct" Native
American groups were i n the pmcess of reconstituting themselves c u ltur
a l l y and pol itical ly. Seen i n th i s context, d i d the I nd ian with the Parker
pen represent a "go i ng back in ti me" or a g l i m pse of another futu re ? That
i s a different story. (See Chapter 1 2 . )
Other Appropriations
1 1 . I n his wide-ranging study "Eth n i city and the Post-Modern Arts of Mem
ory" ( 1 986) Michael F i scher ident ifies general processes of cultural rei nvention,
personal search, and futu re-oriented appropriations of trad itio n . The specificity
of some Native American relations with col lected "triba l" objects is revea led i n
a grant proposa l to the National E ndowment for the Human ities by the Oregon
Art I nstitute (Monroe 1 986) . In preparation for a rei n stal l ation of the Rasmussen
Col lection of Northwest Coast works at the Portland Art Museum a series of con
su ltations i s envisioned with the pa rticipation of Haida and Tl i ngit e lders from
Alaska. The proposal makes c lear that great care m ust be given "to matching
spec i fic groups of objects i n the col lection to the clan members h i p and knowl
edge base of spec ific elders. Northwest Coast Natives belong to specific clans
who have extensive oral trad itions and h i stories over which they have owner
s h i p . Elders are responsible for representing their clans as wel l as thei r group"
(Mon roe 1 98 6 : 8 ) . The rei nsta l l ation "wi l l present both the academic interpreta
tion of an object or objects and the interpretation of the same material as viewed
and understood by Native elders and artists" (p. 5 ; original emphasis) .
248 COLLECTIONS
of these old texts (myths, l i ngu i stic sam p l es, lore of a l l ki nds) are now
bei n g recyc l ed as l oca l h i story and triba l " l iteratu re." 1 2 The objects of
both a rt and c u lture col lecti ng are susceptible to other appropriations.
This d i stu rbance of Western object systems is reflected i n a recent
book by Ra l p h Coe, Lost and Found Traditions : Native American Art:
1 965-1 985 ( 1 986) . (On i n ventive tribal work see a l so Macnai r, Hoover,
and Neary 1 984; Ste i n bright 1 98 6 ; Babcock, Montha n , and Monthan
1 986). Coe's work i s a col lector's tou r de force. Once aga i n a w h i te au
thority "d i scovers" true tribal a rt- but with sign ificant d ifferences. H u n
d reds of photographs document very recent works, some m ade for loca l
use, some for sale to I ndians or wh ite outs iders. Beautifu l obj ects-many
formerly c l assified as c u rios, fo l k a rt, or tou rist art-a re located in on
goi ng, i nventive trad itions. Coe effecti ve l y q uestions the widespread as
s u m ption that fi ne tri bal work is d i sappearing, and he th rows doubt on
common c riteria for j udging pu rity and authenticity. In his col lection
among recogn izably trad itional kac h i nas, totem pol es, b l a n kets, and
p l a i ted baskets we find ski l l fu l ly beaded ten n i s shoes and baseba l l caps,
articles deve l o ped for the c u rio trade, q u i lts, and decorated leather cases
(peyote kits mod e l ed on old-fash ioned too l boxes).
Si nce the N ative American C h u rc h , i n whose ceremonies the peyote
kits are used, d i d not exist in the n i n eteenth centu ry, the i r c l a i m to tra
d ition a l status can not be based on age . A stronger h i storical c l a i m can i n
fact b e made for many prod uctions o f t h e c u rio trade, such a s the beaded
"fancies" (hanging b i rds, m i rror frames) made by Mati lda H i l l , a Tusca
rora who sel l s at N iaga ra Fal ls :
"j u st try tel l i ng Mati lda H i l l that her 'fancies' (cat. no. 46) are tourist
cu rios," said Mohawk Rick H i l l , author of an unpubl ished paper on
the subject. "The Tuscarora have been able to trade pieces l i ke that
b i rd or beaded frame (cat. no. 47) at N iagara s i nce the end of the War
of 1 8 1 2 , when they were granted excl usive rights, and she would n't
take kindly to anyone sl ighti ng her cultu re ! "
"Sure l y," Coe adds, "a trade privi lege establ i shed at N iagara Fal l s i n 1 8 1 6
sho u l d be acceptable as trad ition by now" ( 1 986 : 1 7) . He drives the gen
era l poi nt home1 3 : "Another m i sconception derives from our fai l u re to
recogn ize that Ind ians h ave a l ways traded both with i n and outside the i r
c u l tu re ; it is second natu re t o t h e way they operate i n a l l thi ngs . Many
objects are, and a lways have bee n , created in the Indian world without
a spec ific desti nation in m i n d . The h istory of I n d i a n trad i n g predates any
white i nfl uence, and trad ing conti n ues today u nabated . It is a fasc i nating
instrument of soc i a l cont i n u ity, and i n these modern ti mes its scope has
been greatl y en l a rged " (p. 1 6) .
Coe does not hesitate to com miss ion new "trad itiona l " works, and
he spends considerabl e time el iciti ng the spec ific mea n i ng of obj ects
both as i nd ividual possess ions and as tri ba l art. We see and hear particu
l a r a rtists ; the coexi stence of spi ritu a l , aesthetic, and commerc i a l forces
is always v i s i b l e . Overa l l Coe's col lecting project represents and advo
cates ongo i n g art forms that are both re l ated to and separate from domi
nant systems of aesthetic-ethnographic va l u e . I n Lost and Found Tradi
tions a uthenticity is someth i n g prod uced , not salvaged . Coe's co l lecti on,
for all its love of the past, gathers futures.
A long c h apter on "trad ition" resi sts sum mary, for the d iverse state
ments quoted from practice a rtists, old and young, do not reprod uce
preva i l ing Western defi n itions. "Wh ites th i n k of our experience as the
past," says one of a group of students d i scussing the topic. "We know it
is right here with us" (p. 49) .
"We always begi n our sum mer dances with a song that repeats only
four words, over and over. They don't mean much of anyth i ng i n En
glish, 'young c h i efs sta nd up.' To us those words demonstrate our pride
in our l i neage and our happiness i n always rememberi ng it. It i s a
happy song. Trad ition is not someth i n g you gab about . . . It's i n the
doi n g ." (p. 46)
1 1 . On Orienta/ism
255
256 HISTORIES
lonial and neocolon i a l s ituations? How, concrete ly, have they ignored ,
res isted , and acq u iesced i n these end u r i ng cond itions of inequal ity?
Lei ris po i nted to a basic i m ba l ance. Westerners had for centu ries studied
and spoken for the rest of the wor l d ; the reverse had not been the case.
He annou nced a new situation, one in which the "objects" of observation
wou ld begin to write back . The Western gaze wou l d be met and scat
tered . S i nce 1 950 Asians, Africans, Arab orientals, Pacific islanders, and
Native Americans have in a variety of ways asserted the i r independence
from Western cu ltura l and po l itical hegemony and establ ished a new
m u l tivocal fie ld of i nterc u l tural d i scou rse . What w i l l be the long-term
conseq uences of such a s ituation- i f it end u res ? How has it al ready al
tered what one can know about others, the ways such knowledge may
be form u l ated ? It i s sti l l early to j udge the depth and extent of the epi ste
mologica l changes that may be u nder way. (The l iterature on anth ropol
ogy and colon ial ism is q u ite large . A few i m portant works are Maquet
1 964 ; Hymes 1 969; Asad 1 9 7 3 ; F i rth 1 9 7 7 ; Copans 1 9 74, 1 975 ; Lec lerc
1 97 2 ; and N ash 1 9 75 . I n the field of Orienta l and I s l a m i c stud ies see
Ti bawi 1 96 3 ; Abdei-Malek 1 96 3 ; Houran i 1 96 7 ; and Khatibi 1 9 7 6 . )
W
l ndo- E u ropea n i sts, l i te rat i , travelers, and an ec lectic host of afi c i onados.
Said does not atte m pt to revi se or extend Schwab's work, for h i s ap-
proach is not h i stor i c i st or e m p i rical but ded uctive and constructivist. H is
study u ndertakes a s i m u l ta neous expan sion and forma l ization of the
fie l d , transfo rm i ng Orienta l i s m i nto a synecdoch e for a much more com
plex and ram i fi ed tota l ity. Said ca l l s t h i s total ity a "discou rse," fol lowi n g
Fouca u lt. I sha l l d iscuss Said's adoption o f a Fouca u l d ian methodol ogy
and its hazard s . For the moment, though, it is enough to say that the
Orienta l i st "discou rse" i s c h a racterized by an oppress ive systematicity, a
"sheer knitted-together strength " (p. 6) that Said sets out to reveal through
a read i ng of representati ve texts and ex periences.
Although Sa id d iscovers "Orienta l ism" i n Homer, Aeschylus, the
Chanson de Roland, and Dante, he situ ates its modern origi ns i n Barthe
lemy d' Herblot's Bibliotheque orienta le. T h i s com pend i u m of orienta l
knowledge is criticized by Said for i ts cosmological scope and for its
construction as a "systematic" and " rationa l " oriental panorama. It is sig
n i ficant that Said's read i n g of H e rb l ot's seventeenth-century work makes
n o attem pt to a n a l yze it as Fouca u lt wou ld in Les mots et les chases
that is, "arc h aeo l ogica l ly" - i n relation to a syn chro n i c epi stemo logica l
fie l d . The approach of Orienta/ism i s thus c l early i n d icated as genea log
i ca l . Its centra l task is to descri be retrospective l y and cont i n uo u s l y the
structu res of an Ori enta l i s m that ach ieved its c l ass ical form in the n i ne
teenth and early twentieth centu ries. Sa i d 's two criticisms of Herblot are
constitutive of h is object : Oriental i s m i s a l ways too broad l y and ab
stractly pitched, and it i s a l ways overly systematic.
Sa id p roceeds to apply these reproaches, with varying degrees of
p l a u s i b i l ity, to a d i ve rse ra nge of a uthors, i nstitutions, and typical expe
riences. There a re a n a l yses of Sylvestre de Sacy, E rnest Ren an and the
N a poleo n i c exped ition to Egypt's scho larly prod uct, the mass ive De
scription de I'Egypte. The s peeches of po l iticians such as Balfo u r and
2 58 H I STORIES
Cromer (j uxtaposed with Henry Kissi nger); the I nd ian journa l ism of
Marx; the orienta l voyages of Chateaubriand, Lamarti ne, N erval , and
F l a u bert; the adventu res of B u rton and Lawrence; the scholars h i p of
H. A. R . G i bb and Lou is Mass ignon are a l l woven i nto an i ntertextual
u n ity. This ensembl e-though it leaves some room for h i storica l muta
tion, d i fferent national trad itions, personal id iosyncrasies, and the gen i u s
o f "great" write rs- is desi gned to emphasize the systematic and i nvariant
nature of the Orienta l i st d i scourse. There is no way to summarize the
complex i nterweavi n gs of Said's critical method-assoc iative, some
ti mes bri l l i a nt, someti mes forced , and in the end n u m bingly repetitive . It
succeeds at l east in isolati ng and d i scred iting an array of "orienta l "
stereotypes : t h e eternal a nd u nchanging East, the sex ua l l y i n sati able
Arab, the "fem i n i ne" exotic, the teem i ng marketplace, corrupt despo
tism, mystical rel igios ity. Said is particu l arly effective in h i s critica l anal
ys is of Orienta l i st "authority" -the paterna l i st privi leges u n hesitati ngly
assumed by Western writers who "speak for" a m ute Orient or reconsti
tute its decayed or d i smembered "truth," who lament the passing of its
authenticity, and who know more than its mere natives ever can . Th is
method ical suspicion of the reconstitutive proced u res of writing about
others cou ld be usefu l l y extended beyond Orienta l ism to anthropo logica l
practice genera l ly.
If Oriental ism, as Said descri bes it, has a structu re, th i s resides in its
tendency to dichotom ize the h u man conti n u u m i nto we-they contrasts
and to essentialize the resu ltant "other" -to speak of the oriental m i nd ,
for exa m ple, or even t o genera l ize about " I s l am" or "the Arabs." A l l of
these Orienta l i st "visions" and "textua l i zations," as Said terms them,
fu nction to s u ppress a n authentic " h uman" rea l ity. This rea l i ty, he im
p l ies, is rooted i n ora l encou nter and rec i procal speech , as opposed to
the processes of writing or of the visual i m agi nation . Said's l i m ited po
lemical goa l is we l l served by such an anal ysis. "Authentic" human en
cou nter can be portrayed as subj u gated to the dead book. (Fiaubert does
not, for example, rea l l y experience Egypt as much as he recopies a pas
sage from earl ier "voyages to the East.") The theoretical issues rai sed by
Orienta/ism as a case study of a cu ltural d i scou rse can not be d isposed
of, however, by means of any simple contrast between experience and
textua l i ty.
Said is not a s i m ple po lemicist. H i s critical approach is restless and
mordant, repeated ly push i n g its analyses to epistemological l i m its . Be
h i nd the i mmed i ate i nfl uence of Fouca u l t l ies an ambivalent adm i ration
ON O R I E N TA L I S M 259
Said never defi nes Orienta l i sm but rather q u a l i fies and designates it from
a variety of d i sti nct and not a l ways com pati ble standpoi nts. The book
beg i n s by postu l ating th ree loose "mean i ngs" of Orienta l i sm , " h istorical
genera l i zations" that com prise the " backbone" of his su bseq uent analy
ses . F i rst, Orienta l i s m is what Orienta l i sts do and have done. An Orien
ta l i st i s "anyone who teac hes, writes about, o r researches the Orient . . .
either i n its spec i fic or its genera l aspects." I n c l uded i n th i s gro u p are
academ ics and government experts : ph i lo l ogists, soc iologists, h i stori ans,
and anth ropo l ogists. Second, Orienta l ism i s a "sty le of thought based
u pon an onto logical and epistemologica l d i sti nction made between 'the
Orient' and (most of the ti me) 'the Occ ident"' (p. 2 ) . Any writi ng, Said
goes on to suggest, at any period i n the h i story of the Occident that ac
cepts as its sta rting poi nt a basi c d i chotomy between East and West and
that makes essentia l i st statements about "the Orient, its people, customs,
' m i nd,' destiny, and so on" i s Orienta l i st. F i n a l ly, Orienta l ism i s a "cor
porate i nstitution for dea l ing with the Orient," wh ich, d u ring the colon i a l
period fo l low i n g roug hly t h e l ate eighteenth century w i e l d s t h e power of
"dom i n ati ng, restructu ri ng, and havi ng authority over the Orient" (p. 3 ) .
This th i rd designation, u n l i ke t h e other two, is pitched a t a rigorously
trans i nd iv i d u a l , c u l tu ra l level and suggests "an enormously systematic"
2 60 H I STORIES
a s much more than a mere i nte l l ectu al o r even ideologica l trad ition . Said
at one po i nt cal ls it "a considerable d imension of modern pol itical
inte l l ectu al c u l tu re ." As such it " h as less to do with the Orient than it
does with 'our' worl d " (p. 1 2) .
The q u otation ma rks placed b y Said around our may b e understood
to h ave generated h i s enti re study. The reasons for this are not s i m p l y
personal b u t l ead us t o what Sa id rightly identifies a s "the m a i n i nte l l ec
tual issue ra i sed by Orienta l ism. Can one d i vide h uman rea l ity, as i ndeed
h u man rea l i ty seems to be gen u i ne l y d ivided , i nto c l early d ifferent c u l
tu res, h i stories, trad itions, soc ieties, even races, a n d survive t h e conse
q uences h u ma n l y ? " (p. 4 5 ) . The res u l t of such d i sti nctions, he argues, i s
t o c reate invid ious and i m peri a l ly usefu l oppositions that serve t o " l i m i t
t h e h u man encou nte r between d i fferent c u ltures, trad itions, a n d soc i
eties" (p. 46) . (It i s worth not i n g i n passi n g that we-they d i sti nctions of
the kind Sa id condem ns are a l so u sefu l to anti - i m peri a l ism and nation a l
l i beration movements . ) The key theoretical issue ra i sed b y Orienta/ism
concerns the status of all forms of thought and representation for dea l i ng
with the al i e n . Can one u lt i m ately escape proced u res of d i c hotom i z i ng,
restructu ri ng, and textu a l i z i n g in the making of interpreti ve statements
about foreign c u l tu res and trad itions? If so, how? Said frankly ad m its that
a l ternatives to orienta l ism a re not h is subj ect. H e merely attacks the d i s
cou rse from a variety of positions, and as a res u l t h i s own standpoi nt i s
not sharply defi ned or logica l l y gro u nded . Someti mes h i s analysis fl i rts
with a c ritique of representation as such; but the most constant position
from which it attacks Orienta l ism is a fam i l iar set of val u es associ ated
with the Western anth ropological h u man sciences-exi stential sta ndards
of " h u m a n encounter" and vague recommendations of " persona l , au
thentic, sympathetic, h u man istic know ledge" (p. 1 9 7 ) .
I n Said's d i scussion o f t h e Orienta l ist as h u man ist these ass u m ptions
are thrown i nto s h a rp re l ief. There has, of cou rse, been a sym pathetic,
nonred uctive Oriental ist trad ition, a strand that Said down p lays . He
does, however, on one occasion grapple w ith this "good" Orienta l ism in
the person of its most representative figure, Lou i s Mass i gno n . Massignon
m u st stand for those Orienta l i sts-one th i n ks of scholars such as Sylva i n
Lev i , Marcel Mauss, H e n ry Corb i n-whose involvement with t h e foreign
trad itions they stud i ed evolved i nto a deep personal and d i a logica l q u est
for comprehension . Such writers h ave characteristica l l y presented them
se l ves as s pokesmen for orienta l or pri m itive "wisdom " and a l so as dem
ocrati c reformers and h u m a n i st critics of i mperia l i s m .
2 62 HISTORIES
itse lf from the dom i nant c u ltu re" thereafter adopts " a situated and re
s ponsible adversary pos ition" (Said 1 978b: 709, 690, 7 1 3 ) .
It i s rather d ifficu lt, however, to qual ify Foucau lt's restless guerri l l a
activity on beh a lf o f t h e exc l uded , agai nst a// tota l i z i ng, defi n i ng, essen
tia l iz i n g a l l i ances of knowledge and power as "situated and respons i ble."
Said h i mself deploys a rather l oose co l l ection of "adversary theoretical
models" derived from Foucau lt, G ramsci, Lu kacs, Fanon, and others
( 1 9 79 : 1 6) . A key pol itical term for Said is oppositional, and it is fairly
clear what th i s means in the l i m ited context of a book such as Oriental
ism, w h i c h "writes back" at an i m perial d iscou rse from the position of an
oriental whose actua l ity has been d i storted and den ied . More genera l ly,
however, it is apparent that a wide ra nge of Western humanist assu mp
tions escape Said's oppositiona l analysis, as do the d iscu rsive a l l iances
of knowledge and power prod uced by anticolonial and partic u l arly na
tiona l ist movements .
I
A
Beyond h i s overa l l stance as "oppos itiona l " c u l tu ra l critic Said makes use
of other Fouca u l d i an approaches that should be d iscussed briefly. Most
sign ificant is h i s adoption of the postu re of crit.i�aJ retrosQec.UQ.n that
N ietzsc he cal led genealogy. In th i s Said is true to Foucau lt's l ater evolu
tion away from the methodology of l ayered "archaeologica l " d i sconti n
u i ty exempl ified in The Order of Things and The Archaeology of Knowl
edge and towards a presentation of the l i neages of the present, as
exempl ified in Discipline and Punish and espec i a l ly The History of Sex
uality, vol u me 1 .
The field of Orienta l ism is genealogica l l y d istri buted i n two ways :
sync h ron ica l ly (constituting in a u n ified system a l l Western textual ver
sions of the Orient) and d i ac h ro n i ca l l y (plotting a si ngle l i neage of state
ments about the East, r u n n i n g from Aeschylus to Renan to modern pol it
ical soc iology and ;'area stud ies") . L i ke a l l genealogies Said's grows more
specific as it approaches the present it has been constructed to explai n
and affect. Thus the bu l k of h i s account describes the heyday of Orien
ta l ism in the n i neteenth and early twentieth centu ries. Th is is fol lowed
by an attem pt to generate mea n i ngs i n the c urrent Middle East situation
with reference to this c l assical trad itio n . The aim here is not, of cou rse,
the one most usual in genea logies-a new legiti mation of the present
but rather, as in Foucau lt's History of Sexuality and Madness and Civili
zation, rad ical de-legiti mation . A certa i n degree of anac h ron ism is
ON O R I E N TA L I S M 267
the material fou ndations of Western Society i n Asi a ." Said scents Orien
ta l i sm in the reference to despotism and in a l ater citation of Goethe's
Westostlicher Diwan. He identifies a "romantic redemptive project,"
which assumes the genera l Western privi l ege of putting the Orient-stag
nant, d ismembered , corru pt-back together. Marx is a l so convicted of
subsu m i ng " i nd ividuals" and "ex i stenti a l h u man identities" u nder "arti
ficial ent ities" such as "Orienta l ," "As iatic," "Sem itic," or with i n col lec
tives such as " race," " menta l i ty," and "nation ."
Here an effective read i ng begins to get out of hand . It is unclear why
Said does not a l so conv i ct Marx of subsu m i n g individuals u nder the "ar
tifici a l entit ies" "class" and " h i story." Furthermore, if Marx's participation
i n Orienta l ism derives from his i n attention to ex i stenti a l , i nd ivid ual
cases, one wonders how soc i a l or c u ltura l theory is ever to be "human l y"
bu i lt. I n add ition, it is wel l known that Marx heaped "Orienta l ist" scorn
and condescension u pon the "id iocy of rural l ife" wherever he found it,
bel ievi ng that such stagnant, repressive s i tuations had to be violently
transformed before they cou l d i m prove. Here Said skirts " unfa i rness" to
Marx . Wh i l e legitimatel y iso l ating Orienta l ist aspects of the text, he too
q u ickly skims over its rhetorical i ntentions. Moreover, Said soon aban
dons any d i scussion of Orienta l ist statements and goes on to uncover i n
the text a typical Orienta l i st experience. Marx, we are told, at first ex
pressed "a n atura l h u man repugna nce" toward the sufferi ng of orientals;
he felt a "h uman sympathy," a "fel l ow fee l i ng." This "persona l human
experience" was then "censored" by a process of Ori enta l i st label i ng and
abstraction, "a wash of sentiment" was repressed by " u nshakable defi
n itions." (Sai d writes in the past tense, as i f this i s what rea l l y happened
i n Marx's m i nd . ) "The vocabu lary of emotion d i ssi pated as it submitted
to the l ex icograph ical pol ice action of Orienta l i st science and even Ori
enta l ist art. An experience was d i slodged by a d i ctionary defi n ition" (p.
1 5 5 ) . By now Said cou ld not be farther from Fouca u lt's austere pages,
where al l psycholog i z i n g is forbidden and where authors escape at l east
having to go through such i n structive "experiences ." Said's descriptions
of Orienta l i st d iscourse are frequently sidetracked by h u man ist fables of
suppressed authenticity.
Discourse analysis is a lways i n a sense unfa i r to authors . It is not
i nterested in what they have to say or feel as subj ects but is concerned
mere l y with statements as related to other statements in a field . 2 Escaping
2 . On the i n itial defin ition of this field, which he ca l l s a "discu rsive forma
tion," see Foucault's strictu res in The Archaeology of Knowledge ( 1 969 : chap.
ON O R I E N TA L I S M 271
Though Said's work freq uently rel apses i nto t h e essent i a l izing modes it
attacks and is a m bivalently en meshed i n the tota l izin g habits of Western
h u m a n i s m , it sti l l succeeds i n q uestion i ng a n u m ber of i m portant anthro
pological categories, most i mportant, perhaps, the concept of c u lture . I n
th i s fi nal section I shal l s ketch out some of these i ssues, the most far
reac h i n g q u estions raised by Orienta/ism.
The effect of Said's gene ra l argument i s not so much to u nderm ine
2 ) . Fouca u l t's method ignores " i nfl uences" and "trad itions," demotes "authors,"
and holds in suspense any criteria of d i sc u rsive u n ity based on the persistence or
common a l i ty of "objects," "styles," "concepts," or "themes ." It may be noted that
Said makes u se of all these fam i l i a r elements from the h i story of ideas.
3. Said's critical approach can in fact be q u i te d i sturb i n g, espec i a l l y when
he i s u n covering Orienta l i s m i n lesser-known figures than Marx, among whom
the disjuncture between d i sc u rsive statements and persona l expressions is less
i mmed iately apparent. A particu larly blatant example may be seen in his use of
the great Sanskrit scholar and h u ma n i st Sylva i n Levi in order to show the con
nection of Oriental ism with i m perial pol itics (Said 1 9 7 8 : 249-250). The m i s l ead
ing i m age of someone i ntense l y concerned with European " i nterests" in the Ori
ent (the word interest i s i nserted i n to Levi 's d i scourse) i s nowhere qual ified . For
an affi rmation that modern Orienta l i sts have been far less red uctive than Said
portrays them to be see Houra n i 1 9 79.
2 72 HISTORIES
the notion of a su bstantial Ori ent as it i s to make probl ematic "the Oc
cident." It is less com mon today than it once was to speak of "the East,"
but we sti l l make casual reference to "the West," "Western cu l tu re," and
so on. Even theorists of d i sconti n u ity and deconstruction such as Fou
ca u lt and Derrida continue to set their analyses with i n and agai nst a
Western tota l ity. Said shares the i r ass u m ptions i nasmuch as he portrays
the Western c u l tu re of which Orienta l ism is an exemplar as a d iscrete
entity capable of generating know ledge and i nstitutional power over the
rest of the p l a net. Western order, seen t h i s way, is i m peria l , u n reciproca l ,
aggressive, and potentia l ly hegemon i c . At times, though, Said perm its u s
to see the fu nction ing o f a more complex d i a l ectic b y mea ns o f which a
modern c u ltu re cont i n uously constitutes itself through its ideo logica l
constructs of the exotic. Seen i n this way "the West" itself becomes a
play of projections, dou b l i ngs, idea l izations, and rejections of a com
plex, s h ifting otherness . "The Orient" always plays the ro le of origi n or
alter ego . For exa m p l e Renan worki ng i n h i s "ph i l o logical laboratory"
does not s i m p l y concoct the scholarly topos of the Semitic Orient but i n
t h e same process produces a conception o f what i t means to b e E u ropean
and modern (pp. 1 32 , 1 46) .
Here Said's argument rei n forces Stan ley Diamond's ( 1 9 74) conten
tions that Western cu lture can conce ive of itself c ritica l ly only with ref
erence to fictions of the pri m i tive . To this d ia lectical view we may use
fu l ly add the overa l l perspective of Marsha l l Hodgson's h i storical work,
which portrays " E u rope" as, u nti l the late eighteenth centu ry, mere l y "a
fri nge area of the Afro- E u roasian zone of agrarianate citied l ife" (see par
tic u l arly Hodgson 1 974, 1 963, and Bu rke 1 979, an excel lent su rvey of
Hodgson's com p l ex work). If we adopt along with these perspectives a
genera l ly structu ra l i st suspicion of a l l q uests for origins (the origins of the
West in G reece or in C hristian ity), we are left with a tota l ity in process,
com posed and recomposed in changing external rel ations.
When we speak today of the West, we are usua l l y referring to a
force-tech nologica l , econom ic, pol itica l-no longer rad iating i n any
simple way from a d iscrete geographical or cu ltura l center. This force, if
it may be spoken of in the s i ngular, i s d i ssem i nated i n a divers ity of forms
from m u ltiple centers-now i n c l ud i ng Japan, Austral ia, the Soviet
U n ion, and C h i na-and is artic u l ated in a variety of "m icro
soc iological" contexts (see Duvignaud 1 9 73). It is too early to say
whether these processes of change wi l l resu lt in globa l c u l tu ra l homoge
n ization or in a new order of d i vers ity. The new may always look mono-
ON O R I E N TA L I S M 273
4 . Geertz offers a stri king and problematical image of cultu ral organization
not as a spider or a p i l e of sand but as an octopus "whose tentac les are i n a la rge
part separate l y integrated, neura l l y q u ite poorly con nected with one another and
with what i n the octopus passes for a bra i n , and yet who nonetheless manages
to get around and to p reserve h i m se lf, for a wh i le anyway, as a viable, if some
what u n ga i n l y entity" ( 1 9 7 3 :407-408) . Cultu re rema ins, bare l y, a n organism.
2 74 HISTORIES
and that avo ids the positing o f cosmopol itan essences a n d human com
mon denom i n ators .
It shou l d be poi n ted out that these prescr i ptions are i n the nature of
what Con rad u rged i n Heart of Darkness-a "de l i berate be l ief." The
planet's c u ltura l future may indeed reside i n the entropy Levi-Stra uss la
ments i n Tristes tropiques or i n the ideological hegemony Said portrays
in h i s blea ker passages ( 1 978a : 3 2 3 -3 2 5 ) . L i ke Sa id's comm itment to the
h u ma n , any res i d u a l faith in c u l tu re-that is, in the cont i n u i ng abi l ity of
groups to make a rea l d i fference- i s essenti a l l y an idea l i stic choice, a
po l itical response to the present age i n w h i c h , as Con rad wrote, "we are
camped l i ke bew i l dered travel lers i n a garish, u n restfu l hote l " ( 1 9 : 1 1 : 1 ) .
It is the v i rtue of Orienta /ism th at it obl iges its readers to confront such
issues at once person a l l y, theoretica l l y, and pol itica l l y. For its author, as
for Con rad , there can be no natural sol utions. Palestine i s perhaps the
twentieth centu ry's Po land, a d i smembered nation to be rei nvented .
Sa id, l i ke the Po l ish-Engl ish writer whom he adm i res and freq uently
q u otes, recogn izes that persona l and c u l tu ra l identities are never given
but m ust be negoti ated . Th i s is a n i m portant em phasis of Said's fi rst book,
a penetrat i n g study of Con rad ( 1 966) . I t wou l d be wrong to d ismiss t h i s
kind o f situation as a berrant, as the cond ition o f exi l es . T h e u n restfu l
pred icament of Orienta/ism, its methodo logical ambivalences, are char
acteristic of an i ncreasi ngly genera l global experience.
Its a uthor's com p l ex critical postu re may i n th i s sense be taken
as representative . A Pal est i n ian nationa l ist ed ucated in Egypt and the
U n i ted States, a sc holar deeply i m bued with the E u ropean h u man ities
and now professor of Engl i s h and com parative l i terature at Col u mbia,
Said writes as an "oriental ," but only to d i sso l ve the cateogry. H e writes
as a Pa lesti n i a n but takes no support from a spec ifica l l y Pa lesti nian cu l
ture or identity, tu r n i n g to European poets for h i s expression of essenti a l
va l ues a n d t o French p h i l osophy for h i s a n a l ytical too l s . A rad ica l critic
of a major com ponent of the Western c u l tu ra l trad ition, Said derives most
of h i s sta ndards from that trad ition . The poi nt i n saying this is to suggest
someth i n g of the s i tuation with i n w h i c h books such as Orienta/ism m ust
i nevitably be writte n . It is a context that Sa id has e l sewhere ( i n d iscuss i ng
George E l i ot and the roots of Zion i sm) cal led "a genera l ized cond ition of
homelessness" ( 1 9 7 9 : 1 8) . Such a situation generates d iffic u lt q uestions.
What does it mean, at the end of the twentieth centu ry, to speak l i ke
Aime Cesa i re of a " native land" ? What processes rather than essences are
i nvolved i n present experiences of c u ltura l identity ? What does it mean
276 HISTORIES
1 2 . Identity in Mashpee
277
2 78 HI STORIES
tri bes laying c l a i m to a l a rge portion of the state of Maine. The i r suit,
after i n itial successes i n Federal D i strict Cou rt, d i rect i ntervention from
Pres ident j i mmy Carter, and five years of hard negoti ation, resu l ted i n a
favora ble out-of-co u rt settlement. The tri bes received $ 8 1 . 5 m i l l ion and
the authority to acq u i re 300, 000 acres with Indian Cou ntry status.
The lega l bas is of the Penobscot-Passamaquoddy su it, as conce ived
by the i r attorney, Thomas Tu reen , was the Non-I ntercourse Act of 1 790.
Th i s patern a l i st legislation, designed to protect tri ba l groups from spo l ia
tion by u nscru pulous whites, decl ared that a l i enation of I n d i a n lands
cou ld be lega l l y accom p l ished o n l y with perm ission of Congress. The act
h ad never been resci nded , a lthough throughout the n i n eteenth centu ry it
was often honored i n the breac h . When i n the 1 9 70s I nd ian groups ap
pea led to the Non-I ntercou rse Act, they were attempti ng, i n effect, to
reverse more than a centu ry of attacks on Ind ian lands. The a l ienations
h ad been particularly severe for eastern groups, whose c l a i m to col lec
tive l a nd was often unclea r. When court dec i s ions confi rmed that the
Non-I ntercou rse Act appl ied to non reservation I n d ians, the way was
opened for su its, l i ke those of the Mai ne tri bes, c l a i m i ng that nearly two
centu ries of I nd i a n land transfers, even ord i nary purchases, were inva l i d
s i nce they had been made without perm ission of Congress.
Although the Mash pee c l a i m was s i m i lar to the Maine I nd ians',
there were cruc i a l d i fferences . The Passamaq uoddy and Penobscot were
genera l ly recogn i zed I n d i a n tri bes with d i stinct comm u n ities and c lear
aboriginal roots i n the a rea . The Mash pee plai ntiffs represented most of
the nonwh ite i n h abitants of what, for over three centu ries, had been
known as a n " I n d i a n town" on Cape Cod ; but their i n stitutions of tribal
governance had long been e l us ive, espec i a l l y d u ring the century and a
half preceed i ng the s u it. Moreover, s i nce a bout 1 800 the Massachusett
language had ceased to be common ly spoken in Mash pee . The town was
at fi rst l a rgely Presbyterian then Baptist in its publ ic rel igion . Over the
centuries i n habitants had i ntermarried with other I nd ian groups, whites,
b l acks, Hessian deserters from the British Army d u r i ng the Revol utionary
War, Cape Verde i s landers . The i n habitants of Mashpee were acti ve i n
the economy a n d soc iety o f modern Massach usetts . They were busi ness
men, schoolteac hers, fishermen, domestic workers, smal l contractors .
Cou ld these people of I nd ian ancestry fi le su it as the Mashpee Tri be that
had, they c l a i med , been despo i l ed of col lectively held l ands d u r i ng the
m id-n i neteenth century ? Th i s was the q u estion a federa l j udge posed to
a Boston j u ry. O n l y if they answered yes cou l d the matter proceed to a
land-c l a i m trial .
I D ENTITY I N MAS HPEE 279
ries a backwater and a curiosity, i n the 1 950s and 1 960s Mash pee be
came des i rable as a site for reti rement, vacation homes, condom i n i ums,
and l uxury deve lopments . Fast roads now made it accessi ble as a bed
room and weekend suburb of Bosto n . The new i nfl ux of money and jobs
was first we lcomed by many of Mash pee's I nd ian residents, i nc l ud i ng
some of the l eaders of the land-c l a i m su it. They took advantage of the
new s ituatio n . The town government, sti l l ru n by Indians, enjoyed a
su rge i n tax reve n ues. But when loca l government passed out of I nd i a n
contro l , perhaps for good, a n d a s t h e sca le o f deve lopment i n c reased ,
many I nd i a ns bega n to fee l q u a l m s . What they had taken for granted
that t h i s was the i r town-no longer held true. Large tracts of u ndevel
oped land formerly open for h u nting and fish i n g were sudden l y ringed
with " N o Trespassi ng" signs. The New Seabury development, on a
choice stretch of coastl i ne, with its two go lf cou rses and expansionist
p l ans, seemed particu larly egregious. Tensions between trad itional resi
dents and newcomers i ncreased, fi nal l y lead i ng t o the su it, fi led w i t h the
su pport of most, but not a l l , of the Ind ians in Mash pee . The land c l a i m ,
wh i le foc u s i ng on a loss o f property i n t h e n i neteenth century, was actu
a l l y an attempt to rega i n control of a town that had s l i pped from I n d i a n
h a n d s very recently.
Earl Mills
Earl Mills has taught high school in the Falmouth Public School sys
tem for over twenty-five years . 1 Between 1 952 and 1 967 he lived in Fal
mouth, ten miles from Mashpee. Mills has ta ught physical education,
hea lth, and social studies . He advises the student council and directs
various other extracurricular activities.
In Mashpee he shares ownership of the town s best restaurant with
his ex-wife, Shirley. He is its principa l cook.
Since the mid-fifties Mills has held the title of Chief Flying Eagle of
the Mashpee Wampanoag Tribe.
On the witness stand he is earnest, engaging, very much the coach
or Boy Scout leader. Forty-eight years old, trim, athletic-looking, he
wears a striped necktie, blue blazer, loafers .
Mills recalls his youth in Mashpee during the thirties and forties. He
1 . The descriptions of persons and places date from the fa l l of 1 9 77. Readers
shou ld bea r in m i nd that i n d ividuals' l i ves have changed si nce then, as have
aspects of the situation i n Mash pee .
I D E NTITY I N M A S HPEE 281
part Navajo, and one by his second wife, who is Caucasian. The eldest,
Roxanne, is married to a Choctaw. Earl Jr. (called "Chiefy'') lives in Fal
mouth and in recent years has become a champion drummer at various
Indian gatherings and powwows . Shelly, also a fine drummer, attends
Native American festivals all over the Northeast. Robert lives on Com
monwealth Aven ue in Boston . "He 's into quill work, leather work, skins:'
Nancy, the child of Mills 's second marriage, is now six years old. She
does Indian dances. Her parents agree that she is a Wampanoag.
Mills explains his duties as tribal chief. He teaches beadwork, leath
erwork, and basketry in Mashpee. Overa ll his job is to be a mediator, to
keep h is people "on balance:'
Under question ing he cannot or will not give any specific examples
of his mediations . Mills tells how in the late fifties and early sixties he
and three whites formed a committee to restore the Old Indian Meeting
House in Mashpee. The meeting house, which had fallen into disrepa ir,
had for many years been the most visible symbol of Indian life in the
town .
During the fifties there had been a tribal constitution of some sort
(the document is introduced into evidence), but Mills testifies that the
tribe did not follow the constitution as written . Tribal meetings were held
irregularly, with notice passed by word of mouth. (Where, St. Clair asks
on cross-examina tion, are the minutes for these purported tribal meet
ings ?)
In the early seven ties, Mills sa ys, he attended a grant-writing sem inar
at Dartmouth College, along with Amelia Bingham, a state employee
(s ister of john Peters, the tribal medicine man, and Russell Peters, cha ir
man of the Tribal Council, Inc.). Mills says he had little originally to do
with the land suit. As ch ief he simply approved the action of the incor
porated body on beha lf of the tribe. It was discussed in his restaurant
kitchen.
Earl Mills testifies that he respects john Peters. The two of them rep
resent the Mashpee traditionalist wing. The modernists, he says, people
like Russell Peters, are the legal arm of the tribe and represent its interests
in dealings with the government, the courts, and foundations .
St. Clair's questions portra y Chief Flying Eagle as an opportunist fol
lowing rather than leading h is people. They reveal that Mills's traditional
authority was recently challenged by Russell Peters and others who
wanted to sell beer at the annual Mashpee powwow, a festival attended
by a considerable number of tourists and other outsiders. Over the chief's
I D E NT I T Y I N M A S H PEE 283
objections beer was sold. St. Cla ir harps on this evidence of lack of lead
ership. Rebutta ls follow, concerning different tribal responsibilities and
roles . There are references to President Carter's inability to control the
(beer-related) behavior of h is brother, Billy.
On the stand Chief Flying Eagle often sounds like a social studies
teacher; his speech is larded with pat anecdotes and homilies .
Only once, toward the end of his testimony, does he do something
unexpected. Asked whether he often wears Indian regalia, Mills answers
no, only at powwows . Then he sudden ly tugs at his necktie, pulling two
thin strings of beads from under h is shirt. One, he says, is turquoise, from
the Southwest. The other small strand was a gift from his father.
Man y people in the courtroom are surprised by this apparently spon
taneous revelation -surprised and, as Mills stuffs the beads back into h is
sh irt and fumbles to readjust h is tie, a little embarrassed.
Images
Mrs . Oakley is membership cha irman of the tribe; Mrs. Averett, who
is an active member of the Mashpee Baptist Church, works with Indian
ch ildren in the public schools .
These women wear no Indian jewelry. They speak simply with New
England accents about their childhood experiences, their values, their
parents and grandparents .
They look like what they are: ordinary pillars of the community,
church women .
They describe their activities on behalf of the tribe. Mrs . Oakley has
recently been establishing a membership list. It includes people living
out of town as well as Indians who oppose the suit and who will testify
for the defense in court.
Mrs . Averett looks to be in her fifties . She says that her earliest mem
ories of community life in Mashpee were the powwows. She also recalls
regular Sunday school picnics at a place ca lled Daniel's Island, attended
by Mashpee Wampanoags and their children . They played games and
sang hymns . Her mother, grandfather, and relatives in the town told her
Indian legends and stories-about Granny Squanett and Mausop and
one about "some Indian maiden that swam in the lake with the trout:'
English was spoken in the family, but Mrs . Averett recalls that some
of her older relatives knew "Wampanoag language:' The only time she
heard her grandfather speak the old tongue was once when his mother
was sick and he held a long con versation with her in her room. Mrs .
Averett's mother sa id to h im, "Dad, why didn 't you tell me you could
speak "indian ?" When he made no reply, Hannah asked, "Grandpa, why
286 HI STORIES
didn 't you tell us you could speak Indian ? Wh y didn 't you teach us ?" He
said, "I just want my children to learn the English language and learn it
as well as they can :'
Mrs. Averett reca lls her mother's herbal remedies-teas and cough
medicines, skunk grease rubbed on for a chest cold-some of which she
still uses .
Mrs . Averett has done housework for a living since she was a girl.
During the war years, however, she went to New Bedford to do defense
work in a Goodyear plant, then to the Boston Naval Yard, where she was
a rope maker. From there she went to the Hood Rubber company, did a
few years in Boston shoe factories, and then went back to housework. In
1 952 she married William Averett. He died in 1 958, and she returned to
Mashpee. "I had two sons to bring up. I felt I could do it better down
there. I felt that if anyth ing should happen to me, my people were there.
If I needed help, my people would be there to help me:'
Three years ago Mrs. Averett joined the Mashpee Wampano?g Tribal
Council, Inc ., and became active in federally funded Indian education
programs. She testifies that the immediate motiva tion for her in volvement
came from her youngest son . He used to take walks in the woods after
school-she didn 't know where. "One day he came in and he asked me,
he said, 'Wh y don 't you do something about this ?'" He explained that he
often went to a favorite spot where deer grazed. "He said, 'It was the
most beautiful sight you could ever see . Now they're putting up a golf
link, and I 'll never see it again ."'
Since 1 9 74 Mrs . Averett has been cha irperson of the Indian Educa
tion Parent Comm ittee, a federa lly funded Indian education program to
help Mashpee Wampanoag children in the schools. The committee or
gan izes tutoring, arts and crafts programs, loca l and genera l Indian his
tory classes, sess ions with Chief Mills and Medicine Man Peters, visits
from other native groups, field trips to the United Nations in New York,
to the Museum of the American Indian, to historic sites in Cay Head.
"Th is is to expand the culture of our people, to see how other tribes, other
people live:'
Mrs. Averett is also chairperson of the board of trustees of the Mash
pee Baptist Church .
On cross-examination she is asked about possible inconsistencies in
her claim to Indian identity: You don 't eat much Indian food, do you ?
Only sometimes. You use regular doctors, don 't you ? Yes, and herbs as
well.
I D E NTITY I N M A S H P E E 287
The Sea
A good deal of testimony at the trial concerns Cape Cod Indians '
closeness to the sea- long traditions of shellfish ing and work on whaling
vessels in the n ineteenth century. Vernon Pocknett, an activist and
288 HISTORIES
nephew of Mabel Avant, the town 's leading traditionalist and h istorian
during the forties and fifties, tells of a federal CETA program Title 3 grant
to encourage modern aqua-farming by Mashpee Indians.
Would the jury see aqua-farming as a "traditional" activity ?
Borderlines
They see the q uestion of tribal status as a l ega l red herri ng, or worse, a
calcu l ated p l oy to deny the tribe its b i rthright. However proc rustian and
colon i a l in origin the l ega l defi n ition of tribe, there was nonethe less a
rea l issue at stake i n the trial . Although triba l status and I n d i an identity
have long been vague and pol itica l l y constituted , not j ust anyone with
some native blood or c l a i m to adoption or shared trad ition can be an
Indian; and not j ust any Native American group can decide to be a tribe
and sue for l ost col l ective lands.
I nd ians i � Mashpee owned no tribal lands (other than fifty-five acres
acq u i red j u st before the tri a l ) . They had no s u rvivi ng language, no c l early
d i sti nct re l igion, no bl atant po l itical structu re. The i r kinsh i p was much
d i l uted . Yet they d i d have a p l ace and a reputation . For centu ries Mash
pee had been recog n i zed as an I nd i an tow n . Its bou ndaries had not
cha nged si nce 1 66 5 , when the land was formal ly deeded to a group
ca l l ed the South Sea I nd i ans by the neighbori ng leaders Tookonchasun
and Weepq u is h . The Mashpee p l a i ntiffs of 1 9 77 cou ld offer as evidence
s u rv i v i n g p i eces of N ative American trad ition and po l itical structures that
seemed to h ave come and gone. They cou ld also poi nt to a sporad ic
h i story of Indian revi va l s cont i n u ing i nto the present.
The Mash pee were a border l i n e case. In the cou rse of thei r pec u l iar
l itigation certa i n u nderly i ng structu res govern i n g the recogn ition of iden
tity and d i fference became v i s i b l e . Looked at one way, they were I n d i a n ;
seen another way, t h e y were not. Powerfu l ways of looking thus became
i nescapably p roblematic . The tri a l was less a search for the facts of Mash
pee I n d i a n c u lture and h istory than it was an experi ment i n translation,
part of a long h i storical confl ict and negotiation of " I nd ian" and "Ameri
can" identities .
(Th i s is how I came to see the Mash pee case, and the account I give of it
reflects my way of see i ng. As a h i storian and critic of anth ropology I tend
to focu s on the ways in w h i c h h i storical stories are to l d , on the alternate
c u ltu ra l models that h ave been appl i ed to h u m a n gro u ps. Who speaks
for c u ltural authenticity? How i s col lective identity and d i fference repre
sented ? How do peop l e defi ne themselves with, over, and in spite of
others ? What a re the changing loca l and world h i storical cond itions de
term i n i ng these processes ?
At the Mash pee tri a l these were the k i nds of questions that i nterested
me and that now o rgan ize my accou nt. I am not fiction a l i z i n g or i nvent-
290 HISTORIES
i n g anythi ng, nor am I presenting the whole picture . The rea l ity pre
sented here is the rea l ity of a s pecific i nterest and field of vision .
I attended most of the tri a l , and I ' ve u sed my courtroom notes as a
gu iding th read . I 've read what has been published about the h istory of
Mash pee and the l itigation , notably F rancis H utc h i ns' Mashpee : The
Story of Cape Cod's Indian Town ( 1 979), Pau l B rodeu r's Restitution : The
Land Claims of the Mashpee, Passamaquoddy, and Penobscot Indians of
New England ( 1 985), and Wi l l iam S i m mons' Spirit of the New England
Tribes ( 1 986). I 've had access to Rona Sue Mazu r's Ph . D . thesis in an
thropol ogy at Col u mbia U n iversity, "Town and Tri be i n Confl ict: A Study
of loca l -level Pol itics in Mashpee, Massac h usetts" ( 1 980) . And I have
con s u l ted the tri a l record . But I haven't systematica l l y i nterviewed par
tici pants or done firsthand researc h in the arch i ves or in Mash pee.
It shou l d be c lear from what fol lows that I am portraying primari ly
the tri a l , not the complex l i ves of Indians and other eth n i c groups i n
Mashpee. Sti l l , i n t h e process I make strong gestu res toward truths m issed
by the dom i nant categories and stories in the cou rtroom . Th u s I i nvoke
as an absence the rea l ity of Mashpee and particularly of its Indian l ives .
I do th i s to mai nta i n the h i storical and eth nograph ic seri ousness of the
accou nt, a seriousness I wish both to assert and to l i mit.
I accept the fact that my vers ion of the tri a l , its wi tnesses, and its
stories may offend people on several sides of the i ssue. Many i nd ividual
positions are more complex than I have been able to show. My account
may be objectionable to Native Americans for whom cu lture and trad i
tion are cont i n u ities, not i nventions, who fee l stronger, less compro
m i sed ties to aboriginal sou rces than my analysis a l l ows. For them th is
version of " identity i n Mashpee" may be about rootl ess people l i ke me,
not them .
It is, and is not o n l y, that.
When I report on witnesses at the tri a l , the i m pressions are m i ne .
Others I spoke with saw thi ngs d ifferently. T h e trial record-wh ich sten
ograph i ca l l y preserves, by a prec ise but not i nfa l l i ble tec h n iq ue, the
mean i ngfu l , s po ken sou nds of the tria l-provides a check on my im pres
sions. It does not, of course, provide much information on the effect of
witnesses or events in the cou rtroo m . It omits gestu res, hesitations, c l oth
ing, tone of voice, laughte r, i rony . . . the someti mes devastati ng si
lences.
I offer vignettes of persons and events i n the cou rtroom that are ob
viously composed and condensed . Testi mony evoked in a page or two
IDENTITY I N MASHPE E 291
may ru n to h u n d red s of pages i n the tra nscri pt. Some witnesses were on
the stand for several days. Moreover, rea l testi mony al most never ends
the way my vignettes do; it tra i l s off in the q u i bb l es and corrections of
red i rect and rec ross-exam i nation . Wh i l e I have i nc l uded for comparison
a verbati m excerpt from the transcript, I have genera l l y fol lowed my
cou rtroom notes, checked aga i nst the record, and h ave not hesitated to
rearrange, select, and h i g h l ight. Where q u otation m arks a ppea r, the
statement i s a fa i r l y exact q u otatio n ; the rest i s paraph rase .
Overa l l , if the witn esses seem flat and somewhat e l u sive, the effect
is i ntentiona l . U s i n g the usual rhetorical tec h n i q ues, I cou ld have given
a more i nti mate sense of peoples' personal ities or of what they were
rea l l y try i n g to express; but I h ave preferred to keep my d i sta nce. A c o u rt
room i s more l i ke a theater than a confess ional .
M i strustfu l of tra nspa rent accou nts, I want m i ne to man ifest some of
its frames and angles, i ts wavelength s . )
John Peters
Peters is about fifty years old. He wears a sport jacket with a turtle
neck swea ter. He is graying, dignified, and appears somewhat taciturn .
He speaks with broad New England vowels .
Peters is medicine man of the Mashpee Wampanoag Tribe.
He testifies that whereas he and Earl Mills, Ch ief Flying Eagle, are
leaders of the tribe, they are not alone. All elders are leaders . Women are
leaders : Mary Lopez, Hannah Averett ("in the education field"), Mrs .
Mills (Earl Mills 's mother), Hazel Oakley.
He describes a growing interest in Native American religion . Asked
about traditiona l ritua ls in Mashpee, he reca lls participating in the peace
pipe ceremony, offerings to the Great Spirit, "for as long as I can remem
ber:'
Newpaper notices from 1 93 6 are introduced as evidence. They re
port tribal meetings and "Indian Da y" services at the Old Indian Meeting
House. Peters remembers these services. He and his father were in the
choir. Reverend Redfield (the Baptist m inister) and William james (the
medicine man) both participated. Christian hymns were sung. The peace
pipe was smoked.
Peters tells of his youth and training as a medicine man . There were
no specific ceremonies or rites of passage. An old man, Russell Mingo,
talked at Saturday dinners about Indian matters . "We kids didn 't under-
292 HISTORIES
stand:' In his late teens Peters approached William james with questions,
and he learned "things about Mother Earth :' Neither james nor his par
ents ever spelled much out. "A medicine man doesn 't force th ings
on you:'
Peters is a strong, understated presence. Also a savvy witness. Under
cross-examination he pauses for a long time after hostile or baited ques
tions. Often he slowly repeats the question before answering, turning it
over in public view.
Peters reca lls his school days . The Mashpee were called "thieving
Indians" or "Womps" (from Wampanoag). The latter was not always pe
jora tive, he adds . The school basketball team was called the Womps, the
cheerleaders the Wompettes.
On cross-examination Peters is reminded that the traditional cere
mon y "Indian Day" was proclaimed by the governor of Massachusetts,
who was not an Indian . Reverend Redfield was not an Indian either. And
smoking the peace pipe was not limited to Indians. The Mashpee parish
and the Old Mashpee Meeting House Corporation all depended on non
Indian participants. How can he cla im, as he does, that they are "arms of
the Mashpee Tribe" ?
Q. : What does it take to be a member of the Mashpee Tribe ? A . :
Tracing ancestry back to your great-grandfather or great-grandmother.
How do you know? We know each other. Who was your great
grandmother? (Peters cannot recall her first name.) Was she an Indian ?
Yes. Have you traced this specifically? No. Who was your great
grandfather? Charles Peters . Wasn 't he a preaching Indian from Martha 's
Vineyard? Yes . Not a Mashpee Wampanoag Indian ? No .
Peters is asked about the years he has lived away from Mashpee
while still serving as medicine man. In 1 9 64 he worked for more than a
year in Hawaii as a private detective. Between 1 973 and 1 976 he was
based on Nantucket. He testifies that from the latter residence he was
able to stay in touch . He employed Mashpee people in his various busi
ness ventures .
With a brother and nephew he is curren tly part owner of Peters Fuel
Oil. The concern owns two trucks and does a moderate business. Q. :
This is a priva te, not a comm unal tribal business ? A . : Yes .
Peters testifies about a /and-development plan proposed some years
back by a company he founded with various family members, the Ashers
Path Development Corporation . He is confronted with blueprin ts for the
development that was subm itted to the town but never carried through .
The blueprints show an extensive subdivision into thirty-seven Jots .
IDENTITY IN MAS HPEE 293
History I
The case aga i nst the plai ntiffs was stra ightforward : there never had
been an I ndian tri be in Mas h pee. The com m u n ity was a creation of the
colon ial encounter, a co l lection of d i s parate I ndians and other m i norities
who sought over the years to become fu l l c itizens of the Com monweal th
of Massac h u setts and of the Repu b l i c . Dec i m ated by d i sease, converted
to Christian ity, des i rous of freedom from patern a l i stic state tutelage, the
people of m i xed I nd i a n descent in Mashpee were progressively ass i m i
lated into American society. The i r I n d i a n identity had been lost, over and
over, si nce the mid -seventeenth centu ry.2
2. The two "h i stories" that fol l ow represent the best brief i nterpretive ac
counts I cou ld construct of the contending versions of Mashpee's past . They draw
selectively on the expert testi mony presented at the trial-testimony much too
long, complex, and contested to summarize adeq uately. The overa l l shape of the
two accounts reflects the sum mation provided at the end of the testimony by each
side's princ i pal attorney. " H i story I" owes a good deal to Francis H utch i ns' book
Mashpee: The Story of Cape Cod's Indian Town ( 1 979). This book takes a some
what more moderate position than the courtroom testimony on wh ich it is based .
" H i story I I " owes someth i ng to the genera l approach of James Axte l l 's book The
European and the Indian ( 1 98 1 ) . Axte l l was witness for the plaintiffs.
I D E NTITY I N MAS HPEE 295
Intermarri age. Mash pee's popu l ation showed two significant pe
riods of expansion . D u r i n g the 1 660s and 1 6 70s there had been an i nfl ux
of I ndi an s from e lsewhere on the Cape. Then after a centu ry of rel ative
equ i l i bri u m the popu l ation rose aga i n in the 1 7 60s and 1 7 70s. Census
figures a re i nexact and subj ect to i nterpretation, but it seems clear that
before 1 760 the pri n c i pa l newcomers were a steady trickle of N ew En
gland I nd ia n s : Wa m panoags from Gay Head and Herri ng Pond, N arra
gansets and Moh icans from Connecticut, Long I s land Montauks. I m m i
gration was restra i ned b y t h e tutelage o f outside "gu a rd ians," some of
whom had an i nterest in keep i n g Mashpee sma l l so that " u n used" I n d i a n
l a nds cou ld be m a d e ava i lable for wh ites . After 1 76 3 , however, the
newly i n corporated d i strict opened its borde rs to a variety of new settlers .
A few w h ites entered b y ma rriage but m a i ntai ned a separate lega l status .
Thei r progeny, i f o n e parent w a s I n d i a n , cou ld become p roprietors . At
least one w h ite man "went native," l iv i n g in a wigwam-j ust as the In
d i a n residents of Mash pee were abandon i ng the l ast of theirs. Four H es
sian m ercenaries stayed on after the Revo l utionary War and ma rried
Mashpee women . It is recorded that they accepted I nd ian man ners.
The 1 7 76 census cou nted fou rteen "negroes" in a tota l pop u l ation
of 3 4 1 . S i gn ificant i ntermarriage with freed black sl aves occurred i n th i s
period, b u t it i s d iffic u l t t o say h o w much si nce common parl ance, re
flected in the census, someti mes m i xed d i verse peoples of brownish s k i n
co lor i n categories such as " I n d ia n ," " m u latto," or "negro." I ntermarriage
between blacks and I nd i a n s was encou raged by a com mon soc i a l m ar
gi nal ity and by a rel ative s hortage of men among the Indians and of
women among the b l acks. The loca l rac ial m i x a l so i n c l uded Cape Verde
isla nders and exotic i m ports resu lting from the employment of Mash pee
men i n the far-fl u n g sa i l i n g trades and women i n domestic service: a
Mexican and an I n d i a n from Bombay are mentioned i n the written
sou rces .
By 1 789 Mash pee's w h ite m i n i ster, the Reverend G ideon Hawl ey,
had become so concerned about Mash pee bei ng overru n by bl acks and
foreigners that h e engineered a return to pla ntation status, with h i mself
as guard i a n of the town's th reatened authentic ity. T h i s retu rn to a restric-
298 HISTORIES
tive paternal ism was a setback for Mash pee's abi l ity to grow and develop
i nto a d i sti nctive, i ndependent nonwh ite com m u n ity. It was not until the
1 840s, after a long conflict with H awley's successor, the Reverend Ph i n
eas F is h , that l oca l l eaders fina l ly rid themselves of outside tutelage . The
struggle for citizensh i p had been slowed but not stopped . By the ti me of
the fi nal transition from p l antation to townsh i p status in the fou r decades
after 1 83 0 the American citizens of Mash pee had become a com plex
m i x-"colored" i n contempora ry parlance-that i nc l uded severa l Amer
ican I nd i a n , black, and foreign i n gred ients .
pee res idents u rg i n g that the d i strict's status not be a ltered . A public hear
i ng was c a l led to a i r the d iffering views .
The hea r i n g, w h i c h took p l ace i n early 1 869, marks a crucial turn i ng
poi nt i n Mash pee h istory. Records of its d isagreements offer a rare access
to a d i versity of local voi ces and opi nions. Those who spoke in favor of
the proposed changes evoked centu ries of degrad i n g state tutel age and
second-c lass status. It was ti me, they sa id, for Mash pee i nhabitants to be
fu l l c itizens, to stand on the i r own . If th is meant that some wou ld fai l or
be d isplaced from the i r l a nds, so be it. They spoke a l so of the commer
c i a l advantages to the region of making portions of its l and ava i lable for
outside capital i nvestment. Representatives of Mashpee's "colored non
proprietors" (a status that gave certa i n m u lattoes and b l ac ks a l l rights of
p roprietors h i p except title to land) a l so favored the changes in lega l sta
tus . As va l ued mem bers of the comm u n ity they felt the restriction on
landhol d i n g to be an i n s u lt and a rem i nder of an i nferior cond ition they
had in every othe r respect l eft beh i n d .
Others opposed t h e c h anges . They a rgued that t h e i nfl ux o f outs ide
capita l wou ld be a very m i xed b lessi ng, and without the present protec
tions many who were not wea lthy and w i se to the ways of busi ness
wou ld soon be d i sp l aced . They wou l d fi nd themselves, in the words of
one spea ker, "ducking and dodgi ng from one c ity to another, and gai n
n o res idence." Some proprietors d i d not th i n k the right to vote i n state
and fede ra l e lections worth the risk; the present system, prov i d i n g rea l
control over Mashpee's government, seemed suffic ient to loca l needs.
The Reverend Joseph Amos ( " B l i nd joe " Amos), the com m u n i ty's most
i nfl uenti a l spi ritual voice and l eader of a successfu l I nd i a n Baptist move
ment th ree decades earl ier, opposed the changes. He said that a nother
generation of prepa ration was needed before the proposed step cou ld
safe l y be taken . Solomon Attaq u i n , who owned the Hotel Attaq u i n , a
renowned h u nt i n g lodge in Mashpee, spoke for abandon i ng the d i strict's
spec i a l status. H e evoked a l ifelong d ream of fu l l c itizensh i p and eq ual
ity, a d ream shared with othe rs i n the com m u n i ty. Those who had worked
long and h a rd for th is day shou ld not have to d ie without gai n i ng the
status of free men in the com monwea l th and the nation.
A vote was taken . E ighteen favored partici pation i n federa l and state
e l ections, e ighteen were opposed . The remova l of land restrictions was
sharply rej ected , twenty-si x to fou rteen . Despite th is vote by a m i nority
of the tota l popu l ation the recorded d i scussions clearly showed a con
sensus i n favor of u lti mate l y end i ng Mash pee's spec i a l status, with d is-
300 H I S TO R I E S
agreements only on the ti m i ng. The Massach usetts General Cou rt, rec
ogn i z i ng th is fact and more impressed by Mash pee's "progressive"
voices, in 1 8 70 forma l l y abol ished the status of "Mash pee proprietor."
A l l l ands were henceforth held in fee s i m p l e with no restrictions on a l ien
atio n . A l l res idents, whatever the i r ancestry, now enjoyed equa l status
before the l aw. The transfer of town lands to outsiders began i m med i
ately.
This turn i ng po int marked the end of Mash pee's d i stinctive institu
tiona l status stem m i ng from its I nd ian past. Though the com m u n ity was
d ivided on the change, the most dynam ic, forward-looking leaders fa
vored it; whatever thei r hesitations on t i m i ng, com m u n ity members wi l l
i ngly embraced thei r future as Massach usetts and U n ited States citizens.
Assi milation. During the years between 1 8 70 and the 1 920s In
dians throughout the nation were forced to abandon tribal organizations
and to become i ndividual citizen-farmers, workers, and busi nessmen .
T h i s was the period of the Dawes Act with its extensive l and-a l l otment
projects west of the M i ss i ssi ppi . Not u nti l the twenties was there much
evidence anywhere of tri ba l dynam ism. Mashpee residents conti n ued to
l ive as before, working as h u nting and fish ing gu ides, servants, and la
borers i n various trades. The town remai ned a backwater. To find steady
work people often had to move to nearby towns or even farther afield .
The h i storical record contains l ittle evidence of any d isti nctly I n d i an l ife
i n Mash pee before the Wam panoag revival movements of the twenties.
The town apparently d id not u ndergo any major demographic or soc i a l
cha nges a n d remai ned a rather cohes ive com m u n ity o f long-term resi
dents, most of whom were of varying degrees of I nd i an descent. Signifi
cantly, between 1 905 and 1 960 the category " I ndian" d isappeared from
Mash pee's federa l census record s . The more than two hundred ind ivid
uals who had previously been so cl assified were now l isted as either
"colored" (d isti nct from "negro") or "other." O n l y i n 1 970 wou ld they
aga i n be cal led Indian . In the eyes of the state the majority of Mash pee's
i nhabitants were s i m p l y Americans of color.
Some of these Americans partici pated in the fou nd i ng of the Wam
panoag Nation in the late twenties. At that time various more-or- less the
atrical reviva l s of I nd ian i n stitutions were under way. People in Mashpee
showed i nterest, but the d a i l y l ife and government of the town were not
materia l l y affected . The Wampa noags d i d not, l i ke many other Indian
groups i n the th i rties, take advantage of the turnaround i n po l i cy at John
I D E NTITY I N MAS HPEE 30 1
Vicky M. C osta
History II
The case aga i n st the Mash pee plai ntiffs was based on a read ing of
Cape Cod h istory. Docu ments were gathered , i nterpreted, and a rranged
in a coherent seq uence. The story emerged of a sma l l m i xed com m u n ity
fighting for eq u a l ity and c itizensh i p wh i l e abandoni ng, by choice or
coercion, most of its aborig i n a l heritage. But a different, a l so coherent,
story was constructed by the p l a i ntiffs, d rawi ng on the same documen
tary record . In th i s account the residents of Mash pee had managed to
keep a l ive a core of I n d i a n identity over th ree centuries agai nst enormous
odds. They had done so in s u pple, sometimes surreptitious ways, a l ways
attempti ng to contro l , not reject, outside i nfl uences.
The plague . Abori gi nal ly the concept of tribe has l ittl e mea n i ng.
The " pol itica l " institutions of N ative American groups before contact
w ith E u ropeans varied widely. Cape Cod I nd i a n groupi ngs seem to have
been flexible, with s ign ificant movement across territories. Com m u n i ties
formed and reformed . In this context it is unclear whether the elders of
loca l vi l lages or sachems o r supreme sac hems shou l d be identified as
"tri ba l " leaders. These i nd ivid u a l s had su preme power in some situa
tions, l i m ited a uthority i n others . The plague was a d i saster, but it did not
dec i m ate the Cape to the extent that it did the Plymouth area. In any
event the response of the su rvivors at Mash pee, regrouping to form a
cohesi ve u n it, was a trad itional po l itica l response, a l beit to an u n usual
emergency. Wri tten sou rces reflect o n l y the views of wh ites, such as the
evange l ist Bou rne, who saw h i s "praying I nd i ans" paternal istica l l y as
passive rem nants. The i ntentions of leaders such as Pau p m u n n uck and
h i s k i n are not recorded .
Thus it is anachro n i stic to say that the com m u n ity gathered at what
wou ld l ater be cal l ed Mash pee was not a tribe . It is wel l known that the
I D E NTITY I N M A S H PE E 303
Taking the colonists' side. The fact that some South Sea I nd i ans
fought aga i n st Metacomet in King Ph i l i p's Wa r does not prove that they
were abandon i n g the i r I nd i a n sovere ignty or i ndependence. More d i d
not fight, a n d t h e motivations o f those w h o d i d are a matter o f spec u l a
tion . There was noth i ng new about I nd i ans making war on other I n d i a n s .
Moreover they may have had l ittl e c hoice. Puritan authorities were on
the warpath , and even " loya l " I nd ians were pun ished d u ri ng and after
the war by loss of lands and sl avery.
As for the war aga i nst England, aga i n we shou ld be wary of i m puting
motives . The Mash pee I nd ians who served i n the Revo l utionary Army
306 H I STORIES
Eth noh i storical stud ies show that i n New England the mixing of d if
ferent com m u n ities was com mon wel l before the Pi lgrims' arriva l . Adop
tion was freq uent, and it was customary to captu re and i ncorporate op
ponents in war. I nd i ans were in th i s respect color b l i n d . In colon i a l ti mes
a large n u m ber of wh ite captives stayed w ith thei r captors, adopting In
d ian ways, some even becom i ng c h i efs. Mashpee's l ater open ness to out
siders-as long as the newcomers i ntermarried and conformed to I nd i an
ways-was a conti n uation of an aboriginal trad ition , not a loss of d i st i nct
identity.
I n 1 8 5 9 , after more than a century of i nterma rriage and sporad i c
population growth (the d i l ution o f Indian stock lamented b y t h e m i ssion
ary H awley), a deta i led report by the com m i ssioner for I nd i a n affa i rs,
John Earle, offered a census of the "Marshpee Tri be" that incl uded 3 7 1
"natives" and 3 2 "foreigners ." The latter were people l i ving o n the l a nd
without proprieta ry rights and not l i neal descendants of I ndians. They
were descri bed as "Africans" and "colored ." O n l y one "wh ite" was
l i sted . The names of "natives" l isted on the 1 85 9 census served in the
tria l as a bench mark of continuous "tr i ba l " k i nsh i p ties.
Russell Peters
what the tribe should not do : "No self-respecting tribe would become
incorporated:'
He sa ys that before bringing suit on behalf of the Mashpee Indians
the council was primarily concerned with securing grants from the fed
era l government, usually through CENA, s uch as the 1 976 grant for aqua
farming. Various employment programs have also been funded. Peters
mentions a CENA Title 3 Indian project in which his input led to a distinc
tion between Mashpee Wampanoag and Gay Head Wampanoag groups.
The Tribal Council, Inc., has helped with funds for clearing fifty-five
acres acquired for tribal use. It has helped organ ize powwows and a
clambake to dedicate this first acquisition of tribal land. Peters testifies
that two un ity con ferences have been held there in the last year and a
half. At these events the council participates, but the leaders are the chief
and the medicine man.
Currently the council is operating on a $30,000 federal grant. Its
headquarters is the parsonage. Peters says that he is serving a term as one
of three members of the parish comm ittee. The council pa ys $50 or $60
a month rent for its headquarters.
Peters admits that there have been conflicts with the ch ief, Earl Mills,
problems of defining roles; but these are being worked out. Naturally, he
says, we consulted with our chief in preparing the land-claim suit.
Since 1 968 Peters has been licensed as a real estate broker, but he
has sold only a couple of houses . His wife, a lso a broker, has sold six and
a few parcels of land. Peters Enterprises, comprising Russell and three
siblings, developed a fifteen-acre subdivision . Of the five houses built
two are now occupied by Peters and h is brother john, the other three by
non-Indians . Peters Enterprises no longer functions .
The witness adds that, with his son, he is involved in the early ex
perimental stages of developing a new product ca lled "Reflecto-Shield:'
Russell Peters testifies that he has severa l times run for public of
fice-the planning board, the board of assessors-but without success.
Peters is asked about his percentage of Indian ancestry. He cannot
sa y. He thinks that h is fa ther, Stephen Amos Peters, came to Mashpee
sometime before he was born . His father had formerly lived in Boston
and New Bedford and was in volved in rea l estate. Some of h is fa ther's
forebears may have lived on Marth a 's Vineyard. He cannot trace exactly
the genealogy he cla ims goes back to 1 859 in Mashpee. His mother, born
in Georgia and raised in Boston, is not a member of the tribe. He knows
very little about Blind Joe Amos, a possible relation through his father.
3 12 HISTORIES
History III
The fol lowing excerpt from the cross-exam i nation of Ramona Peters
by J ames St. C l a i r is q u oted d i rectl y from the tri a l record .
Q. : All right. Now, you 've told us that when you 've been here,
with in the last year or two, as I understand it, you have organized a
singing society comprised roughly of about eight people, is that right?
A . : I didn 't say that I organized it.
Q. : Well, did you ?
A . : jointly with another singer.
Q. : Who is the other singer?
A . : Well, two other singers .
Q. : Who were the other singers ?
A . : Tony Pollard and Earl Mills, ]r.
Q. : Tony Pollard is the same one that comes from New Bedford?
A . : Yes.
Q. : He is not a Mashpee, member of the Mashpee group, is he?
A.: He is now.
Q. : He is now?
A.: The Mashpee group, he lives there.
Q. : I'm sorry, I can 't hear you.
A . : He lives there now, yes.
Q . : He lives there now. He lives in Mashpee, is that right?
A.: Yes.
Q. : Therefore, you say he's a member of the Mashpee group because
he lives in Mashpee ?
A . : Because you say Mashpee group.
Q. : All right. You understand that I'm referring to the pla intiffs in this
case when I say the Mashpee group ?
I D E NT I T Y I N M A S H P E E 3 13
A . : Private.
Q. : Do you know or are you guessing?
A . : I am not sure what they call themselves, Daughters of American
Revolution, and some Christian organizations involved in it.
Q. : Let's see, the Daughters of the American Revolution is not an
organization that you would associate with Indians, is it ?
A . : In our h istory, yes .
Q. : Pardon ?
A . : I said in our h istory, yes, Wampanoag h istory-Mashpee Wam
panoag h istory.
Q. : Daughters of the American Revolution, in your understanding of
what you say is your history, have an Indian origin ?
A . : It is not our h istory, but we were in volved with that revolution
and 1 4 9 of our Mashpee people died in that figh ting for your indepen
dence.
Q. : Figh ting for what?
A.: Independence.
Q. : But it is your understanding that the Daugh ters of the American
Revolution have an Indian origin or are in some way related to persons
of Indian descent?
A.: They embrace me as a member.
Q. : Pardon ?
A . : I said the women that I met tha t were in volved with the Da ugh
ters of American Revolution felt a kinship with me because of the Mash
pee Wampanoags that had died in the war.
Q. : All right. Now when you attended schools on Cape Cod . . .
The Experts
traced at least one ancestor from the 1 85 9 "Marsh pee Tri be" census to
nearly a l l the c u rrently c l a i med tribal members . The defense rel ied on a
soc iologist, Jean G u i l l em i n , who had written an ethnography of M icmac
I ndians in Boston (G u i l lem i n 1 975), and Franc is H utch i ns, a h i storian .
Tra i ned i n pol itical science and the author of respected works on I ndia,
H utc h i n s had recently sh ifted his research to N ative American h i story.
A l l of the experts gave detai led testi mony whose fine po i nts I can not
represent here . On the stand, as m ight be expected, many subtleties and
q u a l ifications were lost: l awyers pressed the scholars for sharp, u nambig
uous opin ions. As i n a l l long tria l s the seq uence of test i mony mattered .
Axte l l 's testi mony from ea rly i n the proceed i ngs was o n l y d i m l y remem
bered by the time H utch i ns wrapped up the case for the defense.
I have a l ready summarized a good dea l of Axte l l 's testi mony i n the
H istory II section and that of H utch i ns in H i story I . Both experts based
their testi mony on essenti a l ly the same corpu s of h i storical documents
u nearthed by research team s from both camps. The defense, advised by
H utch i ns, devoted major resou rces to h i storical research, bu i ld i ng its
pos itive case largely around the presentation of a "com plete" docu
mented record of Mash pee h istory.
The p l a i ntiffs p l aced more rel iance on the ora l testi mony of l iving
Mash pee Ind ians and on anthropologica l accou nts of N ative American
l i fe in Mash pee and other com parab le cu ltures. Ca mpisi d id a sti nt of
eth nogra p h i c "fieldwork" on the Cape, but because of professional and
budgetary constrai nts he was restricted to short periods of partic i pant
observation and i nterv iew i n g . ( H i s fieldwork was repeated ly parod ied by
St. C l a i r as "twenty-four days and n ights in Mash pee ." There was occa
sional ta l k of i ssu i ng a su bpoena for h i s field notes . ) Cam pisi made no
c l a i m s for the professional adeq uacy of h i s research ; but as a resu lt of
what he had seen, heard, and read, as a professional anthropologist he
felt able to assert that elements of an Ind ian way of l ife and a rea l if
m i n i ma l tribal o rga n ization d i d exist i n Mash pee .
"There is also the level of cultural assimilation . That is where you alter
your value systems, your attitudes, where you adopt fully the belief sys
tem of an outside society. To an extent I don 't think that has happened:'
judge: "I don 't understand the phrase, 'To an extent it hasn 't hap
pened.' Does that mean to an extent it has happened ?"
Campisi: "Well, I think in certain kinds of values it has happened.
The value about a market economy: the Mashpees are involved in a mar
ket economy. They go to work, they buy, and they sell, and they own and
disown, and that is not a cultural va lue we usua lly attach to aboriginal
Indian tribes. So that is a value that has changed:'
Judge: "What about the Baptist affiliation ?"
Campisi: "In some ways religion has changed, they have affiliated
religiously. But then the problem comes that they have colored the Bap
tist with va lue systems from the past, too, in certain aspects :'
judge: "What are you referring to when you say tha t ?"
Campisi: "When you get individua ls who are devoted Baptists who
also give you viewpoin ts and va lue systems which are identifiable as
Mashpee Indian or generically as Indian-"
Judge: "I haven 't got that clear, yet. What are those value systems
wh ich you identify as being characteristically Indian which you say are
retained even among those Mashpees who are Baptist?"
Campisi: "Well, the attitude with respect to the reve rence for the
earth, which is a large concept that Indian people deal with, that you use
the earth and you return to the earth, that you don 't waste, that you are
put on the earth not to sustain yourself, and you owe an obligation to
susta in the earth you are put on :'
judge: "I don 't mean to be facetious about this, I 'm trying to get it
defined. Do you see a distinction between a Mashpee Baptist who holds
these th ings, and, say, a Sierra Club Baptist who feels the same way; is
there some difference in the attitude ?"
Campisi: "From what I know about the Sierra Club, they are prob
ably very sim ila r:'
Judge: "It's not unique ?"
Campisi: "It might have been a borrowing from the Indian by the
Sierra Club:'
judge: "Or vice versa :'
Campisi: "Well, s ince they were here before the Sierra Club-"
Like all the experts at the trial Campisi is pressed to distinguish a
tribe clearly from an ethnic group. How is it like and unlike the Amish,
IDENTITY IN MASHPEE 32 1
c u l tu re, and acc u l tu ration, the experts cou l d only sm i l e or wi nce and
stick to the i r guns. 3
Anth ropologi sts speaking as scientific experts cou ld not exp l a i n to
the cou rt that the i rs was a h i storica l l y l i m i ted and pol itica l l y en meshed
d i sci p l i ne. They cou ld not ad m it that many fieldworkers were now testi
fying in cou rt o n behalf of res u rgent i n d i genous cultures as part of a post
colon ial context govern i ng how researchers from one soc iety cou ld
represent or "speak for" another grou p . (There was a time when an an
th ropologist cou ld casu a l l y refer to "my people"; now i n d i genous groups
can speak of "our anthropologist" ! ) On the stand it was d iffic u l t to exp l a i n
that the word tribe cou ld mean different th i ngs to a scholar d i scussing a
range of aborigi nal systems, reservation I n d i ans of the n i neteenth century,
and l ega l l y reorgan i zed groups of the 1 930s, or that the term was u n l i kely
to mea n the same th ing for an author of evol ution i st theories writi ng in
the 1 950s afld an expert eva l uati ng the aspi rations of eastern Indian com
m u n ities in the 1 9 70s .
Wi l l iam Stu rtevant's testi mony compared various Native American
tribes. Rather than asserting a sharp defin ition of the i nstitution, he por
trayed a field of fam i l y resembla nces and loca l h i stories. He suggested
that it wou ld be s i m p l i stic and u nj ust to establ ish a l i st of essential "tri bal "
attributes aga i n st wh ich i nd i vidual cases cou ld then b e checked .4 On
cross-exa m i nation this flex i b i l ity was made to appear as fuzzi ness or as
an opportun istic, s l i d i ng set of criteria. Vi ne Deloria a l so testified to the
variety of Native American i nstitutions. Pressed to defi ne tribe he an
swered : "As I use it and as I u nderstand other I ndian peopl e using it, it
ture ."
William Sturtevant
and became a new tribe. Tribes are not always aborigina l but can be
created in changing historical circumstances. This seems to have oc
curred with the South Sea Indians in Mashpee.
In cross-examination the Mashpee-Seminole comparison is at
tacked.
Q. : The Seminoles fought three wars against the colon ists and
United States, the Mashpee didn 't. So the two aren 't really comparable,
are they? A . : Well there are similarities, a lso many differences.
Sturtevant is confronted with an article he had written in 1 9 68 sur
veying Indian communities of the eastern United States, including the
Mashpee. He is asked, If they are a tribe now, why didn 't you call them
one then ? Why did you use the word com m u n ity throughout the article
and not tribe? What is the difference ? Haven 't you changed your mind
for the purposes of this case ? Portions of the text are debated.
In his article Sturtevant claims that "a restrictive definition of Indian
identity" has caused much suffering. Can he give an example ? Yes : in
sisting that you can 't be an Indian unless you are a member of a federally
recognized tribe. Or saying you can 't be an Indian if you have black
ancestry. Or defining lndianness by "some fairly h igh degree of blood
quantum :'
On the question of how much Indian ancestry it is appropriate to
require of a tribe Sturtevant cites the difficulty of determin ing exact ge
nea logies earlier than the mid-nineteenth century. Degree of ancestry
varies enormously among tribes. It is not a crucial determinant of identity.
What counts is some descent from aboriginal Indians, a bounded (though
permeable) social group, recognition of this group by self and others, and
some a utonomous political organization .
Judge Skinner imagines a lineage traced seven generations back
yielding only one aborigina l Indian among hundreds of ancestors in that
generation . If there are now about three thousand progeny traceable to
this single Indian ancestor living together in a community, and if all of
Sturtevant's other criteria are met, would that community be an Indian
tribe ? The expert ponders. "Yes :' He smiles . "It would be an extremely
interesting one:'
Q. (St. Cla ir) : "The South Sea Indians, where did they come from ?
A . : "Across the Bering Straits:'
Q. : "Across the Bering Straits. Now that would be about-"
A . : "Twenty-five thousand B . c. "
Q. : "And you consider that a helpful answer, do you, Doctor?"
I D E NTITY I N M A S H P E E 327
A . : "Yes :'
Q. : "Is it your view tha t the Mashpee constituted a tribe at the time
of con tact?"
A . : "/ th ink it's unknowable:'
Q. : "You don 't know whether they were a tribe at the time of con
tact ?"
A . : "/ don 't:'
Courtroom Notes
B y l ate Dece m ber the town o f Mash pee alone i s out $350, 000 i n tri al
costs .
Theate r of the cou rtroom . D ramatic poses struck by the attorneys : moc k
incred u l ity, ange r, bathos . "Sec ret" conferences at the side bar. The ac
tors' makeup is too b l atant, the i r gestu res too crude. St. C l a i r harps too
328 HISTORIES
long on a po i nt, but h i s aud ience i s a more d i stant one than that c u rrently
watc h i ng. He p l ays to the j u ry members a month hence as they try to
remember key poi nts from the acc u m u l ated j umble of facts .
Before the sess ion j udge Skin ner, looki ng th i n in s h i rtsleeves, sets
out h i s books and papers on the bench . Then he leaves to make h i s robed
"entrance."
Characters in the drama develop. The j udge : benevolent, testy, d is
tracted , c u riou s . The d i fferent personal ities on the attorneys' teams. The
mysterious j u ry takes shape . By half time they have rel axed , c hatting
d u ring cons u l tations at the side bar, n udging one another when Skinner
seems for an i n stant to be nodd ing off. I n the elevator they joke about
passing a round co lds.
Lawyers and spectators guess at the mean i ng of the j u ry's reactions,
but there i s l ittle sign of consistent sym pathy for either side. As the tri al
nears i ts end, these c u riously passi ve actors become the center of atten
tion .
gu i lty or not gu i l ty, tri be or no tri be, sane or i nsane. The j u ry can not
propose concrete solutions. They decide that one side h as won , the other
lost. The adversary system is designed not to prod uce a j udgment that
wi l l sati sfy everyone or that may be renegotiated next year if the situati on
cha nges . It determ i nes w i nners and losers, a decision on the permanent
truth of the case.
In th is sense the l aw reflects a logic of l iteracy, of the h i storical ar
c h ive rather than of changing co l lective memory. To be successfu l the
tri a l 's res u l t m u st endure the way a written text end u res .
But doesn't the adversary system for prod u c i n g reco rdable facts and
d u rable j udgments assume a med iat i n g c u lture su rrou nd i ng i ts theatrical
confrontatio n s ? After a l l , the abstractly opposed viewpoi nts are resolved
by the common sense of a j u ry of " peers ." And what if t h i s shared cu ltu re
and its common sense ass u m ptions are precisely what is at issue i n the
proceed i ngs ?
I nd i a n l ife i n Mash pee-someth i n g that was large ly a set of "ora l "
relations, formed a n d reformed , remem bered i n new c i rcumsta nces
had to be cast in permanent, "textua l " form . The I nd ians on the stand
had to convi nce a wh ite Boston j u ry of the i r d i fference without conver
sation or-as happens in practice- l iving nearby, struggl i ng to work out
who i s who. The p l a i ntiffs h ad to represent themselves through scri pted
exchanges with attorneys, statements for the record , proceed i ngs wit
n essed, passi vely and objectively, by j u ry members with no right to enter,
to ask, or to ventu re a n o p i n i o n .
Richardson Jonas
Richa rdson Jonas is a Mashpee India n, ra ised in town and now living
and owning property there. He is fifty yea rs old, powerfully built, dign i
fied, opinionated, stubborn . In appearance jonas is one of the more "In
dian-looking'' witnesses to take the stand. He was s ubpoenaed by the
defense.
Jonas' wife is of Portuguese ancestry. They h ave four children . He
believes that the majority of h is forebears on his fa ther's side were Indian.
330 HISTORIES
On his mother's side (she came from North Carolina) he doesn 't know.
He can 't specify percentages.
jonas says he went to grade school in fv! ashpee and graduated from
h igh school in Falmouth . He grew up with Russell Peters and Earl Mills,
was active as a youth in the Baptist church but is not now a ch urchgoer.
From 1 952 to 1 954 he served in the U. S. Army Eighty-second Air
borne Division and has been a leader of the local American Legion chap
ter. jonas is a union construction worker for a New Bedford compan y. He
has also served for more than ten years on the Mashpee Planning Board.
He reca lls powwows in the early 1 940s. They were held on private
land, a lways with drumming and songs (none of them purely Mashpee
in origin). There was a model Indian village, kn icknacks for sale. He
manned an American Legion food concession at the powwow.
He does not know of any specific Indian ceremonies for marriage,
puberty, birth, or healing; but at the powwow, he recalls, "they had what
appeared to be some sort of religious practices:'
jonas is not a member of the Triba l Council, Inc. He says that he was
never invited to any tribal meetings before the incorporated body was
formed. Although he is a friend of Earl Mills ', he cannot say what Mills
does as ch ief or how and when he was chosen by his predecessor, Els
worth Oakley. In jonas ' view the work of Mills and medicine man Russell
Peters is "ceremonial."
He testifies that he has never heard the word tri be used as much as
in recent years.
He is asked about his work on the town planning board. jonas insists
that although he has developed a piece of property, he is "not a devel
oper:' Currently he holds a few parcels of land, "possibly six:' (The cross
examination shows that he has an interest in as many as twenty-one prop
erties.) He vehemently den ies feeling any resentment toward the lawsuit
or the Triba l Council because of these land interests.
jonas says that when he calls h imself a Wampanoag Indian, he is
referring to his Indian ancestry and not to any tribal affiliation . He does
not know what a tribe is. When pressed he hazards a definition : "I would
think that a tribe would be where you have a chief, and he's the govern
mental factor over those who serve under h im :'
On cross-examination the witness is confronted with con flicting
statements from his deposition collected before the trial. At that time he
defined tribe differently, largely in terms of Indian ancestry. He described
the Baptist church as "the traditiona l religion of the Mashpee Wampa
noags :'
I D E NTITY I N M A S H P E E 33 1
Jonas admits that the American Legion Post, which serves a wider
area than Mashpee proper, is the only community organization he has
been active in . He is proud of his Indian heritage and cares about the
Wampanoag future. He has never participated in Indian education proj
ects or in the Meeting House restora tion or in the m useum or in "Blind
joe Amos Day" or in any of the Tribal Council activities . He wasn 't asked
to help and didn 't volunteer.
Are his children Indians ? He won 't say. Don 't they participate in
powwows ? Yes . Does one of h is da ughters wear regalia ? Yes.
Does he hold himself apart from the Indian community? (Vehe
mently) No.
Having been to more than twenty powwows, can he say who orga
n ized them ? He does not know.
In 1 975 at the meeting where fifty-five acres were transferred to the
Mashpee "tribe" for "triba l purposes;' did he vote for the article ? Yes. The
use of the term tri be made perfect sense to h im then, didn 't it? Wh y didn 't
he protest its use ? jonas says he rea lly didn 't give the matter m uch
though t.
Q. (Shubow): "You have lived in Mashpee a ll your life, right ?"
A . : "Yes, I have:'
Q. : "Do you like being part of the comm unity?"
A . : "Yes:'
Q. : "Is it because you want to live as part of a Mashpee Wampanoag
Indian comm un ity where your ancestors have lived?"
A . : "I don 't th ink I, as you say that question, I don 't th ink of it like
that. I want to live there because my roots are here, and my ancestry is
here . And I have property here and whatnot here tha t belonged to my
ancestors wa y back in the 1 800s:'
The Record
The defense's cruci a l pos itive testi mony was that of its h i storian,
F rancis H utch i ns, who stayed on the stand for nearly five fu l l days . H i s
long, meticu lous recitation o f h i storical particul ars s u m med u p the case
aga i n st the Tribal Cou nci l . H utch i n s' manner on the stand was u n h u rried
and thorough . He moved from docu ment to docu ment: deeds, petitions,
l aws, m i ssi onary correspondence, town records, state papers . He led the
cou rt aga i n through the p l ague, the arriva l of the Pi l gri ms, Richard
Bou rne's pla ntati on scheme for the South Sea I nd i a n rem nant. He ex
plai ned E n g l i s h proprieta ry law, descri bed the early deeds d rafted by
332 HISTORIES
Bourne, recounted the tra nsformation of the Mashpee I ndians i nto Ch ris
tian patriots. H e documented the i r long struggle aga i nst second-cl ass sta
tus, cu l m i nati ng i n the com m u n ity's final emergence as a townsh i p i n
1 869.
H utch ins' rec itation was exhaustive, frequently ted ious. He avoided
dramatic gestures. For long periods he seemed l ittle more than a cond u it
for the h i storical record . U n l i ke J ames Axte l l , who was occas iona l l y
i ronic about h i s own expertise a n d who open ly rai sed the question of
scholarly bias, H u tch i ns stuc k to the facts . After so many clashing oral
testi mon ies one had the sense of bei ng on so l i d documentary grou nd .
Everyth i ng rested on spec ific written ev idence .
It was easy to forget that th is h i stori cal narration was not a matter of
wa l k i ng on conti n uous so l i d ground but was more l i ke j umping from one
stone to the next. The docu ments relevant to l i fe i n Mashpee were often
few and far between, bi ased in com p lex ways. The stones H utch i n s
l a nded on were s l i ppery. O n e h ad t o balance on them i n a certa i n way.
For example a m i ssionary's "factua l " record of how Indians had fa l len
from thei r proud ancestra l past cou ld reflect primari l y his own d iscomfort
at recent com m u n ity changes that he was u nable to control . A deed
m ight record white more than Ind ian notions of owners h i p .
H utc h i ns' testi mony-and h i s book ( 1 979) based on it- l eave n o
room for deep ambiguity. I n h i s d iscourse t h e facts si mply te l l a story;
they a re not made to speak. Nor does the h i storian weigh the massive
si lences of the arc h i ves-Mash pee l ife as seen and l i ved by the vast ma
jority of partici pants who did not write .
( Recal l aga i n that the presentation y o u are now read i n g is very different
from the one in the cou rtroo m . This i s not a description . U n l i ke the two
" h i stories" provided earl ier, the defen se's complete acco u nt of Mash pee's
past was not fol lowed i m med i ate ly by a contrad ictory fu l l account. Com
ing as it did at the end of the long tria l , the weight and coherence of
H utc h i ns' long h i story lesson cou ld not be adequ ately cou ntered . )
wh ites. The Wampanoag nation is created with its offices o f chief and
medicine man.
Hutch ins is asked if a Mashpee tribe m ight have used the town gov
ernment after 1 86 9 for its own purposes :
You reviewed the governmenta l structure of the town in the twenties
and thirties ? Yes . And there was no office in town called chief? That is
correct.
The Verdict
When H utc h i n s fi n i shed , the defense rested i ts case . The two pri n
c i pa l attorneys, St. Clair and S h u bow, then d e l i vered the i r s u mmations.
Each was a revi ew of the tria l 's evidence i n the form of a compel l i ng
story. L i fe i n Mash pee over the centu ries was given two heroic shapes
and outcomes . S h u bow recounted "an epic of surviva l and conti n u ity."
St. C l a i r cel ebrated a "s low but steady progress" toward "fu l l partic i pa
tion" in American soc iety.
j udge S k i n ner then gave h i s i nstructions . He revi ewed the course of
the tri a l , menti o n i n g briefly each witness. He rem i nded the j u rors that
the bu rden of proof was with the p l a i ntiffs; they m ust prove by prepon
derance of the evidence (but not, as in a cri m i nal case, beyond a reason
able doubt) the exi stence of a tri be in Mashpee. In i ts decision the j u ry
was free to rel y on i n fe rence and c i rc u mstanti a l evidence. They shou l d
n o t b e u n d u l y swayed b y the authority o f experts but m u st trust the i r own
common sense j udgment of the witnesses' c red i b i l ity, we igh i n g how wel l
the i r conc l usions m atc hed the evidence p resented , observ i ng thei r way
of speaki ng, even the i r "body Engl ish ."
The j u rors wou ld be asked to decide whether the proprietors of
Mashpee were an I nd i a n tri be on s i x dates perti nent to the land-c l a i m
su it: ( 1 ) j u ly 2 2 , 1 790, t h e date o f t h e fi rst Federal Non-I ntercou rse Act;
(2) Marc h 3 1 , 1 83 4 , when Mash pee ach i eved d i strict status ; (3) Marc h
3 , 1 84 2 , w h e n l a nd was pa rtitioned t o i nd ividuals; (4) J u ne 2 3 , 1 869,
the end of all a l ienation restrai nts ; (5) May 28, 1 870, i n corporation of
the Town of Mash pee; and (6) August 2 6 , 1 9 76, commencement of the
present su it.
S k i n ne r to l d the j u rors that they wou l d a l so be req u i red to decide on
a seventh q u estion : Did a tri be in Mashpee exi st contin uously d u r i n g the
rel evant h i storical period ? If not, the p l a i ntiffs wou ld fa i l . Moreover the
j ud ge i n structed the j u ro rs that if at any time they fou nd tribal status i n
334 H I STORIES
Mas hpee to have been vol u ntari l y abandoned, then it cou ld not be re
vived . Once lost, it was lost for good .
The j udge spec ified the l egal defi n ition of tribe that wou ld apply, a
matter about which there had been cons iderable suspense. Ski n ner opted
for a re l atively loose form u la preferred by the plai ntiffs and drawn from
the case of Montoya v. Un ited States, 1 90 1 : "A body of Indians of the
same or similar race un ited in a community under one leadership or
governmen t and inhabiting a particular, though sometimes ill defined,
territory. " For the p l a i ntiffs to w i n , a l l the key factors of race, territory,
com m u n ity, and l eaders h i p had to be cont i n uously present.
Ski n ner reviewed the testi mony rel ated to key factors of the defi n i
tion .
Race . Exoga my and a n i nfl ux of outsiders i nto a tri be is normal and
necessary. The c ruc i a l q uestion was whether the outsiders had been in
corporated . If the j u rors fou nd that the group had I nd i a n a ncestry and
had opted to foc u s on that a ncestry rather than others, this cou ld satisfy
the rac i a l req u i rement.
Territory. By hold i ng land lega l ly u nder a n English proprietors h i p,
I nd ians d i d not thereby become Engl ish . Without a reservation system
there was no other way to secu re land in New England . The j u ry had to
dec ide whether the Mashpee proprietors u sed the Engl ish arrangement to
preserve the i r tri ba l form or whether they preferred the Eng l ish way, and
th u s abandoned the o l d form . Skinner warned aga i nst the "Catch-22" of
req u i ri ng a formal l a nd base i n this case, s i nce that was precisely what
the suit was about.
Com m u n ity. An " I nd ian com m u n ity," Skin ner cautioned, is not j ust
"a com m u n ity of I n d i a n s ." Bounda ries are cruc i a l and can be mai nta i ned
in various ways . The j u ry had to decide on the basis of i ncom plete h i s
torical evidence whether Mash pee constituted a d i screte comm u n ity
with a defi n ite bou nda ry. A com m u n ity for the pu rposes of Montoya is
someth i n g more than a neighborhood .
Leadersh i p . At t h i s sma l l sca le leadersh i p ca n be i nformal . Sover
eignty, a req u i rement ra i sed by the defense, is inappropriate; but tribal
leadersh i p sho u l d have roots in a once-soverei gn I nd ian pol itical com
m u n ity. The j u ry was to rel y on its common sense about partic i pation
and leaders h i p, the ba l ance of core enth usiasts and people peri pheral to
the group. There must be more than a coterie c l a i m i ng to speak for an
I nd i a n comm u n ity. There i s no i n herent contrad iction between serv i ng
as a triba l l eader and fu ncti o n i n g in the wider soc iety, for example as a
I D E NTITY I N M A S H P E E 335
busi nessman . Ski n ner poi nted t o t h e gaps i n t h e h i storica l record . Evi
dence of tribal leadersh i p in Mashpee between 1 870 and 1 920 i s partic
u l arly scarce.
The i ssue of tribal ex istence i s complex, the j udge con c l uded, but it
is not more so than i ssues of san ity or c ri m i na l i ntent, wh i c h are routi nely
dec ided by j u ries. S k i n ner expressed confidence i n th i s j u ry's abi l ity to
weigh the evidence, argue free l y, persuade, and fi na l ly reach unan i m ity
on the seven yes-or-no q u estions.
The j u rors were seq uestered , accom pan i ed by a l arge p i l e of docu ments .
After twenty-one hou rs o f del i beration they emerged with a verd ict:
Did the proprietors of Mash pee, together with the i r spou ses and
c h i ldren, constitute a n I n d i a n tri be on any of the fo l lowi ng dates :
J u l y 2 2 , 1 79 0 ? N o . J u n e 2 3 , 1 869 ? No.
Marc h 3 1 , 1 83 4 ? Yes . May 2 8 , 1 870? N o .
Marc h 3 , 1 84 2 ? Yes .
of the word tribe ? If so, the i r l i teral ism was nonetheless different from
that encou raged by the particu l arist h istory of the defense, for the j u ry
fou n d that Mashpee I nd i ans were i nconsistently a tri be . Violating the
j udge's i nstructions, they found that a tri be fi rst d i d not, then d id, then
did not aga i n exist in Mashpee. H istorical part i c u l arism does not by itself
yield coherent deve l opments or stories. Entities appear and d isappear i n
t h e record .
The j u rors' response conta i ned an el ement of subversion . I n effect it
suggested that the tri a l 's questions had been wrongly posed . Asked to
app l y consi stent criteria of tribal existence over three centu ries of i ntense
change and di sruption, the j u ry did so and came up with an i nconsistent
verd ict.
Afterthoughts
cou rse a n d that o f the i r attorneys a n d experts was i nevitably com pro
m i sed . It was constrai ned not s i m p l y by the law, with its pec u l iar ru les,
but by powerfu l assu m ptions and categories u nderlying the common
sense that s u pported the l aw.
Among the u nderlying ass u m ptions and categories comprom i s i n g
t h e I n d i ans' case th ree stand o u t : ( 1 ) t h e idea o f c u l tural wholeness and
structure, (2) the h ierarch ical d i st i nction between ora l and l iterate forms
of know l edge, and (3) the n arrati ve conti n u i ty of h istory and identity.
its "documenta ry" end i ng too few. A h i storian's seam less monologue was
fo l l owed by attorneys' h ighly com posed summations, two fu l ly docu
mented stories . There was no way to give voice to the s i l ences i n these
h i stories, to choose the u n recorded .
The cou rt i m posed a l itera l i st epistemology. Both sides searched the
h istorical record s for the presence or absence of the word and i n stitution
tribe. I n th i s epistemology I ndian identity cou ld not be a real yet essen
tial ly contested phenomeno n . It had to exist o r not exist as an objective
docu mentary fact pers i sti ng through time. Yet ora l soc ieties-or more
accu rate l y ora l doma ins with i n a dom i nant l i teracy- leave only sporad ic
and m i s l ead i ng traces . Most of what i s centra l to the i r ex i stence is never
written . Th u s u nti l recently nearly everyth ing most characteristica l l y I n
d ian i n Mash pee wou l d have gone u n recorded . The s u rviving facts are
l a rge l y the records of m i ssionaries, government agents, outsiders . I n the
rare i n sta nces when I n d i a n s wrote-petitions, deeds, letters of com
p l a i nt- it was to add ress white authorities and l ega l structu res. The i r
voices were adapted t o an i mposed context. T h e same i s true even i n the
rare cases in w h i c h a range of loca l voices was recorded, for exam ple
the publ i c debates of 1 869 on townsh i p status.
H istory feeds on what fi nds its way i nto a l i m ited textual record . A
h i storian needs consta nt skepticism and a wi l l i ngness to read i magi na
tive l y, "aga i nst" the sou rces, to d i vine what is not represented in the ac
c u m u l ated se lection of the arch ive. U l timately, however, even the most
imaginative h istory is tied to standards of textual proof. Anthropo logy,
a lthough it i s a l so deeply formed and empowered by writi ng, remains
c l oser to ora l i ty. Fieldwork- i nterested people ta l ki ng with and bei ng
i nterpreted by an i nterested observer-can not c l a i m to be "doc umen
tary" i n the way h i story can . For even though the origin of evidence i n
an arch ive m a y b e just as c i rcumstanti a l a n d subjective as that in a field
journa l , it enjoys a d i fferent va l u e : arch ival data has been fou nd , not
prod uced, by a sc holar using it "after the fact."
The d i sti nction between h i storical and eth nograp hic practices de
pends on that between l iterate and ora l modes of knowledge. H istory is
thought to rest on past-documentary, arch ival -se l ections of texts . Eth
nography is based on present-ora l , experiential, observationa l-evi
dence. A lthough many h i storians a n d ethnographers are cu rrently work
ing to attenuate, even erase this oppos ition, it runs deeper than a mere
d isci p l inary d ivision of labor, for it resonates with the establ ished (some
wou l d say metaphysica l ) d ichotomy of ora l and l iterate worlds as wel l as
I D E NTITY IN MAS HPEE 341
( H esitati ons. In 1 86 9 B l ind Joe Amos and the majority of Mash pee pro
prietors agreed that they were not yet ready to become citizens of Mas
sac h usetts, separate entrepreneurs with individual control over thei r
lands. They held back, dec l i n i n g a "progressive" step i m posed by the
legi s l ature . Was it from backward ness ? Confusion ? Fea r? Or someth i n g
e l se : a n a l ternate vision ? A d ifferent voice?
What Susan H owe ( 1 985) has written about a woman - E m i l y D i c k
i n son, worki ng d u r i n g the same decade from another place of New En
gl and " iso l ation" -ec hoes strange l y the Indian pred i cament: the prob
lem of fi n di n g a d i fferent way through capita l i st America.
The years i m m ed i ate l y fol l owing the verd ict were marked by d isarray i n
Mas h pee . A n anti c i pated petition to the Department of the I nterior for
tri ba l status was s low to emerge. D u r i n g t h i s period the B u reau of I nd i an
Affa i rs standard i zed its procedu re for recogn ition c la i m s , fo l lowi ng cri
teria s i m i la r to those req u i red by the cou rt i n Mashpee v . New Seabury
et a/. (Weatherhead 1 980 : 1 7 ) . The I nd i ans i n Mash pee watched with
m i sgivi ngs the progress of a petition by the i r fel low Wam panoags at Gay
H ead . I n 1 986 the petition was turned down in a pre l i m i na ry fi n d i ng.
Government experts c i ted an i nsuffic ient degree of comm u n ity spec ific ity
over the years and a loss of tribal po l itica l authority after Gay Head be
came a townsh i p in 1 8 70. Gay H ead's h i story was s i m i lar to Mash pee's .
Appea l ing the pre l i m i n ary fi nding, the N ative American Rights Fund
presented add itional evidence, compi led by jack Camp i s i , of conti n u i ng
soc i a l networks among Gay H ead I nd i ans and of a l i ne of tribal authority
after 1 870. On Februa ry 8, 1 987, for the fi rst ti me ever the B u reau of
I nd i an Affa i rs reversed a negative prel i m i nary fin d i n g . The Gay H ead
Wam panoags were given fu l l tri bal recogn ition .
Quotations from a N ative American Rights Fund press release :
H e n ry Sockbeso n , the Penobscot attorney representi ng the tribe :
"Th i s dec ision means that the Gay H ead wi l l be able to settle the i r land
c l a i m w ith i n a few month s . U nder the terms of the settlement the Tri be
w i l l receive approx i m atel y 2 5 0 ac res of land that can be deve loped . We
antic i pate that they w i l l use i t for housing and econo m i c deve lopment."
G l adys Widd i ss , c h a i rperson of the Wam pa noag Tribal Cou nci l of
G ay Head , I nc . : "I am d e l i ghted . This now means that the Tribe can
fu nction i n a forma l l y recog n i zed man ner. Our status as a tribe can no
longer be in doubt. Recognition means that our s u rv ival as a tri be for
generations to come is assu red ."
jack Camp i s i and N ative American Rights Fund attorneys are work
i n g on Mash pee's petiti o n .
Two Snapshots
349
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371
3 72 SOURCES
373
3 74 INDEX
Balzac, Hon ore de, 98, 237 Casagrande, josep h , 48, 49-50
Bambara, 56, 57n , 85 , 89 Case m e n t , Roger, 1 01
Barthes, Ro land , 52, 1 27, 1 33, 1 56, Cayuga I nd i a n s , 281 , 284
229 n , 259, 268 Cend rars , Blaise, 152, 1 97
Batai l l e , Georges, 1 22 , 1 25-1 27, 1 28, Cente r fo r African Art, 202-203, 204,
1 29, 1 33, 1 34, 141 206
Bateso n , G rego ry, 64 , 147 Ce rtea u , Michel de, 26
Baudelaire, Charles, 1 1 9 Cesa i re , Aime, 1 5 , 1 7, 59, 1 27n , 1 65,
Baud r i l l a rd , j e a n , 222, 223 1 73-1 74, 1 75-1 81 , 255, 275-276
Be n i n , 1 92 Cezanne, Pa u l , 1 1 9
Benjam i n , Wa lter, 1 1 9, 1 32, 141 , 206, Chaney, David , 142n
219n Chatea u briand , 258
Benven iste, E m i l e , 39, 41 Ch ronotope, 236-237, 244, 245
Berger, J o h n , 1 76 Cinema verite, 77
Betty Parsons G a l l e ry, 239 Claud e l , Pa u l , 1 52 , 1 60
Bibl iotheque Natio n a l e , 227 Coalition for Eastern Native Americans
Bick, Mario, 1 02 ( C E NA), 3 1 0 , 311
Boas, Franz, 24, 27-28, 45, 95 , 1 98, 228, Cod ringto n , R . H . , 27
234, 239, 245 Coe, Ral p h , 249-250
Boelaars, J. H . M. C . , 147 Co h e n , David, 7
Boon, James, 94 Co h e n , Marce l , 55
Borges, j o rge L u i s , 2 1 8 , 265 Col e , Douglas, 234n
Bourne, Richard, 294 , 295 , 301 , 303 , Cole, He rbe rt M . , 207
304, 305 , 331-332 Col l ege de F rance, 1 23, 245
B ran cusi , Constan t i n , 1 90 Col l ege de Sociologie, 141-144
B reton, Andre, 1 1 5 , 1 1 8, 1 1 9, 1 22 , 1 26, C o l l i e r, J o h n , 245
1 29, 1 34, 240, 243 Colon ial i s m , 8, 1 0, 41 , 58, 60, 61 , 75-
Briant, So lomon, 304 80, 87-89, 1 68-1 71 ' 1 80 -1 81 ' 1 92 ,
B rod e u r, Pa u l , 288, 290 1 97, 206, 235, 256
B rooks, Peter, 1 00n Colorado H i storical Soci ety, 53
B rown , AI, 1 36, 1 97 Co ndominas, Georges, 25
B u l me r, Ral p h , 51 Con rad , Joseph , 1 0 , 78-79, 92-1 1 3 pas-
Bunn, J a m e s , 220 s i m , 1 68, 1 70 -1 71 , 1 72, 275
Bu reau of Ame rican E t h n o l ogy (BAE) , Corbi n , H e n ry, 261
27, 244, 245 Cornel l , Josep h , 1 5 1
B u reau of I ndian Affai rs ( B I A ) , 301 , 309, Cortazar, J u l i o , 1 79
345 Costa, Vic ky, 301-302 , 329
B u r k e , Ed m u n d , 272 Cotach esset I nd i a n s , 294
Bu rton , Richard , 258 Crane, Steph e n , 1 00
Crapanzano, Vi nce n t , 42-43, 44, 1 1 3
Cai l l o i s , Roge r, 141 Croce, Benedetto, 7
Calame-G riau l e , Ge nevieve, 57n , 58, Cromer, Lord, 258
72, 90 -91 C u s h i n g, Frank H a m i lton, 26, 28, 29, 65
Cam p i s i , Jack, 3 1 7 , 318-321 , 323-324, C u l t u re : authenticity questioned, 1 0 ;
345 as col l age, 145-149; a s col lecting,
Carlebac h , j u l i u s , 242 145-149, 230 -236 ; creol ized , 15; as
Carl i s l e I ndian Schoo l , 309 , 332 dialogues, 46; d i ffere n t i a l , 1 1 , 274-
Carpenter, Ed m u n d , 238 275 , 323 , 339 ; essentialism ques
Carpenter, J i m , 49 tioned , 8, 273-274; eth nog rap h i c , 9;
Carpe n t i e r, Alejo, 1 2 7 n , 1 79 as fragments, 1 21 ; and h i story, 339,
INDEX 375
Macp herson , C . B . , 217, 218 71 , 77 , 90, 1 22, 1 29, 1 34, 1 36, 1 37,
Macq uet, Jacques, 41 1 38, 1 68-1 69
Madge , Charles, 143 n Mitche l l , J u l i et, 7
Maj nep, l a n , 5 1 Mobil O i l Corporati o n , 210n
Mal i n ows k i , B ro n i s l aw, 1 0, 21-22 , 25- Mohawk I n d i a n s , 284
32, 35, 45-46, 47, 52, 58, 62, 63 , 92- Mohegan I nd i a n s , 277
1 1 1 pass i m , 1 38, 146, 1 51 , 1 98, 231 , Monet, Claude, 148
243 Monnerot, j u l e s , 143
Mancero n , H e n ry, 1 56 Montoya v United Sta tes (1 901 ) , 334 ,
Manda, 90 337, 338
Man u s , 233 Moo re, H e n ry, 1 96
Maroon societ i e s , 1 79-1 81 Morga n , lewis H e n ry, 26
Mao r i , 209 , 248 Muchona, 48
Margo l i n , Barry, 279 M u see d'Art Moderne, 140
Marquez. See Ga rcia Marq u ez M u see de I ' H o m m e , 1 2 , 56, 1 23 , 1 27-
Marx, Ka r l , 2 1 9 n , 220, 258, 269-271 1 28, 1 31 , 1 35 , 1 38-1 41 , 1 44-1 45 , 203 ,
Masc u l i n i ty, 6-7, 1 05 , 1 60 -1 62 206, 221 , 246
Mash pee Wa mpa noag I nd i a n s , 7-8, 9, Musee des Arts et Trad itions Popu
17, 277-346 l a i res, 1 28
Mashpee Wam panoag Tribal Co u nci l , Mu see d 'E thnog rap h i e , Neu chate l ,
I n c . , 286, 310, 3 1 1 , 3 1 9 , 330, 334, 345 2 1 8 n , 231 n
Mass Observat i o n , 1 43 n Musee d'Eth nogra p h i e du Trocadero,
Massignon, lou i s , 258, 261-262 , 273 , 1 2 , 56, 1 27, 1 35-1 38, 1 39-1 40 , 1 44 ,
274 148, 227, 228
Masso n , Andre, 1 27n , 1 30, 238 M u see d ' H i sto i re Nat u re l l e , 1 38
Masso n , E l s i e R . , 1 01 , 1 06 M u see G u i met, 227
Matta ( Roberto Matta Echau rre n ) , 238 M u s e u m of Modern Art, 1 2 , 1 89-214
Mausop, 285 , 287, 342 pass i m , 225 , 228 , 229 , 247
Mauss, Ma rce l , 55 , 61 , 62-65 , 74 , 93n , M u s e u m of Nat u ral H i story. See Amer
1 23-1 29, 1 30, 1 32 , 1 38, 1 41 , 145, 261 , ican M u seu m of Nat u ral H i story
274 M u seu m of the American I nd ian , 21 1 ,
Maz u r, Rona S u e , 290 238, 286
Mclen n a n , J . F. , 27 M u s e u m of the N i neteenth Centu ry
Mead, Ma rga ret, 25 , 26, 27, 29, 30, 31 , (Musee d'Orsay, Par i s ) , 224
35, 36, 1 1 0, 201 , 230 -233
Melvi l l e , H e r m a n , 287 Nadea u , Ma u rice, 1 1 9
Men i l , Rene, 1 78 Najder, Zdzi s law, 98
Merleau-Ponty, Mau rice, 145 N a rokob i , Bernard , 232-233
Metacomet ( K i n g Ph i l i p ) , 296, 305 Na rraga nset I nd i a n s , 277, 297
Metra u x , Alfred, 65 , 1 22 , 1 23-1 24, 1 25 , Native American Rights F u n d , 279 , 345
1 26, 1 36, 1 37, 243 Navajo I nd i a n s , 213
M i cmac I nd i a n s , 3 1 8 , 324 N aven ceremo ny, 64
M i l h a u d , Dari u s , 1 87 N d e m b u , 48 , 52
M i l l e r, J H i l l i s , 99n Negritude, 1 5 , 22 , 58-59, 1 73 , 1 77-1 79,
M i l l s , Earl (Chief Flyi ng Eagl e) , 280, 255
286 , 291 , 301 , 31 1 , 327, 330, 346 N e rva l , Gerard de, 258
M i l l s , Earl , J r. , 3 1 6 , 346 New Caledo n i a , 9
M i n tz , S i d ney, 1 25 Newman , Barnett, 239
M i r 6 , Joan, 1 90 New Seab u ry Corporat i o n , 279, 283 ,
M i ssion Dakar-Dj i bo u t i , 25, 55, 56, 66, 293
INDEX 379