Programma van de het 'Buitengewoon Concert-Varié' van Concordia Breda op 19 juli 1898 before 1898

Curator: Let’s examine this printed program from 1898 for Concordia Breda's "Extraordinary Concert-Variety Show.” The typography is quite ornate, wouldn't you agree? Editor: Immediately, I'm struck by the social hierarchy hinted at in this single sheet of paper. "Extraordinary" – implying a special event for a particular audience, no doubt with particular social standing. Curator: Absolutely. As a print, it demonstrates the shift in late 19th-century processes, combining typography with likely woodcut elements for decorative flair. This blending mirrors a growing access to a mix of artistry and utility for broad consumption. The materiality of the paper itself tells a story of increasing paper production available at the time. Editor: It's fascinating how the program lists acts like "Charlton Duo" known for ‘musical eccentricities,’ juxtaposed against “Miss Emy" performing “English song and dance.” Who were these performers, and what kind of cultural exchange was happening? What specific communities were being represented, or, more importantly, misrepresented? This "variety show" performs identity. Curator: The program order itself reflects certain forms of entertainment held in higher regard – overtures and solos listed first, interspersed with lighter fare, reflecting consumer demand as audiences from diverse backgrounds mingled in shared social space. And we see the influence of various cultural contributions with Italian and French works listed. Editor: Right – a calculated sequence shaping the experience. The inclusion of acts like ‘Rammelslag van Multatuli’—likely a satirical piece by the famous writer Multatuli—alongside Miss Emy, shows a negotiation of ‘high’ and ‘low’ culture, playing out contemporary discussions regarding race, colonialism, and gender expression on a public stage. It highlights cultural dynamics around the reception and performance of satire at that time. Curator: The very act of printing these programs suggests a formalization and dissemination of the arts and performance practices to wider audiences through technological and social mechanisms. A physical artifact intended to create cultural value as much as it conveyed the evening’s offerings. Editor: Precisely. So a seemingly simple program points towards how art becomes embroiled in identity politics, reflecting ongoing dialogues about inclusion and the commodification of identity. We can’t just appreciate the beauty, but acknowledge its complex and multifaceted place in our histories.