The story goes that Frank Lloyd Wright was once summoned to testify in a lawsuit. When he took the witness stand, a lawyer asked what his occupation was. He answered, “I am the world’s greatest architect.” Afterwards, his embarrassed wife told him he should be more modest. “You forget,” he replied. “I was under oath.”
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These few paragraphs, transcribed from a (warning, very long) video essay by The Little Platoon about Indiana Jones and the Dial of Destiny, contain lots of interesting ideas. I do not have time to fact check it all, so please argue about it in the comments section.
Why do old things belong in museums? Because history and nostalgia rely on the same thing: a letting go; a leaving be; that switch in the collective subconscious that manifests in the want to preserve rather than to renovate. Increasingly common demands to lift artifacts from western museums and return them to their ancestral homes are more of a desire to renovate than to preserve. Lost amidst the tediously ahistorical narratives around colonial exploitation is the fact that historical preservation requires an act of will backed up by resources and learning. The marbles probably were better off in Elgin’s indelicate hands than they were adorning the ammo dump the Ottomans made of the Parthenon, much of which was blown up anyway when the Venetians, as only Venetians could, decided to shell it.
And Indian archaeology began as a purely colonial exercise. It was the likes of Sir William Jones, James Prinsep and the Asiatic Society, that thought it worth digging up India’s forgotten past and translating its fading texts: documenting its undocumented history, and rescuing relics from the longstanding and, it must be said, understandable native tendency to break them up and turn them into new buildings.
It’s an unpopular fact but it is a fact nonetheless that orientalists taught the Orient a great deal about itself because the west was rich enough to afford the luxury of knowledge. And it’s that, by the way, not capitalism that motivated Indiana Jones, whatever Phoebe Waller-Bridge might tell you later. Capitalism is actually not very good with history, and I speak as an ardent capitalist. Capitalism is a thing that demands new ways to find a material profit, and it’s instinctively uncomfortable with letting things move from present to past tense. Those old Indians turning ancient Buddhist relics into railway sleepers were arguably more capitalistic than the capitalistic orientalists like Jones and Prinsep who rescued them for posterity. And they were much more so than Islamist or Hindutva nutters who, much like the Nazis, would rather destroy heresy than preserve history.
But it’s the constant need to renew, to renovate, that seems to have taken hold in our own countries in our own times. Coming closer to the subject of this video, it’s the reason we cannot let old things lie. We don’t know how to make what our ancestors made. We can only bend their relics into new shapes. Indiana Jones belongs in our metaphorical museum (I think the original trilogy does currently sit in the library of congress) but the character himself has been dressed up and wheeled out and recontextualised and generally renovated twice since then, to worse results each time. Someone somewhere believes there’s monetary value to be extracted from re-using him which denies his sufficient value as history. It’s kind of ironic, really. Indy wants to rescue relics from those who would want to put them to new financial and material ends; he wants relics preserved as they are, studied and untouched, not put to heathen purposes, because they’ve had their day and no good can come of re-employing them. If, however you find yourself watching Dial of Destiny and you find your face melting, it’s because Disney couldn’t help but go to that big old warehouse, find the wooden crate, pull out the ark and open it on our screen to our collective horror.
Disney are the René Belloqs, the Walter Donovans of our world; Philistines, not Philanthropists donating treasures to the public.
