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THE COUPLE in the CAGE: a Guatinaui ODYSSEY RUTH BEHAR and BRUCE MANNHEIM

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THE COUPLE in the CAGE: a Guatinaui ODYSSEY RUTH BEHAR and BRUCE MANNHEIM IN DIALOGUE: THE COUPLE IN THE CAGE: A GuATINAUI ODYSSEY RUTH BEHAR AND BRUCE MANNHEIM The Society for Visual Anthropology sponsored a credulity of the visitors with regard to the "authenticity" screening of the video The Couple in the Cage: A of the two Guatinaui. Guatinaui Odyssey, by Coco Fusco and Paula Heredia, Anthropologists on the staff of the Smithsonian at the 1994 American Anthropological Association Institution and Field Museum concerned with raising (AAA) meetings in Atlanta. The video is based upon the viewer consciousness about issues of representation perfonnance piece Two Undiscovered Amerindians and the colonial legacy of displays in museums of Visit [Washington, Chicago, Syndey, etc.] created by natural history were instrumental in convincing mu­ the MacArthur award-winning performance artist, seum administrators that it was appropriate to sponsor Guillenno Gomez-Pena and cultural critic and artist the perfonnance-itself a parody of the former mu­ Coco Fusco. The two artists portray a man and a woman seum practice of putting non-Western peoples on dis­ from the remote (imaginary) Caribbean island of play as museum exhibits. But some viewers were Guatinaui. Conceived of as part of a larger counter­ outraged that museums allowed such an event to be cultural event entitled "The Year of the White Bear" performed inside the walls of institutions supposedly perfonned during the Quincentenary yearof Columbus's dedicated to "science" and "truth." "discovery" of the New World, the performance piece Anthropologists and others who came to viewThe was meant to be a critical commentary on the long­ Couple in the Cage at the AAA meetings had an standing Western practice of objectifying and distanc­ opportunity to discuss the question of what relationship ing the Other through spectatorship, in particular, cultural critiques such as the performance ofTwo Un­ through .museums· exhibitions of "primitive" peoples. discovered Amerindians... have to the contemporary As Gomez-Pena and Fusco explain in a program that pratice of anthropology and the representation of the describes "The Yearof the White Bear'': "Performance Other. Ruth Behar, the organjzer of the event, had art in the West did not begin with Dadaist ·events. Since arranged for the filmmaker/perfonnance artist, Coco the early days of the Spanish conquest, ·aboriginal Fusco, to be present at the screening. We publish here samples' of people from Africa, Asia, and the Americas Behar's introductory remarks along with comments were brought 10 Europe for aesthetic contemplation, made after the screening by one of the discussants, scientific analysis, and entertainment." anthropologist Bruce Mannheim. NL. Two Undiscovered Amerindians ... was seen by 1 visitors to the Smithsonian Institution in Washington RUTH BEHAR S INTRODUCTION D.C., Field Museum of Natural History in Chicago, and the Whitney Museum in New York, as well as by I am pleased to be here tonight to introduce Coco audiences in London, Madrid, Buenos Aires, and Fusco and the work she did with Chicano perfonnance Sydney.The Couple in the Cage records elements of the artist Guillermo Gomez-Pena on The Couple in the performance, such as visitors paying to have their Cage. It is especially significant that we are presenting photographs taken with the couple, feeding the Fusco or their work at the AAA. precisely this year when the Gomez-Pena bananas, asking the fem ale ''Guatinaui" to general theme of our conference is the issue of human dance or the male to recite a story in the Guatinaui rights. The Couple in the Cage is for me one of the most language, but its true subject is the audience and peoples' significant cultural works produced recently dealing reactions to the performance, in particular, the seeming with the most fundamental of human rights-the right 118 Volume 11 Number 1 Spring 1995 Visual Anthropology Review never to be treated as an object, the right to full human­ a real perfomlance. a dramatic rendition of Marjorie i1y. the right to subjecthood. With irony. humor, wit. Shostak·s Nisa, in which thi~ canonical texr of an and pathos. The Couple in rlie Cage seeks to engage the intercultural, inter-women encounter was brought lO history of how the Wes! has constructed otherness by the stage. For me it wa:-. exciting and heartening to see putting a cage around "'difference." B\ engaging that how weJI Shostak s work could he translated into history so passionately. The Couple in the Cage offers cathartic theater as ano1her way of doing anthropolng~ an important vision of the history of what Michel Rolf­ And it made me realize: Hasn·t anthropolog~ alway-. Trouillot has called "the sa\·age slot"· that anthropology been about performance·? Not just the classically clumsy. inherited when it became an intellectual system, a Woody Allensque performance an of the anthropolo­ practice. and an angst-rid­ gi..,1 in rhe field. or the per­ den moral philosophy It formance" we ask the na­ also offers u~ a \ ision of ti \·e-. to put on for our hen­ the wan ne\\ efit, but the performances anrhropologies will need that we. in tum. render of robe made and performed nati \ c Ii \·e:-. on our inevi­ as we move into the nexl table return home·? century The Couple in rile Sahlins has noted thar Cage is a film that ought to one of the great paradoxes be shown to students in ofconfemporary anthropol­ Anthro I 0 I and to grad og~ is how we have escaped students beginning their from dealing with ··culture.. initiation in their core just at the moment when Anthrocourses: it isa work even one else is furiou-.J ~ that we ought to discuss. embroiled in discussions debare, and reflect upon as around its meaning. No­ broadly as possible within where has this discussion all the subfields of anrhro­ been more intense. excit­ EXPERTS SA pology. HE'SA ing, heart-rending. and pain­ This is a moment not POLITICAL ful than among minority cre­ so much of "crisis" for an­ LEADER I ative writers and artist-.. for thropology, it seems tome, whom ··discussion•· is too but of expanding THE COUPLE IN THE CAGE: tame a word for the experi­ anrhropology s boundaries A GUATINAUI ODYSSEY ence:-. of their own so that we can take P'drt in. o video hy Coco Fusco ontl PoulaH~io "othering·· which the~ bring rather than hide from, the EotrrD er DAIS r -.c;,n. 'ftfOlfMANCf 1r GIJIUERMO GOMEZ 'fHA ANO coco FUSCO to the concept of culture. 1 dynamics of cultural inter­ think it is time for anthro- actions as they unfold in a pology lo engage in discus­ global context. One area in which these dynamics are sion with rhose "others .. here in our midst who ha' e unfolding is in performance art and various kinds of reclaimed rhe concept of culture not a~ a dead collection creative media projects involving \ ideo and film. of artifacts and customs. bur as a nccc:-.si1y of survi \'al. Lourdes Arizpe noted in Thursday s panel about "Re­ Tonight, I hope we can begin that dialogue with thinking the Cultural'. that just as the nineteenth-cen­ Coco Fusco. who graciously agreed to come to discus-. tury realist novel has been superseded by new forms of The Couple i11 the Cage with us anthropologists. documentary media and crearh·e nonfiction writing, so too has anthropology. and we must do more than just ABt>l T C1>Cfl Fl'SCO look on. unle:-s we want to go the way of the dinosaurs. That panel, curiously enough, was fuJI of performers. Coco Fusco i-. a L11' Angdes-ha!>ed an critic, film imposters, and spiril medium:- reading papers for the critk. curator. performance a11i-.1. and media ar1is1. She absent presences of Pierre Bourdieu and Marshall has been a visiling artist at the Uni\'L'rsil\' of California. Sahlins. But 1hen on Thursday night we were treated to at the Uni versify of lllinoi:-.. and al Colgate Universil) Visual Anthropology Review Volume 11 Number 1 Spring 1995 119 Her articles have appeared in The Los Angeles Times, a performance, where they enact the role of recently The Village Voice, Art in America, The Nation, and discovered "natives" or "noble savages" or "Guatinauis" many other national and international publications. She from a hitherto unknown island in the Gulf of Mexico, has written catalogue essays for the 1994 Fotofest, the appearing before audiences in a cage, as exhibits, as J 993 Biennial, and many other art exhibitions. Her museum-pieces on display, who speak an unknown book of essays, interviews, and scripts, titled English is language, and can only be apprehended through the Broken Here, will be published next spring by The New gaze and touristic Polaroids at a dollar a shot. Coco has Press in New York. She has curated numerous film and noted that as artists of color in the United States, she and art series, from Black American Short Films and Videos Gomez-Pena "carry [their] bodies as markers of differ­ to The Hybrid State Film Series ,and she also writes ence and reminders of the endlessly recycled colonial frequently on Cuban cultural and art movements. Her fantasies on which Western culture thrived." Indeed, wonderful essay, "El Diario de Miranda/Miranda's the performance carries a particular intellectual and Diary," about her return trips to Cuba is published in the emotional power because it's done by two artists of special double issue of the Michigan Quarterly Review color who've known what it is to be othered (Guillermo, on "Bridges to Cuba" (Behar 1994) that just came out for example, was not too long ago apprehended by this year. police because two concerned women in an LA restau­ In recent years, the rethinking of identity has led to rant thought he had kidnapped the blond boy who was both a fruitful engagement with diversity, plurality, and with him-his own son).
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