Orientalism 101
As someone who has a background in anthropology and cultural studies, understanding orientalism is something that has become embedded in my approach to not only academic study, but to everyday life. I’ve come to realize, however, that orientalism is not a commonly known or understood framework, particularly in the museum field. So, I’ve put together a brief overview of orientalism and how it impacts museums and informal learning institutions.
What is Orientalism?
Orientalism, a term coined by Palestinian American thinker Edward Said, describes the relationship the West has with any non-Western lands, peoples, cultures. Said argues that the West is defined by its perception of the Orient. The Orient, according to Said, consists of North Africa, Southwest Asia (which we commonly refer to as the “Middle East”; you can read about this shift in terminology here), and the rest of Asia. Orientalism is a view that the West holds over the Other, the Orient. Through this view, the West superimposes an understanding of the Orient that is clouded by Western superiority. Orientalism creates an imagination of the lands that are not Western. Through false ideas of superiority, civilization, and imperialism, the West paints a picture of the Orient as exotic, barbaric, savaged, oppressed.
What comes to many people’s minds when they think of Southwest Asia? Women in burqas, mosques, strange music, exotic elephants, maybe even Aladdin? To confront orientalism is to confront the internal biases we have that are a result of our perspectives that come from institutionalized orientalism. Orientalism is exactly that—a Western imagination of non-Western regions.
It’s also important to understand that orientalism is ambiguous. Let’s think again, this time, about what comes to your mind when you think of the West versus the Orient? What do you define as “West?” Maybe your understanding of the West is Western Europe, or Europe as a whole, or even all countries that are in the Global North. This ambiguity is a characteristic of orientalism because in reality, there is no clear, defined line that separates the West and the Orient.
Historical and Contemporary Examples of Orientalism
Let’s dive deeper into examples of orientalism. We’ll start with paintings from the 17th-19th centuries, when Western European powers were encountering non-Western civilizations through colonization and imperialism. As a note, I am using examples from Southwest Asia because they demonstrate the point very clearly, but orientalist frameworks are ever-present in East Asia, Southeast Asia, South Asia, and parts of Africa.
In the Ottoman Empire in the 19th century, the harem was a household area, where women usually resided. Men unrelated to the women in the harem were not allowed inside. So, European male painters started imagining the interior happenings of a harem, and projected ideas of highly sexualized women into their art. Their paintings were taken back to Europe, where they were seen by members of European societies. The male European gaze became a framework for how Europe started to view women in the Orient. This is a stereotype that still exists today—viewing women from Southwest Asia as exotic, sensual, a fantasy to conquer.
The Sultan’s Favorite, no date. Juan Giménez Martín (Spanish 1858-1901), Flagler System, Inc.
Perhaps an even better example is the Disney film Aladdin. Aladdin takes place in the fictional city of Agrabah, which is said to be inspired by Iraq, but looks more like India. The main palace looks eerily similar to the Taj Mahal—its bulbous dome-shape is specific to buildings in the Indian-subcontinent rather than in Southwest Asia. Jasmine, the female lead in the film, has a pet tiger named Raj, a word that means “king” in South Asian languages. Aladdin wears a Turkish fez hat and Jasmine wears South Asian shoes. The characters and setting form a mish-mash of Southwest Asia, North African, and South Asian cultures and landscapes. Jasmine, as a Disney princess, is one of the only princesses that is sexualized; a scene in the latter half of the film showcases her as an object to be desired by Jafar, the main villain. The original introductory song (now removed) in the film even had a line that said, “where they cut off your ear if they don’t like your face, it’s barbaric, but hey, it’s home,” painting the peoples that Aladdin is based off of as barbaric, uncivilized, and in need of civilization.
The animated movie, released in 1992, now has a disclaimer when you watch it on a streaming platform like Disney+, stating, “This program is presented as originally created. It may contain outdated cultural depictions.” Disney even released a live-action version of Aladdin in 2019, that comes without such disclaimer. However, I would argue that the live-action film is cloaked in just as many orientalist stereotypes and tropes—the film features Arabic music with Bollywood-style dancing, mismatched cultural clothing, and erasure of the diversity of people from Southwest Asia. We should acknowledge the contemporary yet subtle ways orientalism is pushed by mainstream media.
Orientalism in Museums Today
Most often, orientalism is visible in art museums. Paintings created by European artists in the early to late modern period that depict life in any realm of the Orient should be viewed with an analytical eye. As spaces that historically have harmed non-white individuals, museums have a responsibility to subvert orientalist tropes and take active part in the ongoing criticism of orientalist thought. Understanding propaganda, racism, stereotypes, and cultural imperialism is imperative when seeking to dismantle orientalism.
Some museums are taking steps forward and clearly explaining the issues behind orientalist works from the late modern period. The New Orleans Museum of Art’s exhibit titled “Orientalism: Taking and Making” showcased works from the late modern period and included descriptions in the labels of how orientalism played into the artwork. And, the Nelson-Atkins Museum of Art worked to identify how its permanent labels were causing harm, often through tropes. Acknowledging implicit biases is necessary to move beyond not only orientalist, but also racist and oppressive language and ideas. Overall, I’m hopeful and excited to see more museums take concrete steps towards dismantling orientalism.
Orientalism is not just an idea from history, but it is also an ongoing process. Orientalism is engrained in every part of society, from academic theories to the books we read for fun to the film and TV we watch. From techno-orientalism to white saviorism, orientalism continues to shape how the West perceives and imagines the non-Western world.
If you’re interested in reading more about orientalism, check out the books Orientalism and Culture and Imperialism by Edward Said and Wretched of the Earth by Frantz Fanon. Although very academic in nature, these books both provide a holistic and nuanced approach to imperialism, orientalism, and colonization. Also, stay tuned for future blog posts–analyzing orientalism is one of my major passions!
