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Marina Muñoz Torreblanca La recepción de “lo primitivo” en las exposiciones celebradas en España hasta 1929 Marina Muñoz Torreblanca TESI DOCTORAL UPF / 2009 DIRECTORA DE LA TESI Dra. Estela Ocampo Siquier, Departament d’Humanitats, Institut Universitari de Cultura de la UPF i Depósito Legal : ISBN: [Espacio reservado para introducir esta información cuando la tesis se publique en la base de datos TDX: Tesis Doctorals en Xarxa] ii A mis padres iii iv L’art negre potser es bo per als anglesos [...] Però nosaltres, que, al contrari, tant ens plau el dialogar, és a dir, saber-nos […] –A nosaltres, la intromissió de l’art negre a les exposicions europees ens fa el mateix efecte, el mateix exactament, que la introducció d’un servidor negre a casa nostra: un efecte de torbació i de malestar. No, no. La pintura i l’escultura blanques, la cambrera o el barber, blancs. Eugeni d’Ors, “L’Art Negre”, Barcelona, La Veu de Catalunya , 17 de febrero de 1921 ¡Yo quiero que vayamos de una vez al pabellón de las Misiones!, protestó Rigmor. El pabellón de las Misiones era muy interesante, pues se trataba de una original exposición del Vaticano. Había que pagar una entrada adicional, y además de eso le mendigaban a uno a cada paso, de forma muy conveniente, tal como suelen hacer todos los representantes del más allá. Sin embargo, allí uno veía algo a cambio de su dinero: lo que los misioneros les habían robado o sacado con mentiras a los pobres pueblos primitivos ad maiorem gloriam del método de producción burgués. Ödön von Horváth (1930), El eterno burgués [ Der ewige Spießer ] v vi Agradecimientos Debo un especial reconocimiento a Estela Ocampo, directora de esta tesis, quien durante años me ha recordado la importancia de la tarea investigadora en un campo casi desconocido para el mundo académico español y me ha dado siempre ánimos para la finalización del proyecto. En la Universitat Pompeu Fabra, también me han acompañado otras personas a las que no puedo dejar de agradecer su respaldo y confianza. A Isabel Valverde, quien me ofreció su ayuda, me orientó en la bibliografía y resolvió el planteamiento de algunas cuestiones. Gracias también, con un afecto especial, a Montserrat Cots, Antoni Luna y María Morrás por escucharme en momentos de duda sobre mis intríngulis profesionales y animarme siempre para la consecución final de este trabajo; a Lluís Riudor, quien situó a mi alcance el mundo de las sociedades geográficas y me puso en contacto con Miquel Vilaró; a Víctor Farías, por sus recomendaciones para la consecución final del trabajo y sus orientaciones acerca del tribunal. Mi recuerdo especial a Dolores Jiménez-Blanco Carrillo de Albornoz quien, sin hacer preguntas, me ofreció su ayuda cuando se la pedí. En el ámbito profesional, también en la Universitat Pompeu Fabra, quisiera agradecer a mis compañeros de trabajo su comprensión en el día a día. Mientras escribía esta tesis he tenido la oportunidad de conocer a varias personas que, desde diferentes disciplinas, han realizado sus aportaciones al presente trabajo. Las observaciones y sugerencias, así como la resolución de las dudas planteadas, han ayudado a enriquecer los contenidos y la estructura final. Gracias: al señor Carles García, del Arxiu Històric del Foment del Treball Nacional de Barcelona, por su afable disposición; a la señora Àngels Riu, de la Biblioteca de la Abadía de Montserrat, por atender mis peticiones que ayudaron a completar la visita al Colegio de los Agustinos Filipinos de Valladolid; a la señora Eulàlia Almuzara, del Institut Amatller d’Art Hispànic, por su ayuda cuando me dediqué a la búsqueda de imágenes acerca de las procesiones cívico- religiosas celebradas en la ciudad de Barcelona; a la señora Maite García, del Museu de Zoología de Barcelona, por las informaciones aportadas acerca de las donaciones efectuadas por la Orden Capuchina de Sarrià y emplazadas en los depósitos del actual Museo; a la señora Rosa Saz, de l’Arxiu de la filmoteca de la Generalitat de Catalunya, por la selección de material sobre la Exposición Internacional de Barcelona de 1929 para su visionado; a la señora Mar Pérez Milla, responsable del fondo y colecciones de la Biblioteca-Museo Víctor Balaguer de Vilanova i la Geltrú, por permitirme visitar la colección etnológica cerrada al público, así como tomar fotografías durante la visita y proporcionarme las fichas de las piezas que solicité; en la misma Institución, mi agradecimiento al vii señor Miquel Marzal Ortiz, por sus indicaciones sobre el catálogo y el epistolario de Víctor Balaguer; al señor Ferran Burguillos, de la Biblioteca del Ateneu Barcelonés, por sus indicaciones sobre revistas francesas decimonónicas; a la señora Rosa María Jiménez, de la Biblioteca de la Universitat de Barcelona, por los largos períodos de préstamo de ejemplares durante estos años; al Servei de Prèstec Interbibliotecari de la Universitat Pompeu Fabra, por su excepcional eficiencia; a las señoras Maria Pont i Estradera y Àngels Amiel Barris, ambas del Arxiu Històric de la Cambra Oficial de Comerç, Industria i Navegació de Barcelona. La primera, por sus siempre provechosos comentarios acerca de las dudas planteadas y múltiples sugerencias de búsqueda en otros archivos. A la segunda, a quien conocí por afortunados avatares del destino ajenos a esta tesis, por su seguimiento e interés constante, así como el apoyo recibido en las visitas al Archivo. A Luis Ángel Sánchez Gómez, profesor de la Universidad Complutense de Madrid, por referirme sus trabajos cuatro años después de nuestro primer intercambio acerca del Pabellón de las Misiones de la Exposición de Barcelona de 1929 en las jornadas sobre Manila de Casa Asia en 2003; a Yolanda Aixelà, exconservadora del Museo Etnològic de Barcelona, profesora de la Universidad de Alicante y miembro del Consejo Superior de Investigaciones Científicas en Barcelona, por su amabilidad en la resolución de las dudas planteadas; a fray Valentí Serra de Manresa, archivero provincial de la Orden Capuchina en Cataluña y conservador del Museo Etnogràfic-misional dels Caputxins de Catalunya, por su cortesía, ofrecimientos de ayuda y las pistas que me condujeron hasta el padre Blas Sierra de la Calle, director del Museo Oriental de Valladolid de la Orden Agustina, quien a su vez, resolvió mis dudas, me orientó hacia mi visita al Museo Oriental de Ávila y me atendió cordialmente en mi visita al Museo cuando tuvimos oportunidad de conocernos en persona. Gracias también a los que he conocido en la distancia, a través de correos electrónicos o llamadas telefónicas, como José Luis del Valle Merino, de la Real Biblioteca del Monasterio del Escorial, quien resolvió alguna cuestión relacionada con los libros chinos de la Real Biblioteca en mi búsqueda de obras escritas que hablaran de piezas de arte primitivo en los primeros relatos de viajeros españoles a Filipinas; a la hermana Gemma, de las Dominicas de la Presentación, quien me puso en contacto con la archivera de su orden en España, M. Dolors García Maquívar, cuando buscaba objetos que hubieran estado presentes en el Pabellón de las Misiones de 1929. Finalmente, a Miquel Vilaró, por sus orientaciones bibliográficas sobre el arte en Guinea Ecuatorial y quien, además, me puso en contacto con el padre Eduard Canals, de la Orden Claretiana. viii Un proyecto de tesis como éste no hubiera sido posible sin la ayuda y los ánimos de muchos amigos. Le debo un especial agradecimiento a Eloy Martín Corrales, por el seguimiento desinteresado de mis trabajos y sus inspiradoras ideas en los numerosos callejones sin salida que he llegado a recorrer. Tengo una gran deuda con él por su apoyo incondicional, día tras día y café tras café, en estos últimos años. Su amistad y generosidad han ayudado a escribir esta tesis. Gracias también a mi compañero de facultad, Xavier Amador, por leer siempre mis trabajos. Su aliento en tantas ocasiones, aun en mis períodos de inactividad intelectual que han acontecido en diferentes ocasiones en todo este tiempo, me ha permitido volver siempre a la tarea. Mi más sincera gratitud por su interés constante en la consecución de esta tesis. He de reconocer también a mis amigas M.ª Àngels, Marta y Mireia, y muy especialmente en nuestra cita semanal a Pepi y a Sònia, por su paciencia acerca de mis intervenciones sobre la tesis cuando no procedía. ¡Gracias por aguantarme, chicas! Quisiera terminar mis agradecimientos con un especial recuerdo por mi abuela Beatriz, quien insistió siempre en la consecución de este trabajo, mi formación intelectual y autonomía como mujer. Igualmente, estoy en deuda por su paciencia, sustento y entusiasmo diario con Pedro, quien ha sacrificado buena parte del tiempo de nuestro proyecto en común para la finalización de este trabajo. Gracias por su comprensión y por un maravilloso viaje a Valladolid y a la Ribera del Duero que me convirtió, posteriormente, en su esposa. En último lugar, quisiera compensar de algún modo a mis padres por su generosidad y apoyo incondicional en todos mis proyectos: esta tesis es para ellos. ix x Resumen En España, al igual que en el resto de países europeos a finales del siglo XIX y principios del XX , se hace exhibición de “lo primitivo”: personas (indígenas procedentes de los nuevos territorios colonizados) y objetos (piezas de arte y artefactos de la cultura material de los indígenas procedentes de las colonias). Algunas de estas muestras coinciden con las primeras exposiciones organizadas en España: Exposición General de las Islas Filipinas en Madrid (1887), Exposición Universal de Barcelona (1888) y Exposición Internacional de Barcelona (1929). El presente trabajo analiza la presencia o ausencia de “lo primitivo” (personas y objetos) en los principales acontecimientos expositivos españoles, su relación con acontecimientos homónimos en otros países europeos y su posible recepción en colecciones museísticas (museos de antropología, etnología y misionales).
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