Arts Of The Contact Zone By Pratt

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Arts Of The Contact Zone By Pratt Essay, Research Paper In "Arts of the Contact Zone," Mary Louise Pratt introduces a term very unfamiliar to many people. This term, autoethnography, means the way in which subordinate peoples present themselves in ways that their dominants have represented them. Therefore, autoethnography is not self-representation, but a collaboration of mixed ideas and values form both the dominant and subordinate cultures. They are meant to address the speaker’s own community as well as the conqueror’s. Pratt provides many examples of autoethnography throughout her piece, including two texts by Guaman Poma and her son, Manuel. Although very different in setting, ideas, and time periods, they accomplish the difficult goal of cross-cultural

communication. Guaman Poma, an Andean who claimed noble Inca descent, wrote a twelve hundred page long letter in 1613 to King Philip III of Spain. This manuscript was particularly unique because it was written in two languages, Spanish and Quechua, the native language of the Andeans. "Quechua was not thought of as a written language . . . ., nor Andean culture as a literate culture" (584). This letter proved the theory wrong. Somehow, Poma interacted with the Spanish in a "contact zone", which is a "social space where cultures meet, clash, and grapple with each other" (584). This communication forced him to learn the Spanish culture and use it to his advantage. With his new found knowledge, he presented to the world a piece of work that incorporated

Andean customs and values with European manners and ideas, exemplifying the idea of cross-cultural communication. The only flaw in his piece was that it never reached its intended recipient and therefore, did not get recognized until it was three hundred fifty years too late. Poma combines his Andean knowledge with his Spanish knowledge. He "constructs his text by appropriating and adapting pieces of the representational repertoire of the invaders" (589). At one point, he makes the Spaniards seem foolish and greedy. "The Spanish, . . . ., brought nothing of value to share with the Andeans, nothing ‘but armor and guns with the lust for gold, silver, gold and silver’. . . ." (587). It is obvious from this quote that Poma intentionally exaggerates the

Spaniards to be an avaricious people. He believes that they have brought nothing useful to the Andeans but ways of greed and a hunger for power. By writing in their own language, Poma shows his oppositional representation of the Spaniards. His transcultural character is not only seen in the written text, but also in the visual content of some four hundred pages. The drawings show the subordinate-dominant plane of the Spanish conquest. They depict the Inca way of life, as well as the greedy nature of the Spanish. The drawings themselves are European in style, but "deploy specifically Andean systems of spatial symbolism that express Andean values and aspirations" (589). In Andean symbolism, the height at which a person or people are drawn indicate their power and

authority in society. Poma mocks the Spanish in one of his drawings by showing the Andean and the Spaniard at the same level, knowing that the Spanish believed that they were the dominant culture. His drawings, along with their own individual autoethnographic captions, help to emphasize the transcultural symbolism and nature of his manuscript. Together, they accentuate the ideas of autoethnography. Poma’s letter is not Pratt’s only way of exhibiting an autoethnographic text. She also uses her son, Manuel’s, experiences in grammar school to further emphasize her point of cross-cultural communication. The teacher-pupil relationship is just one of many examples of a dominant-subordinate relationship. The teacher gives out a task and the student is expected to obey the command.