Manzai danser met aap 1860

Curator: This 1860 woodblock print by Ayaoka is titled “Manzai danser met aap”—that’s “Manzai Dancer with Monkey” in Dutch. The delicacy of line and wash reminds us that popular culture can birth elegant art. Editor: It's a small piece, yet brimming with subtle humor. The figures, rendered in soft watercolor hues, seem almost weightless against the muted paper. The lettering feels equally important. Curator: Exactly. And Manzai, for those unfamiliar, is a traditional Japanese comedy duo. You have the straight man and the funny man. In this case, our "funny man" is a literal monkey impersonating, or perhaps mocking, the dancer. Editor: Right, a humorous critique using class parody through costume and material! Look at how the patterned robes—likely block-printed—denote status, while the plain paper speaks to a more accessible form of artistry. Woodblock printing allowed mass production of art, disrupting the elitism of traditional painting. Curator: Indeed, the woodblock itself becomes a crucial part of understanding this art. Each line, each color, painstakingly carved, layered, and printed. Can you imagine the sheer labor of replicating such detail? It's almost devotional. I see reverence intertwined with lighthearted jest. Editor: A great point. It also shows how craft traditions inform 'fine art' objects. By foregrounding everyday labor and subjects, Ukiyo-e prints collapse hierarchies, questioning who gets to make and who gets to enjoy art. And also: which class gets to consume certain types of art... and, perhaps, get laughed at for doing so! Curator: So true! I get the sense Ayaoka wants us to reflect on the playful, chaotic side of humanity. And even the monkey, with his performance, compels us to consider: what’s the essence of human expression, of humor, and where is the fine line with satire? Editor: Exactly, seeing an early move of social critique of elites—who got to laugh and get lauded versus others. This isn't just about surfaces or spectacle; it's a deep engagement with labor, production, class and its consumption. The materiality reflects back into its moment so cleverly! Curator: You’ve nudged me to consider how deeply ingrained social commentary could be masked by seemingly light art. It feels rewarding to consider this artist making these points on class and parody in a populist medium. Editor: Likewise. This woodblock reminds us how so-called accessible, democratic mediums may engage in intricate dialogues with social tensions. It moves the focus of artistic assessment towards labor, commodity and collective creation, which shouldn’t be sidelined when we engage and see this artwork.