A new exhibition in Bradford aims to shed light on the historical significance of a live display featuring Somali individuals during the Great Exhibition of 1904. This initiative seeks to confront Britain’s colonial past and its impact on local culture, while also honouring the stories of those involved in the original event.
A Historical Display Revisited
At the Great Exhibition in 1904, a unique attraction featured 57 Somali men, women, and children who showcased their traditional crafts, cooking, and dance. This live display, described in promotional materials as an opportunity to observe “little known but interesting people,” drew over 350,000 visitors, making it one of the most popular exhibits of the event. The profits generated from the Somali village significantly contributed to the funding of Cartwright Hall’s civic art collection for many years.
The exhibition, set to open on Saturday, aims to contextualise these historical events within the framework of colonialism. Curators stress that the term “human zoo,” while capturing the disturbing nature of such displays, oversimplifies the nuanced realities that shaped the Somali village’s existence. Abira Hussein, a guest curator of the exhibition, emphasises the need to recognise the complex dynamics of recruitment, labour, and negotiation that the Somali troupe navigated during their time in Bradford.
Uncovering the Somali Experience
The individuals from the Somali village were not merely passive participants in a spectacle; they engaged in negotiations regarding contracts and wages, and even sold crafts to exhibition-goers. Research indicates that the group, led by Sultan Ali, protested against inadequate compensation following a devastating fire that destroyed part of their living quarters. While some members chose to return to Somalia, others continued touring across Europe and North America.
Rather than recreating the original display, the exhibition seeks to foreground the lived experiences of the Somali people and to critically examine the broader colonial structures that facilitated such events. Hussein notes, “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.”
A Forgotten Chapter in Yorkshire’s History
The story of the Somali village is often overlooked in discussions about Yorkshire’s colonial past. Yahya Birt, another guest curator, points out that while the narrative surrounding British colonialism frequently highlights cotton, the significance of wool as a colonial commodity—and its contribution to Yorkshire’s wealth—remains largely untold. The exhibition also identifies artworks funded by the profits from the exhibition, including a marble bust of Lister and a children’s book, underscoring the financial implications of the display.
Hussein and Birt argue that it is crucial to acknowledge these historical connections. “Yorkshire’s involvement in colonialism is not something that has been fully discussed or acknowledged,” Hussein states. The exhibition aims to challenge this narrative by presenting artefacts like season tickets, commemorative badges, and textiles loaned from various cultural organisations, many of which have never before been displayed in a British institution.
The Legacy of Resistance and Negotiation
The exhibition also highlights the stories of notable figures from the Somali community, such as Halimo Abdi Badal and Khadija Yorkshire, who are believed to represent the first recorded Muslim burial and birth in Bradford, respectively. These stories are pivotal in understanding the rich heritage of one of the region’s oldest Black and Muslim communities.
Curators are hopeful that descendants of those who participated in the original display will come forward to share their memories, photographs, and oral histories. “We know there’s still more history to uncover,” Hussein remarks, reflecting a commitment to ongoing research and understanding.
Why it Matters
This exhibition serves as a vital reminder of the complexities surrounding colonial history and its enduring impact on contemporary society. By revisiting the narrative of the Somali village, Bradford seeks not only to acknowledge its past but also to foster a deeper understanding of how cultural institutions were shaped by colonial dynamics. Engaging with these stories can help create a more inclusive narrative that recognises the contributions and experiences of all communities involved, ultimately enriching our shared history.
