The Indian Emperor, or, The Conquest of Mexico, Act 4, scene 4 1792

Editor: Here we have Robert Dodd's 1792 engraving, "The Indian Emperor, or, The Conquest of Mexico, Act 4, scene 4," currently residing at the Met. It seems to depict a performance, possibly in a private residence? The setting is quite ornate, but the figures are stiff. What strikes you about it? Curator: Indeed, this print provides a glimpse into the performative aspects of 18th-century British society and its engagement with the "exotic." Note how the artist represents the staged adaptation of Dryden’s play about the conquest of Mexico, but look at the context: How does staging a story of colonial conquest here, with children playing the main roles, normalize or perhaps even sanitize British imperial ambitions at the time? Editor: So, it's not just about a play, but also about the societal values it reflects? The conquest is presented as almost...harmless? Curator: Exactly. Consider also how this scene is carefully situated within a wealthy interior. What does that say about access to this type of entertainment and its relationship to social standing? And the fact that the performers are children… do you think that has implications regarding innocence and spectacle? Editor: I never considered the staging itself as part of the political statement. The children seem to become props in a display of power and wealth, don't they? Curator: Precisely. Furthermore, consider the absence of any indigenous perspective within this representation. What does this absence tell us about the dominant narratives circulating within British society at that time? How are the voices of the conquered silenced, even in their own story? Editor: That is a great point. I am going to pay a lot more attention to historical context going forward. Curator: It opens up new perspectives, doesn't it? Thinking about art as embedded within larger social and political systems transforms our understanding of its meaning and impact.