Into the Heart of Irony: Ethnographic Exhibitions and the Politics of Difference

The paper discusses the ‘western’ museum practices of representing culture within a dominant visual metaphor as an inherently political act which separates those who view the exhibit from those who are on display. The act of viewing is related to the acts of ordering, defining and representing according to the categories of the ‘viewing’ culture, and serves to deny shared space and time occupied by the representing and represented cultures, a process related to the anthropological construction of ethnographic distance in ethnographic texts. Two recent Canadian exhibitions which attempt to use irony to subvert traditional exhibit practices are analysed: Into the Heart of Africa and Fluffs and Feathers. Into the Heart of Africa attempted to mount a postmodern critique of colonial collecting practices, but its one-sided use of irony reproduced, for many visitors, the colonial relations of power that made it possible for one group to dominate another. The narrative structure of the exhibit was predicated on a relation of difference. Fluffs and Feathers, on the other hand, directly challenged the white visitor's power to view and define native peoples, by dialogically inviting visitors to try on alternate subject positions that help to fracture essentialist notions of self and culture. Thus irony, a risky trope, can lead to very different results in museum exhibitions depending on who it is aimed at and who does the aiming.