Currently I am studying "Orientalism", aided by Edward Said's book. Why are we drawn like an magnet to all Orientalism encompasses? Undoubtedly its grandeur. But this does not answer- what precisely is "orientalism"? Said argues it is a term understood by the Occident, it is "an integral part of European material civilisation and culture." Said goes on to affirm that it is "almost a European invention...a place of romance, exotic beings, haunting memories and landscapes, remarkable experiences." How if Orientalism is not the Orient's own invention did it come to be so widely recognised and (arguably) comprehended by many? At the time Orientalism came to light, imperial Britain was expanding. This heightened the curiousity of "the mysterious". That which was unknown all aesthetic, alluring, exquisite and exotic. For the Eastern spice trade, their religious belifs, sects and fashion were very different from the Occident. The East was a setting of "traditional exoticism." Magic sultans; promiscous women; a genie in a lamp; magic carpets; all seemed fitting for this enigmatic rich land of wonders. Texts such as "Arabian Nights" and "Vathek" embody such ideas. What is so timeless about these images that pertain to the mytical realm?"The fabric as thick a discourse as Orientalism has suvived and functioned in Western Society because of its richness."
A prime example is the disney film Aladdin. I watched it last night for the first time since my childhood. It is bustling with supernatural elements and even the more ordinary scenes, such as Aladdin as a market thief, are still tantalising by their oriental setting. The orange and red tinge of the setting sun splashed on all the sand coloured buildings with voluptuous domes for roofs (n.b. no bricks or tiles or thatched roofs.) Our imagination is streched to encompass these alien settings. Aladdin must be my favourite disney film (alongside the Emperor's New Groove). Why both of those? They pleasure the imagination and defy our norms. English rose princesses locked up in towers from dragons, they seem mundane in comparision. Equally, I feel my childhood would have been so much less fruitful and arguably my imagination less wild, had it not been opened up by Arabian Night talking books. Orientalism in art goes hand in hand with the sublime. In Aladdin a larger-than-life cave bursts forth from the sand, in the form of a roaring tiger's head which freezes with its jaggered jaws left wide open for the entrance. This leaves us in awe. Equally this cave is filled with mountains of gold to match Mount Everest and home to the genie and the magic carpet. As viewers we share Aladdin's overwhelment in his exploration of it.
The delight we experience is all very well, yet Said's distress is how Orientalism is stuck in a time warp. Whilst the Occident progresses it does not, it is static and orientalism is an example of this. I can empathise the frustration how stereotypes of erotic belly dancers and land of bizarre inventions must get tiresome. I had never really thought much of it before and now I do, I feel a small tinge of guilt for taking pleasure in these inventions "domesticated for Western use." However, I still stand by I would not want my mind to be denied of orientalism for its magnificence makes it so charming. At the time Said was writing (1978), these frustrations would be far more accute. Now, not so much. I have numerous eastern friends and they do not take offense in these western literary inventions, they recognise, along with everyone else for them to be purely mythical. Yet they do celebrate the exoticism which surrounds their birthplaces as it makes their background more dazzling and exhilarating than most.
LullaBellz oppulent headpieces on Asos Marketplace caught my eye.
The gucci dress that haunts everyones dreams. The luxury fabric, rich and warm colour palette make this sensation Arabian Nights "domesticated" for easier wearability.
John Galliano's eastern inspired haute couture collections. I would class them in an entirely different league to other collections for their splendour. They provide pure decadence, which our eyes love to indulge in. It is all about excess. The dramatic make-up, lavish hair accessories, precious jewels and the obsence amount of frills or tiers in his work. This excess however does not hinder his genius. It is what we expect from a representation of eastern inspired haute couture.
A magic carpet, lamp, evil wizard, irresistable princess....
