A new exhibition in Bradford is set to shed light on the city’s complex colonial past through the lens of a live display that occurred over a century ago. Originally part of the Great Exhibition in 1904, the Somali village showcased 57 Somali men, women, and children who demonstrated their cultural practices for an audience of over 350,000 Edwardians. This revisitation aims not only to acknowledge the historical significance of the display but also to critically examine the implications of colonialism on local cultural institutions.
A Controversial Display of Culture
In May 1904, the Great Exhibition in Bradford became a stage for a unique living display that captivated thousands. The Somali village, often described as the first Muslim community in Bradford, was a site of cultural exchange where visitors could observe daily activities such as cooking, weaving, and schooling. The display, however, has been labelled as a “human zoo,” a term that guest curator Abira Hussein argues oversimplifies the nuanced realities of the villagers’ experiences.
Hussein emphasises that while the phrase captures the exploitative nature of colonial exhibitions, it neglects the agency of the Somali participants. Leaders like Sultan Ali negotiated contracts and wages, engaged in commerce, and even protested against inadequate compensation following a destructive fire. Their story reflects not just passive observation but active participation within the colonial framework.
A Rich Tapestry of History
The Somali village’s popularity at the exhibition underpinned decades of funding for Bradford’s cultural institutions, notably Cartwright Hall. The exhibition reveals how profits from this display were instrumental in the creation of significant local artworks, including a marble bust of local figure Baron Masham and children’s literature that was influenced by the village’s existence.
Yahya Birt, another guest curator who has a familial link to the original exhibition, highlights an often-overlooked aspect of Yorkshire’s colonial history. While discussions on British colonialism typically centre around cotton, the narrative of wool as a colonial commodity and its impact on Yorkshire’s wealth remains largely untold. This exhibition seeks to rectify such historical omissions.
Exploring Cultural Narratives
The display will not only feature historical artefacts such as postcards and textiles but will also delve into how these items shaped perceptions during the Edwardian era. Birt notes that the exhibition aims to challenge the “white gaze” that defined representations of people from diverse backgrounds. By presenting Somali textiles and crafts alongside artefacts from the original exhibition, the curators aim to provide a more inclusive narrative that acknowledges both the exploitation and the resilience of the Somali community.
The exhibition also commemorates significant figures from Bradford’s historical Muslim community, such as Halimo Abdi Badal, believed to be the first recorded Muslim burial in the area, and Khadija Yorkshire, the first recorded Muslim birth. These stories contribute to a deeper understanding of the longstanding presence of Black and Muslim communities in Yorkshire.
Uncovering Forgotten Histories
The hope is that this exhibition will spark interest among descendants of those who participated in the 1904 display. Curators are eager to gather personal stories, memories, and artefacts that may have been passed down through generations. Hussein states, “We know there’s still more history to uncover,” suggesting that the exhibition may serve as a catalyst for renewed conversations about identity, heritage, and colonial impact.
Why it Matters
This exhibition is not merely a nostalgic look back at a unique cultural display; it is a crucial examination of how colonialism has shaped contemporary understandings of identity and community in Bradford. By confronting uncomfortable truths about the past, the exhibition encourages a re-evaluation of Britain’s colonial legacy and its lasting effects on cultural institutions. It serves as a reminder of the importance of recognising and amplifying marginalized voices in the ongoing dialogue about history and heritage.
