**
In a groundbreaking new exhibition, Bradford is set to revisit a controversial chapter in its history, focusing on the Somali village displayed at the Great Exhibition of 1904. This initiative aims to reflect on Britain’s colonial past and its lasting impact on cultural institutions. The exhibition, which opens this weekend, seeks to highlight the complex narratives surrounding the lives of the 57 Somali individuals who performed for Edwardian audiences over 120 years ago.
A Historical Snapshot: The 1904 Great Exhibition
The Great Exhibition held in Bradford in 1904 attracted over 350,000 visitors, eager to witness a live display featuring Somali men, women, and children engaged in cooking, weaving, and traditional dance. This display is noted for being among the most popular attractions, generating significant revenue that helped sustain Cartwright Hall’s civic art collection for many years. The Somali village was portrayed as Bradford’s first Muslim community, showcasing their daily life from May to October, which included activities such as sheep slaughtering and learning Arabic.
Yet, the curators of the new exhibition assert that the term “human zoo” fails to encapsulate the complexities of this historical event. Abira Hussein, a guest curator, emphasises the need to understand the context of recruitment, labour, and negotiation that characterised the Somali village’s existence. Contracts and wages were negotiated by the troupe members, including their leader Sultan Ali, who was vocal about their treatment, even staging a protest after a fire caused significant damage to their living quarters.
Unpacking Colonial Narratives
The exhibition is not merely a reproduction of the past; it aims to critically engage with the circumstances that enabled such displays. Hussein explains, “This is not a redisplay. It’s about thinking critically about why this display happened in the first place, how these people were framed, and the wider colonial systems that made it possible.” Throughout the Victorian and Edwardian periods, similar exhibitions surfaced across Europe and North America, often obscuring the realities of colonial exploitation and cultural representation.
Yahya Birt, another guest curator who discovered that his grandmother attended the 1904 exhibition, highlights a gap in the narrative surrounding Yorkshire’s role in colonialism. “When people talk about colonialism in Britain, they often focus on cotton. But the story of wool as a colonial commodity, and the wealth it generated in Yorkshire, is largely untold,” he notes.
Artistic Reflections and Cultural Artifacts
The exhibition also sheds light on specific artworks funded by the profits derived from the Somali village, such as a marble bust of Lister created in 1906 and a children’s book titled *The Magic Carpet* by Arthur Rackham from 1907. Lizzie Cartwright, collections manager at Bradford District Museums and Galleries, asserts, “It’s about us, as an organisation, recognising our role in history.” The exhibition showcases a variety of artifacts, including textiles, mats, and baskets loaned from Culture House and Koor Archives, many of which have never previously been exhibited in the UK.
In addition to exploring the narratives of exploitation and power imbalance, the exhibition aims to highlight stories of resilience and negotiation. It features accounts of Halimo Abdi Badal and Khadija Yorkshire, believed to represent the first recorded Muslim burial and birth in Bradford, respectively. Their stories underscore the significance of one of the oldest Black and Muslim communities in the region.
Engaging with Descendants
The curators hope to reach out to the descendants of those who lived in the Somali village, encouraging them to share their memories and family histories. Hussein remarks, “We know there’s still more history to uncover. People may still have memories, photographs, stories, or poetry passed down through oral history.” This call to action invites a broader engagement with the community and enriches the narrative surrounding this historical exhibit.
Why it Matters
This exhibition serves as a vital opportunity to confront the colonial legacies that shape modern Britain and to acknowledge the often-overlooked contributions of minority communities. By centring the experiences of the Somali individuals and their descendants, Bradford is not only reflecting on its past but also inviting a critical dialogue about identity, representation, and the implications of history on contemporary society. Understanding these narratives is essential for fostering an inclusive cultural landscape that recognises the complexities of our shared history.
