Bell Harp 1725 - 1775

Editor: Here we have a wooden Bell Harp, estimated to be from 1725-1775. The museum attributes it to John Simcock. I’m struck by how ornate and substantial it looks. How do you read this instrument? Curator: Well, this Bell Harp, seemingly innocuous, speaks volumes about the intersections of class, craft, and cultural appropriation in 18th-century music. Notice the craftsmanship— the elaborate carvings and the choice of wood suggests it was probably made for a wealthy patron. This wasn't an instrument for the common folk. Editor: Right, it looks quite expensive. Curator: Precisely. The Bell Harp was fashionable among the elite, but we must consider who *didn't* have access to such refined objects and the forms of cultural labor— like woodworking— that were often suppressed or exploited. Editor: So you are saying the musical instrument encodes certain power dynamics? Curator: Exactly. It’s a stark reminder that artistic expression is rarely neutral, it’s imbued with social meaning. How do we ensure everyone has a voice and access to these spaces and the means of creating art? Editor: That’s powerful. I never considered musical instruments having that level of social significance. Curator: These instruments and their music served as markers of distinction in an unequal world. Examining them prompts a dialogue on inclusivity and equitable access within art. Editor: I learned so much just by looking closely! Thanks for bringing this crucial historical and ethical point of view to bear.