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ABSTRACT CAPTURING BURMA: REACTIVATING COLONIAL PHOTOGRAPHIC IMAGES THROUGH the BRITISH RAJ's GAZE Carmin Berchiolly, M.A

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ABSTRACT CAPTURING BURMA: REACTIVATING COLONIAL PHOTOGRAPHIC IMAGES THROUGH the BRITISH RAJ's GAZE Carmin Berchiolly, M.A ABSTRACT CAPTURING BURMA: REACTIVATING COLONIAL PHOTOGRAPHIC IMAGES THROUGH THE BRITISH RAJ’S GAZE Carmin Berchiolly, M.A. School of Art and Design Northern Illinois University, 2018 Catherine Raymond, Director This thesis explores the marginally studied topic of Burmese photography from the colonial period of the late nineteenth and early twentieth centuries. With a large emphasis on the oeuvres of the foreign photographers Felice Beato (1832 – 1909), Philipp Adolphe Klier (1845 – 1911), and D.A. Ahuja (? – ?), this study analyzes how visual representations of Burma’s people were fabricated, mass-produced, and contextualized by foreign audiences to provide additional justification for the colonial mission. By combining Edward Said’s concept of orientalism with Laura Mulvey’s concept of the gaze, this study considers how the British empire looked upon and created a visual corpus of Burmese women and men as “the Other”. This study argues that the creation and treatment of Burma’s visual milieu was fully informed by an orientalizing gaze that simultaneously commodified and fetishized the native population. Further, this study applies Roland Barthes’s concept of the myth and his semiological system to analyze and contextualize contemporary use of colonial images in “pop culture” merchandise created by foreign-owned businesses established in Myanmar in recent years. Additionally, this study contributes new findings based on archival and art historical research that helps clarify and establish a clearer biographical timeline for the photographers studied. NORTHERN ILLINOIS UNIVERSITY DE KALB, ILLINOIS MAY 2018 CAPTURING BURMA: REACTIVATING COLONIAL PHOTOGRAPHIC IMAGES THROUGH THE BRITISH RAJ’S GAZE BY CARMIN BERCHIOLLY © 2018 Carmin Berchiolly A THESIS SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS SCHOOL OF ART AND DESIGN Thesis Director: Catherine Raymond ACKNOWLEDGEMENTS My endless gratitude to my thesis committee, for their continued commitment as I ventured into this research. To Dr. Catherine Raymond, my thesis director, for the years of mentorship and support. Without her help, my undergraduate and graduate career at NIU would not have been possible. For her intellectual and moral support, and for inspiring in me a love for Southeast Asian art history. To Dr. Jane Ferguson (Australian National University), for her continued intellectual input and for accepting to be in my committee, regardless of being in the other side of the world. To Dr. Rebecca Houze, for inspiring a theoretical framework from which to approach my thesis, and for sparking an interest in design history and contemporary issues. In addition to my committee, I would like to thank the Art History faculty at NIU for helping me build my research and analytical skills. Also, to Dr. Alexandra Green (Henry Ginsburg curator for Southeast Asia at the British Museum, London), Dr. Eric Jones (director of the Center for Southeast Asian Studies, NIU), Lukas Birk (Myanmar Photo Archive), Dr. Mandy Sadan (History, SOAS University of London), Dr. Richard Cooler (professor emeritus, Art History, NIU), Dr. Roland Platz (curator at The Ethnological Museum of Berlin), Dr. Tharaphi Than (Burmese language, NIU), and Dr. Trude Jacobsen (History, NIU), for their help, input, and ideas throughout my research. I would like to thank the numerous institutions and collections that have made this research possible and granted me permission to use their images: The Getty Institute’s open content program, the British Library in London, the Ethnologisches Museum der Staatlichen Museen zu Berlin (The Ethnological Museum of Berlin), The Victoria and Albert Museum in iii London, the National Portrait Gallery in London, the National Archives UK, the New York Public Library, the NIU Southeast Asian Collection, the Burma Art Collection at NIU, and the private collections of Aung Soe Min (Pansodan Art Gallery) and Sharman Minus (Chasing Chintes (www.chasingchinthes.com). For their financial support, which made it possible for me to visit undigitized archives in Burma and London, I would like to thank the Center for Burma Studies, the Center for Southeast Asian Studies, the School of Art and Design, the College of Visual and Performing Arts, the Graduate School, my family, and professor Raymond. For their administrative help I would like to thank all the staff at the School of Art and Thesis office who handled the numerous forms needed to ensure proper processing of my thesis. To Joanna Kulma from the Southeast Asian Library collections department, for helping me locate the several missing microfilms that were crucial for my research. And to Carolyn Law from the Thesis office, for helping me navigate the complexities of copyright and image use. Finally, I would like to thank my friends and family for their encouragement and understanding during these past years. To my friends A.S, J.P, and M.S., for helping me flesh out ideas and for keeping my spirits high during long semesters and writing sessions. To my older sister and her husband, for being my role models, for facilitating and encouraging numerous museum visits around the world, and for always pushing me to continue my education. To my little sister, my little brother, and my mother, for always believing in me. And finally, to my husband, for his love, patience, intellectual support, and understanding during all these years. DEDICATION In memory of my grandmother, with love. iv TABLE OF CONTENTS Page LIST OF FIGURES .......................................................................................................................vi Chapter 1. INTRODUCTION ................................................................................................................ 1 2. A BRIEF HISTORIOGRAPHY ON COLONIAL PHOTOGRAPHY OF BRITISH BURMA AND BRITISH REPRESENTATIONS OF THEIR EMPIRE .......................... 25 3. FELICE BEATO (1832 – JANUARY 29, 1909) AND HIS OEUVRE: COMMODIFYING THE COLONIZED ........................................................................... 44 4. PHILIPP ADOLPHE KLIER (1845-1911) AND D.A. AHUJA (? – ?): COMPETING FOR THE PHOTOGRAPHIC CRAZE, EXTENDING THE MYTH OF BURMA .......... 93 5. CONCLUSION. “MAKING MYANMAR FASHIONABLE”: THE DECONTEXTUALIZATION OF BURMESE COLONIAL PHOTOGRAPHS ............ 126 FIGURES .................................................................................................................................... 148 BIBLIOGRAPHY ....................................................................................................................... 194 v LIST OF FIGURES Figure Page 1. D.A. Ahuja, “Civilization”, date unknown. .................................................................... 148 2. Philipp A. Klier, “A Shan” (Man with bow and arrow), 1907. ...................................... 149 3. Felice Beato, "Beato's Susannah", date unknown. ......................................................... 150 4. Felice Beato, "Susannah, wife of the artist.", 1889. ....................................................... 151 5. Felice Beato, Interior of the Secundra Bagh, 1858. ....................................................... 152 6. Felice Beato, Interior of the Angle of Taku North Fort 1860. ........................................ 153 7. "Arrivals," Rangoon Weekly Budget, July 5, 1887. ........................................................ 153 8. Felice Beato, "Kachin lady, Shan girl, Burmese girls", 1889. ....................................... 154 9. Times of Burma (Rangoon), November 15, 1902. .......................................................... 155 10. Felice Beato, "Kachin Women", c1889........................................................................... 156 11. Felice Beato, Photograph of Éve Lavallière, nineteenth century. .................................. 157 12. Felice Beato, "Shan Beauty", c.1889. ............................................................................. 158 13. Felice Beato, "Shan Beauty", c.1889. ............................................................................. 159 14. Felice Beato, 'Young Shan Girl", date unknown. ........................................................... 160 15. Felice Beato, Photograph of a Palaung woman, c1890. ................................................ 161 16. Felice Beato, "A Windy Day in Mandalay", c1900. ....................................................... 162 17. Felice Beato, Untitled, 1890. .......................................................................................... 163 18. Felice Beato, Untitled, 1895. .......................................................................................... 164 19. Felice Beato, "Little Princess". ....................................................................................... 165 20. Felice Beato, "Young Girl". ............................................................................................ 166 21. Felice Beato, "Burmese Gentlemen and Servants", 1894 - 1897. .................................. 167 22. Philipp A. Klier, Photograph of Archie, Frank, and Maggie, 10th January 1882. ......... 168 23. Philipp A. Klier, Photograph of Frank C. Dickson at 2 years old, September 1882...... 169 24. Philipp A. Klier, “Ethel Isabel Grant (née McNeil), c. 1894. ........................................ 170 25. Philipp A. Klier, Photograph of a Burmese dancing girl, 1895. .................................... 171 26. Philipp A. Klier, “Burmese Dancing Girl”. ..................................................................
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