Annie Coombes' "Reinventing Africa" (Book Note)

 

Annie Coombes' book, "Reinventing Africa: Museums, Material Culture and Popular Imagination in Late Victorian and Edwardian England," critically examines the evolution of African studies, urging a shift away from entrenched Eurocentric perspectives. As both institutions and art councils endeavor to reassess the essence of African studies, questions inevitably arise about the origins of the prevailing mindset and the role played by museums and academics in perpetuating, rather than dispelling, colonial myths.

 

Coombes' exploration is thorough and meticulous. She contends that in late Victorian and Edwardian England, African objects were initially viewed as mere curiosities. However, private merchants, government bodies, missionary organizations, museums, and academic institutions purposefully redefined these objects, evaluating them based on their 'Aesthetic' attributes. This reevaluation was part of a deliberate effort to influence the British middle and working classes, ultimately justifying behaviors that might otherwise have raised ethical concerns. Coombes further delves into the contemporaneous materials of this era, providing insight into the social transformations in England and their impact on various groups with vested interests in shaping perceptions of Africa and Africans.

 

Coombes' introductory remarks underscore a critical gap in the exploration of the relationship between anthropology's public image and academic discourse during the period of 1890-1913. She emphasizes the disconnect between the anthropological theories disseminated in public spaces, particularly through museums, and those produced for circulation within the burgeoning academic community. Coombes asserts that this disparity complicates the use of ethnographic collections as indicators of the latest developments in anthropological thought, emphasizing instead that these collections represent the convergence of state, institutional, and professional politics and policies during this period.

 

To illustrate this point, Coombes commences with the well-known history of the Benin "punitive expedition" of 1897. She unpacks the socioeconomic motivations behind the raid and examines early critiques of it, some of which were published shortly after the expedition. Coombes then turns her attention to the prized "booty" of the raid—the numerous Benin bronzes and ivories. Initially, these objects were showered with attention, with colonial administrators and companies aiming to use them as tangible evidence of Benin's "savagery," thus justifying their military campaign. Simultaneously, certain scholars used the art to substantiate the 'degeneration' theory about Benin culture, arguing that the casting techniques at the time of the raid were inferior to those used for earlier objects. While some scholars, like Ling-Roth, highlighted the merits of the Benin castings, others attributed the fineness of the craftsmanship to European intervention or even an Egyptian origin.

 

Coombes elucidates how the theory of cultural degeneracy, in vogue at the time, was imposed on the Benin material to provide additional "evidence" for the case of cultural decline. This theory posited that most non-Western civilizations had experienced a cultural zenith at some point, only to face a steady decline. The abstraction in design elements was interpreted as an inability to accurately replicate ancient motifs. The Benin material was thus redefined as a form of "art" and an exemplar of savagery that only colonialism could rectify. Crucially, the work was labeled as "degenerate," leading to the endorsement of moral and ethical views validated by scientific discourse.

 

In the subsequent sections of the book, Coombes sheds light on the power of 'Spectacles,' which resembled large-scale world's fair exhibitions showcasing various parts of the empire, including displays of African material as trophies. Coombes underscores that these spectacles were not only racist but also sexist, often portraying women as mere possessions of their "savage" husbands. Africa underwent a redefinition—from a land of 'savages' requiring military intervention for redemption to a dark and enigmatic continent, rife with peculiar rituals and unusual customs. This revised perception of Africa could, of course, be "improved" with the assistance of colonial intervention, spurred by both public interest and private interest groups seeking to capitalize on the growing fascination with all things African.

 

Coombes then shifts her focus to the emerging museums of the time—the Horniman, the Pitt-Rivers, and the Mayer museums. She demonstrates how these ethnographic institutions increasingly paid attention to what were previously regarded as mere curiosities. These objects, though not yet classified as "art," were now considered indicative of the anthropological viewpoints advocated by the museum directors, such as degenerationist and diffusionist theories. Rebranded as 'craft,' these African art objects were once again redefined, this time as educational tools for illuminating the 'evolution' of cultures.

Coombes delves into a critical examination of the prevailing perspectives on Africa during a specific period and in a distinct context. She calls attention to the transformation in societal and moral norms that occurred during the Edwardian era, challenging established Victorian paradigms. Coombes emphasizes the shifts in the social and political landscape of African colonies, brought about in part by the colonial process itself, which led to new challenges for the British state. These shifts included the emergence of an educated elite and the rise of small radical presses that voiced demands and exchanged ideas with West African newspapers. Protests against colonial administrations were also gaining traction within the colonies, impacting British society, either directly or indirectly.

 

While Coombes's work is generally direct and balanced, occasional confusion arises, particularly in the interchange of the Kuba and the Luba groups when describing objects in a photograph. This attention to detail, which Coombes champions throughout the text, should ideally extend to the accurate representation of material objects.

 

Coombes also questions the French approach to archaeological work in Tunis, suggesting that their efforts were driven by a desire to assert themselves as the discoverers and guardians of Tunisian heritage and history. She contends that the French saw it as their duty to preserve this historical memory, considering it neglected by the Tunisian people. However, it's worth noting that the interests of modern Tunisians may not have aligned with the preservation of ancient Pagan sites. Coombes also draws a parallel with the British efforts in India to preserve significant monuments, underscoring the complexity of colonial endeavors.

 

One potential critique lies in the hindsight with which we view historical events. Coombes acknowledges that anthropometry, though criticized in her work, was a legitimate form of physical study during the period in question. She suggests that caution and a nuanced perspective might be warranted when evaluating these practices in their historical context.