A new exhibition in Bradford is set to explore the complexities of a live Somali village that was part of the Great Exhibition of 1904, where 57 Somali individuals showcased their culture through cooking, weaving, and dancing. This event, attended by over 350,000 Edwardian visitors, is being re-examined to shed light on Britain’s colonial past and how it has shaped current societal dynamics.
A Glimpse into the Past
The original display at Bradford’s Great Exhibition provided an unusual window into the lives of Somalis, who were regarded as the city’s first Muslim community. For six months, visitors observed them engaging in everyday activities, from slaughtering sheep to attending lessons in Arabic and the Qur’an. The exhibition was not merely a spectacle; it served as a funding source for local arts, notably supporting Cartwright Hall’s civic art collection for many years.
Guest curator Abira Hussein emphasises that the term “human zoo” does not fully encapsulate the complexity of the Somali village’s experiences. While acknowledging the exploitative nature of such colonial displays, she argues that it is essential to consider the negotiations and agency exercised by the Somali participants, including their leader, Sultan Ali, who actively negotiated contracts and wages.
Redefining the Narrative
The new exhibition, opening this Saturday, seeks to shift the focus from mere entertainment to a deeper understanding of the lives and struggles of the Somali community. Hussein insists, “This is not a redisplay. It’s about critically examining why these displays occurred, how participants were framed, and the broader colonial systems at play.”
Yahya Birt, another guest curator, stresses that Yorkshire’s colonial history is often overlooked. He reflects on how discussions surrounding British colonialism tend to revolve around industries like cotton, leaving the story of wool and its contribution to Yorkshire’s wealth largely untold. This exhibition aims to rectify that narrative.
Art and Legacy
The exhibition will highlight artworks funded by the profits from the Somali village display, including a marble bust of local figure Baron Masham and a children’s book by Arthur Rackham. Lizzie Cartwright, collections manager at Bradford District Museums and Galleries, expresses the need for institutions to acknowledge their historical roles: “It’s about recognising our role in history and the significance of the Somali village as Bradford’s first Muslim community.”
Moreover, the exhibition will feature a range of artifacts, including postcards and textiles, that illustrate how the “white gaze” influenced perceptions of other cultures during the Edwardian era. Birt notes that the way people viewed others was carefully cultivated and shaped by societal norms of the time.
Seeking Connections
The curators hope to engage descendants of the Somali individuals who participated in the original display. Hussein remarks, “We know there’s still more history to uncover,” suggesting that family stories, photographs, and oral histories could provide further context to this significant chapter in Bradford’s past.
The exhibition also aims to spotlight notable figures such as Halimo Abdi Badal and Khadija Yorkshire, who are believed to represent the first recorded Muslim burial and birth in Bradford, respectively. Their stories highlight the long-standing presence and contributions of Black and Muslim communities in the region.
Why it Matters
This exhibition serves as a crucial opportunity for Bradford and its residents to confront uncomfortable truths about colonialism and its lasting effects. By revisiting the Somali village display, the project not only acknowledges the historical injustices experienced by the Somali community but also invites contemporary dialogue about cultural representation and the legacies of empire. In doing so, it fosters a deeper understanding of how historical narratives shape our present and future.
