¹ “Lord Balfour's Speech, Commonwealth Arts Festival Press Conference,” 26 January 1961, GLC/LCC/CL/GP/2/11, London Metropolitan Archives (hereafter LMA).

² Stimson, Blake, The Pivot of the World: Photography and Its Nation (Cambridge, MA, 2006)Google Scholar; Joseph, Brandon W., “‘My Mind Split Open’: Andy Warhol's Exploding Plastic Inevitable,” Grey Room 8 (2002): 80–107CrossRefGoogle Scholar.

³ “Mr. Smith ‘More Determined,’” Guardian (Manchester, UK), 5 July 1965; “Smith Warns Britain: Do Not Convene New Constitutional Talks on Rhodesia's Future,” Daily Gleaner (Kingston, Jamaica), 2 July 1965; “Govt. Policy on Rhodesia,” Daily Mail (Freetown, Sierra Leone), 15 September 1965.

⁴ “Labour Slashes Immigration Quotas in Reversal of Open Door Policy,” Globe and Mail (Toronto, Canada), 3 August 1965; “Immigrant Quota to Be Cut by Nearly Two-Thirds,” Guardian, 3 August 1965; “Jamaica Resentful of Immigration Curbs: British Reputation Suffers,” Guardian, 3 August 1965; “Strong Criticism within Labour Party over Migration,” Daily Gleaner, 3 September 1965; “Strong Criticism for Wilson's Government,” Daily Mail, 4 September 1965.

⁵ “Pakistan Hits Back over Indian Invasion,” Guardian, 7 September 1965; Patrick Keatley, “Commonwealth Peace Moves,” Guardian, 14 September 1965; “Pearson Offers to Help in Pakistan-India Talks,” Globe and Mail, 3 September 1965.

⁶ Lena Jeger, “Compromise in Culture,” Guardian, 14 September 1965.

⁷ Mozambique and Rwanda joined the Commonwealth in 1995 and 2009, respectively. The Commonwealth Secretariat, “Our History,” http://thecommonwealth.org/our-history (accessed 25 September 2013).

⁸ Schwarz, Bill, “‘The Only White Man in There’: The Re-racialisation of England, 1956–1968,” Race & Class 38, no. 1 (1996): 65–78CrossRefGoogle Scholar; Littler, Jo, “Festering Britain: The 1951 Festival of Britain, Decolonization and the Representation of the Commonwealth,” in Visual Culture and Decolonisation in Britain, ed. Faulkner, Simon and Ramamurthy, Anandi (Aldershot, 2006), 21–43Google Scholar; Hopkins, A. G., “Rethinking Decolonization,” Past & Present 200, no. 1 (2008): 211–47CrossRefGoogle Scholar; Bailkin, Jordanna, The Afterlife of Empire (Berkeley, 2012)Google Scholar.

⁹ Chakrabarty, Dipesh, “The Legacies of Bandung: Decolonization and the Politics of Culture,” in Making a World after Empire: The Bandung Moment and Its Political Afterlives, ed. Lee, Christopher J. (Athens, OH, 2010), 45–68Google Scholar.

¹⁰ Feldman, David, “Why the English Like Turbans: Multicultural Politics in British History,” in Structures and Transformations in Modern British History, ed. Feldman, David and Lawrence, Jon (Cambridge, 2011), 281–302CrossRefGoogle Scholar; Buettner, Elizabeth, “‘Going for an Indian’: South Asian Restaurants and the Limits of Multiculturalism in Britain,” Journal of Modern History 80, no. 4 (2008): 865–901CrossRefGoogle Scholar.

¹¹ Craggs, Ruth, “The Commonwealth Institute and the Commonwealth Arts Festival: Architecture, Performance and Multiculturalism in Late-Imperial London,” London Journal 36, no. 3 (2011): 247–68CrossRefGoogle Scholar.

¹² Here, I will only cite Antoinette Burton because her recent collection of essays provides a sense of the political and historiographical stakes of writing transnational histories of empire. Burton, Antoinette, Empire in Question: Reading, Writing, and Teaching British Imperialism (Durham, NC, 2011)CrossRefGoogle Scholar.

¹³ The entry of India to the Commonwealth as a republic marks an important moment in this transformation. Most historians of the Commonwealth stress that we cannot take for granted the entry of republics or small states into the Commonwealth, and each state's entry was negotiated contingently on independence. However, Patrick Gordon Walker insisted that changes in the structure of Commonwealth were “the logical and smooth culmination of trends and tendencies that were inherent in the nature of Commonwealth and which had been at work throughout history.” Walker, Patrick Chrestien Gordon, The Commonwealth (London, 1965)Google Scholar; Pearson, Lester B., The Smuts Memorial Lecture: Commonwealth, 1970 (Cambridge, 1971)Google Scholar; McIntyre, W. David, “The Admission of Small States to the Commonwealth,” Journal of Imperial and Commonwealth History 24, no. 2 (1996): 244–77CrossRefGoogle Scholar.

¹⁴ Compiled from population statistics in The Commonwealth Office Yearbook (London, 1968)Google Scholar.

¹⁵ Gordon Walker, The Commonwealth, 318–21; McIntyre, W. David, Colonies into Commonwealth (London, 1966), 348–49Google Scholar; Condemnation for South Africa came largely from the “New” Commonwealth countries but was also voiced by John Diefenbaker, the Conservative prime minister of Canada, struggling with his nation's politics of inclusion. Mansergh, Nicholas, The Commonwealth Experience (New York, 1969), 358–59Google Scholar.

¹⁶ A phrase also attributed to Indian prime minister Jawaharlal Nehru and New Zealand prime minister Peter Fraser.

¹⁷ “A Conservative,” (widely believed to be Enoch Powell), “Patriotism Based on Reality Not Dreams,” The Times, 2 April 1964.

¹⁸ “The Edinburgh Festival: The Influence of the Arts in World Affairs,” The Times, 11 March 1948.

¹⁹ May, Alex, “Empire Loyalists and ‘Commonwealth Men’: The Round Table and the End of Empire,” in British Culture and the End of Empire, ed. Ward, Stuart (Manchester, 2001), 37–56Google Scholar.

²⁰ Hunter, Ian, “The Commonwealth Arts Festival,” Journal of the Royal Society for the Encouragement of Arts, Manufactures and Commerce 113, no. 5108 (July 1965): 606–07Google Scholar.

²¹ Hunter, quoted in Sydney Edwards, “My Plans for Empire Arts Festival—by Ian Hunter,” Evening Standard, 13 February 1964.

²² “Commonwealth Arts Festival,” ca. 1962, The National Archives (hereafter TNA), BW 1/517.

²³ “Hunter's Report to the Commonwealth Arts Festival Society Advisory Committee,” 13 February 1964, TNA, BW 1/517.

²⁴ Conekin, Becky, “The Autobiography of a Nation”: The 1951 Festival of Britain (Manchester, 2003), 183–98Google Scholar. For new histories of the end of empire and metropolitan welfare see Bailkin, The Afterlife of Empire; Radhika Natarajan, “Organizing Community: Commonwealth Citizens and Social Activism in Britain, 1948–1982” (PhD diss., University of California–Berkeley, 2013). Jo Littler argues that the festival represents a confusion regarding empire rather than a desire to ignore it. Littler, “Festering Britain.”

²⁵ Joint Report (23.11.60) by the Clerk of the Council and Comptroller, n.d., LCC/CL/GP/2/11, LMA.

²⁶ Craggs, “The Commonwealth Institute and the Commonwealth Arts Festival,” 258.

²⁷ Elkins, Caroline, Imperial Reckoning: The Untold Story of Britain's Gulag in Kenya (New York, 2005)Google Scholar; Bayly, Christopher and Harper, T. N., Forgotten Wars: Freedom and Revolution in Southeast Asia (Cambridge, 2007)Google Scholar; Grob-Fitzgibbon, Benjamin John, Imperial Endgame: Britain's Dirty Wars and the End of Empire (Basingstoke, 2011)CrossRefGoogle Scholar.

²⁸ R. A. H. Duke, Deputy Controller, Arts and Sciences, Memo, 6 June 1962, TNA, BW 1/517.

²⁹ B. C. C. de Linde, Regional Representative Eastern India to Representative New Delhi and Regional Representative Calcutta, 8 January 1964, TNA, BW 1/517.

³⁰ W. J. Coe, British High Commission, Karachi, to Commonwealth Relations Office, 27 February 1964, TNA, DO 163/105; F. O. Darval, British Information Services, Port-of-Spain, to Commonwealth Relations Office,” 26 February 1964, TNA, DO 163/105.

³¹ H. S. H. Stanley, British High Commission, Nairobi, to Neil Pritchard, Commonwealth Relations Office, 4 February 1964; L. B. Walsh-Atkins, “Zanzibar: Participation in Commonwealth Meeting,” 21 April 1964; Major-General W. H. A. Bishop, Commonwealth Relations Office, to Sir Geoffrey de Freitas, High Commissioner, Nairobi, 16 March 1964; H. S. H. Stanley, Nairobi, to Bishop, CRO, 21 March 1964, TNA, DO 163/105.

³² Katharine Drower, Commonwealth Arts Festival Society, to Rowena Vining, Commonwealth Relations Office, 18 March 1964, TNA, DO 163/105.

³³ E. N. Larmour, British High Commission, Lagos, to J. T. Hughes, Commonwealth Relations Office, 28 April 1965, TNA, DO 163/107.

³⁴ Correspondence between Larmour and Hughes, 1–12 April 1965, TNA, DO 163/107.

³⁵ British High Commission, Wellington, to Commonwealth Relations Office, 8 April 1964, TNA, DO 163/105; Ian Hunter, “Director-General's Report: Australia,” n.d., TNA, BW 1/517; Ian Hunter, “Director-General's Report on Visit to New Zealand,” n.d., TNA, BW 1/517.

³⁶ “Hunter Admires Our Arts,” Nigerian Daily Times, 29 October 1964; “Mama, Dis Is Top Talent,” Trinidad Evening News, 18 November 1964.

³⁷ The Festival Society did not hesitate to make the UK government's support of the festival a public issue. Secretary of State for Commonwealth Relations Duncan Sandys was asked by a Commonwealth Arts Festival plant, Sir Edwin Leather, to ensure the Commonwealth Arts Festival would not be “skimped and spoilt by cheeseparing.” A preliminary budget committed the LCC and the government each to £80,000. Other sources, including the provincial centers, would contribute toward total grants of £200,000. The Festival Society was skeptical that ticket sales would contribute greatly toward the bottom line; it forecast income of only £30,000. Joint Report (23.11.60) by the Clerk of the Council and Comptroller, 28 November 1963, Parliamentary Debates, Commons, 5th ser., vol. 685 (1963–64) 457–58; Hunter, “The Commonwealth Arts Festival.”

³⁸ For comparison, 1,041 athletes participated in the 1962 Commonwealth Games in Perth. Dheenshaw, Cleve, The Commonwealth Games: The First 60 Years, 1930–1990 (Sydney, 1994), 73Google Scholar.

³⁹ Lord Balfour to Arthur Bottomley, Secretary of State for Commonwealth Relations, 5 July 1965, TNA, DO 163/108.

⁴⁰ Jennie Lee, Minister for the Arts, to James Callaghan, Chancellor of the Exchequer, 22 February 1965, TNA, DO 163/107.

⁴¹ “Commonwealth Relations Office to British High Commissions No. R. Circular 11,” 13 July 1965, TNA, DO 163/108.

⁴² Hunt, Kampala, to Commonwealth Relations Office, 5 June 1965, TNA, DO 163/108.

⁴³ The other nations were Dominica, Malta, Sierra Leone, and Pakistan. “Larmour, Lagos, to Commonwealth Relations Office,” 15 July 1965, TNA, DO 163/108; Lord Balfour to Arthur Bottomley, Secretary of State for Commonwealth Relations, 5 July 1965, TNA, DO 163/108.

⁴⁴ Report from British High Commission, Port of Spain, 21 July 1965, TNA, DO 163/108.

⁴⁵ Ian Hunter, director-general, “Report on Visit to Trinidad and Tobago—13–16 November 1964,” n.d., TNA, DO 163/106; Fred Hope, “Why Calypsonians Were Squeezed Out,” Trinidad Guardian, 11 August 1965; F. O. Darvall, British Information Service, Port-of-Spain, to J. T. Hughes, Cultural Relations Department, Commonwealth Relations Office, 12 August 1965, TNA, DO 163/108; Robert Montano, Trinidad Festival Committee, to Ian Hunter, Festival Director-General, 11 August 1965, TNA, DO 163/108.

⁴⁶ Paul, Kathleen, Whitewashing Britain: Race and Citizenship in the Postwar Era (Ithaca, NY, 1997)Google Scholar; Bailkin, Jordanna, “Leaving Home: The Politics of Deportation in Postwar Britain,” Journal of British Studies 47, no. 4 (2008): 852–82CrossRefGoogle Scholar.

⁴⁷ Mark Arnold-Forster, “Maltese More Equal,” Guardian, 22 September 1965.

⁴⁸ Derek Walcott, quoted in, F. O. Darvall, British Information Services, “Trinidad and Tobago Delegation to the Commonwealth Arts Festival,” 11 September 1965, TNA, DO 163/108.

⁴⁹ Ibid.

⁵⁰ Stephen, Daniel M., “‘Brothers of the Empire?’: India and the British Empire Exhibition of 1924–25,” Twentieth Century British History 22, no. 2 (2011): 164–88CrossRefGoogle Scholar.

⁵¹ Hoffenberg, Peter, An Empire on Display: English, Indian, and Australian Exhibitions from the Crystal Palace to the Great War (Berkeley, 2001)Google Scholar.

⁵² Prince Philip, “Welcome,” Commonwealth Arts Festival—London Programme Book, 1965; Commonwealth Arts Festival Society, “Commonwealth Arts Festival . . . A Report by Ian Hunter,” n.d., GLC/LCC/LEA/1/14, LMA.

⁵³ E. M. Forster described the experience of a Briton hearing a Hindustani vocal performance: “This thin voice rose, and gave out one sound after another. At times there seemed rhythm, at times there was the illusion of a Western melody. But the ear, baffled repeatedly, soon lost any clue, and wandered in a maze of noises, none harsh or unpleasant, none intelligible.” E. M. Forster, A Passage to India, quoted in Lelyveld, David, “Upon the Subdominant: Administering Music on All-India Radio,” Social Text 39 (1994): 111–27CrossRefGoogle Scholar. Rahaim, Matt, “That Ban(e) of Indian Music: Hearing Politics in The Harmonium,” Journal of Asian Studies 70, no. 3 (2011): 657–82CrossRefGoogle Scholar.

⁵⁴ Brown, Rebecca M, Gandhi's Spinning Wheel and the Making of India (London, 2010)Google Scholar; Ramaswamy, Sumathi, The Goddess and the Nation: Mapping Mother India (Durham, 2010), esp. 13–17Google Scholar.

⁵⁵ Letter from J. P. Henderson, Acting Functional Officer, India, 31 January 1964, TNA: PRO BW 1/517.

⁵⁶ Mutk Raj Anand, “A Touch Of Darkness!” Times of India, 24 November 1965; Alyque Padamsee, “A Touch of Darkness: To the Editor, ‘Times of India,’” Times of India, 25 December 1965; J. Anthony Lukas, “Playwright Stirs Furor in Bombay: His Realistic Drama Stirs Opposition of Officials,” New York Times, 5 December 1965.

⁵⁷ Sinha, Mrinalini, Specters of Mother India: The Global Restructuring of an Empire (Durham, NC, 2006)CrossRefGoogle Scholar.

⁵⁸ Knight, Douglas M., Balasaraswati: Her Art and Life (Middletown, CT, 2010)Google Scholar.

⁵⁹ Government of India, “India at Commonwealth Arts Festival 1965” (London, n.d.), TNA, DO 163/108.

⁶⁰ Lelyveld, “Upon the Subdominant.”

⁶¹ Sastry, S. N. S., Invitation to Enchantment (India Ministry of Information and Broadcasting, Films Division, 1965)Google Scholar; Thapa, N. S., The Twin Valleys (India Ministry of Information and Broadcasting, Films Division, 1964)Google Scholar.

⁶² Britain's role in the conflict did not go unnoticed. “Britain bears a considerable responsibility for the India-Pakistan conflict over Kashmir, which the lapse of time has not expiated,” wrote one concerned trio in their letter to The Times. Alastair Buchan, Peter Calvocoressi, and Philip Mason, “India-Pakistan War,” The Times, 16 September 1965. The Second Indo-Pakistan war was widely covered in The Times and inspired many letters. This was perhaps the most high profile because Philip Mason was a former civil servant in India and the chairman of the Institute of Race Relations; Alastair Buchan was director of the International Institute for Strategic Studies, and Peter Calvocoressi was an author of several books on international relations.

⁶³ Richter, Linda K. and Richter, William L., “Policy Choices in South Asian Tourism Development,” Annals of Tourism Research 12, no. 2 (1985): 201–17CrossRefGoogle Scholar.

⁶⁴ Air-India, “The Golden Rule,” Commonwealth Arts Festival—London Programme Book; Air-India, “It's the Service That Counts,” The Times Supplement on the Arts in the Commonwealth, 13 September 1965.

⁶⁵ B. G. Smallman, British High Commission, Freetown, to Martin, West African Department, Commonwealth Relations Office, 22 April 1964, TNA DO 163/105; F. O. Darvall, British Information Service, Port-of-Spain, to Commonwealth Relations Office, 18 November, 1964; Hunter, “Report on Visit to Trinidad and Tobago—13–16 November 1964.”

⁶⁶ “The Duke Will Open Festival,” Yorkshire Post, 16 September 1965.

⁶⁷ Bo Durbar (Pathé News, 1961), http://www.britishpathe.com/video/bo-durbar.

⁶⁸ The Rev. Vincent Crowley, quoted in “Glasgow Bars Sierra Leone Dancers,” The Times, 4 September 1965; “Never in Trafalgar Square,” Guardian, 9 September 1965.

⁶⁹ Albert Mole to Ministry of Public Buildings and Works, 3 September 1965, TNA, WORK 20/346.

⁷⁰ John Akar, quoted in “Dancers Refuse to Cover Up,” The Times, 11 September 1965.

⁷¹ British High Commission, Freetown, “Sierra Leone Fortnightly Summary,” No. 18, 23 September 1965, TNA, DO 163/108.

⁷² “Dicor Boosts Tourism,” Daily Mail, 25 September 1965.

⁷³ “English Folk Dancer,” quoted in Colin MacInnes, “A Commonwealth and Its Festival,” New Society (30 September 1965): 24–25.

⁷⁴ B. A. Farrell to Charles Pannell, Minister of Public Buildings and Works, 11 September 1965, TNA, WORK 20/346.

⁷⁵ Although Hunter reported of Maori dancing that the “standard was rather poor and the presentation naïve,” he did want some representation. A group called the Wellington Anglo Maori Society performed in Trafalgar Square without the official sponsorship of the New Zealand government. Hunter, “Director-General's Report on Visit to New Zealand”; “Spelling Upset at Festival Preview,” Guardian, 16 May 1965. Interestingly, a draft memo from the Commonwealth Relations Office to the British High Commission in Wellington asked that the New Zealand government be encouraged to highlight the “cultural achievements of New Zealanders of British European stock” rather than confining themselves to a “Maori contribution (interesting and exotic though this will no doubt be).” The final note merely stated that the Commonwealth Relations Office was “anxious that Commonwealth representation should be as wide as possible and that each country should make contributions as widely representative as possible of their culture and background.” J. T. Hughes to R. N. Hollyer, 20 April 1964, TNA, DO 163/105; R. N. Hollyer, British High Commission, Wellington, to Ian Hunter, 22 January 1964, TNA, BW 1/517. Similar tensions regarding British expectations of the balance between settler and indigenous culture was at play in the Australian government's choices: Liverpool hosted an exhibition of Australian Aboriginal bark paintings, but these were drawn from a private collection and not officially sponsored by the Australian government.

⁷⁶ British High Commission, Wellington, to Commonwealth Relations Office; Hunter, “Director-General's Report: Australia”; Hunter, “Director-General's Report on Visit to New Zealand.”

⁷⁷ Norman E. Williams, British Council, Sydney, to J. T. Hughes, Commonwealth Relations Office, 26 March 1965, TNA, DO 163/107.

⁷⁸ John Cruft, Director Drama and Music, British Council, to Representative, Australian and Liaison Officer, New Zealand, 7 October 1964, TNA, BW 1/517; Norman E. Williams, Representative, Australia, to John Cruft, Director Drama and Music, British Council, 12 October 1964, TNA, BW 1/517.

⁷⁹ “Tour of the Week,” Sydney Morning Herald, 16 August 1965; “Enthusiasm by Critics,” Sydney Morning Herald, 4 October 1965; “Ballet Praised,” Sydney Morning Herald, 5 October 1965.

⁸⁰ Uche, Chibuike Ugochukwu, “Oil, British Interests and the Nigerian Civil War,” Journal of African History 49, no. 1 (2008): 111–35CrossRefGoogle Scholar; Hyam, Ronald, Britain's Declining Empire: The Road to Decolonisation, 1918–1968 (Cambridge, 2006), 186–87Google Scholar.

⁸¹ Similar national competitions were held in Kenya, Uganda, and Sierra Leone. J. T. Hughes to British High Commission, Lagos, 6 April 1965; Dean, British Information Service, Lagos, to Audrey Garland, Commonwealth Relations Office, 7 April 1965; British High Commission, Lagos, to Commonwealth Relations Office, 9 April 1965, TNA, DO 163/107.

⁸² Ian Hunter, “Report on a Visit to Canada—11–25 April 1964,” n.d., TNA, BW 1/517.

⁸³ British High Commission, Ottawa, to Commonwealth Relations Office, 28 July 1965, TNA, DO 163/108.

⁸⁴ Azzi, Stephen, Walter Gordon and the Rise of Canadian Nationalism (Montreal, 1999)Google Scholar.

⁸⁵ “The Royal Winnipeg Ballet,” Commonwealth Arts Festival—London Programme Book.

⁸⁶ Gerald Fey, “Klondyke at National Theatre,” Guardian, 24 September 1965; “Commonwealth Arts,” Guardian, 24 September 1965.

⁸⁷ “Le Théâtre Du Nouveau Monde,” Commonwealth Arts Festival—London Programme Book.

⁸⁸ “Les Feux-Follets,” Commonwealth Arts Festival—London Programme Book.

⁸⁹ Herbert Whitaker, “Lapses in Taste Chez Feux-Follets,” Globe and Mail, 24 September 1965.

⁹⁰ The introduction of the maple leaf flag in 1964 marked a domestic moment of significance. Igartua, José Eduardo, The Other Quiet Revolution: National Identities in English Canada, 1945–71 (Vancouver, 2006)Google Scholar.

⁹¹ Bannerji, Himani, “On the Dark Side of the Nation: Politics of Multiculturalism and the State of ‘Canada,’” Journal of Canadian Studies: Revue D'études Canadiennes 31, no. 3 (1996): 103–28CrossRefGoogle Scholar.

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⁹³ Rush, Anne Spry, Bonds of Empire: West Indians and Britishness from Victoria to Decolonization (Oxford, 2011)CrossRefGoogle Scholar, esp. chaps. 2, 3, and 9.

⁹⁴ Prince Philip, quoted in Commonwealth Festival Society, “Press Release—Commonwealth Arts Festival,” 13 May 1965, TNA, DO 163/108.

⁹⁵ Patrick Keatley, “Duke Puts Britain on Spot,” Guardian, 5 July 1965; “Remark by Duke Angers Kenya,” Guardian, 6 July 1965. For further discussion of Philip's efforts to create a Commonwealth role for himself, see Murphy, Philip, “By Invitation Only: Lord Mountbatten, Prince Philip, and the Attempt to Create a Commonwealth ‘Bilderberg Group,’ 1964–66,” Journal of Imperial & Commonwealth History 33, no. 2 (2005): 245–65CrossRefGoogle Scholar.

⁹⁶ “Prince Albert the Only Precedent,” Guardian, 5 July 1965.

⁹⁷ Commonwealth Festival Society, “Provisional Arrangements for H. R. H. The Duke of Edinburgh 16 September 1965,” n.d., TNA, DO 163/108.

⁹⁸ Following Fanon, the authors in the collection Visual Culture and Decolonisation emphasize that the fracturing of imperial ways of seeing were a crucial part of the total reordering of the world brought about through decolonization. See particularly Bill Schwarz, “Afterword: Ways of Seeing,” in Visual Culture and Decolonisation in Britain, 263–70.

⁹⁹ “Commonwealth Festival Society,” Commonwealth Arts Festival—London Programme Book.

¹⁰⁰ Italics in the original. MacInnes, “A Commonwealth and Its Festival.”

¹⁰¹ Commonwealth Arts Festival Society, “Commonwealth Arts Festival . . . A Report by Ian Hunter.”

¹⁰² Frank Whitford, “Treasures from the Commonwealth,” Arts Review (18 September 1965).

¹⁰³ The italics were his: “for this exhibition really is about the Commonwealth.” Ibid.

¹⁰⁴ Wyndham Gooden, “Report to the Second Meeting of the Commonwealth Representatives Sub-Committee, 27 April 1965,” n.d., TNA, DO 163/108.

¹⁰⁵ “Extract from Letter from Hawley, British High Commission, Lagos,” 13 October 1965, TNA, DO 163/108. Interestingly, Nigerian president Nnamdi Azikwe claimed that Nigerian objects had been “properly acquired” in pre-independence days and were better off in British collections than in American or “foreign collections.”

¹⁰⁶ Oswell Blakeston, “Arts,” What's On in London, 8 October 1965.

¹⁰⁷ It may be the only such suit of elephant armor in the world. Richardson, Thom and Stevens, Donna, “The Elephant Armour,” Royal Armouries Yearbook 1 (1996): 100–06Google Scholar; “Object 15,” Treasures of the Commonwealth.

¹⁰⁸ Whitford, “Treasures from the Commonwealth.”

¹⁰⁹ Edward Lucie-Smith, “The Mood of Exoticism,” The Times, 9 September 1965; Whitford, “Treasures from the Commonwealth”; “Object 515,” Treasures of the Commonwealth.

¹¹⁰ “Object 66,” Treasures of the Commonwealth.

¹¹¹ Edward Lucie-Smith, “Rich Variety of Art Treasures from the Commonwealth,” The Times, 16 September 1965; John Russell, foreword to Treasures of the Commonwealth.

¹¹² Mitchell, W. J. T., “Imperial Landscape,” in Landscape and Power (Chicago, 1994)Google Scholar; Tillotson, G. H. R., “The Indian Picturesque,” in The Raj: India and the British, 1600–1947, ed. Bayly, C. A. (London, 1990)Google Scholar.

¹¹³ Buettner, Elizabeth, “Cemeteries, Public Memory and Raj Nostalgia in Postcolonial Britain and India,” History & Memory 18, no. 1 (2006): 5–42CrossRefGoogle Scholar; Burton, Antoinette, “India, Inc? Nostalgia, Memory, and the Empire of Things,” in British Culture and the End of Empire, ed. Ward, Stuart (Manchester, 2001), 217–32Google Scholar.

¹¹⁴ David Thompson, “Finding a Way through the Jumble,” Queen, 6 October 1965.

¹¹⁵ T. G. Rosenthal, “Nothing in Common,” The Listener, 30 September 1965.

¹¹⁶ I am indebted to Martina Droth for this insight. “£1 Million Pound Treasure,” Daily Telegraph, 27 August 1965.

¹¹⁷ Lucie-Smith, “The Mood of Exoticism.”

¹¹⁸ Frederic Laws, “Armour, Totems, and Leopards,” Guardian, 17 September 1965.

¹¹⁹ Autolycus, “Treasure Islands: Riches of the Commonwealth,” The Sunday Times, 31 October 1965.

¹²⁰ Henry Moore, quoted in Beckett, Jane and Russell, Fiona, introduction to Henry Moore: Critical Essays, ed. Beckett, Jane and Russell, Fiona (Aldershot, 2003), 10Google Scholar.

¹²¹ Hiller, Susan, “Slow Motion: An Interview with Andrew Renton,” in Thinking about Art: Conversations with Susan Hiller (Manchester, 1996), 193–94Google Scholar; Susan Hiller, “‘Truth’ and ‘Truth to Material’: Reflecting on the Sculptural Legacy of Henry Moore,” in Beckett and Russell, Henry Moore: Critical Essays, 67–80.

¹²² Dr. Harold Ivor, “Art and the Commonwealth,” Medical News, 1 October 1965.

¹²³ Autolycus, “Treasure Islands: Riches of the Commonwealth”; Blakeston, “Arts”; Lucie-Smith, “Rich Variety of Art Treasures from the Commonwealth.”

¹²⁴ Thompson, “Finding a Way through the Jumble.”

¹²⁵ “Commonwealth Books on Show,” The Times, 7 October 1965. McIntyre, W. David, “Britain and the Creation of the Commonwealth Secretariat,” Journal of Imperial and Commonwealth History 28, no. 1 (2000): 135–58CrossRefGoogle Scholar.

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¹²⁷ Commonwealth Arts Festival Society, “Commonwealth Arts Festival . . . A Report by Ian Hunter.”

¹²⁸ “Enthusiasm by Critics,” Sydney Morning Herald, 4 October 1965.

¹²⁹ The BBC reported the program was “very popular indeed with those that viewed it.” Humphrey Burton, BBC to Ian Hunter, 20 October 1965, uncataloged collection of Commonwealth Institute Archives, Tate Britain.

¹³⁰ MacInnes, “A Commonwealth and Its Festival.”

¹³¹ Cohn, Bernard S., “Representing Authority in Victorian India,” in The Invention of Tradition, ed. Hobsbawm, Eric and Ranger, Terence (Cambridge, 1983), 165–209Google Scholar; Metcalf, Thomas R., Ideologies of the Raj (Cambridge, 1997)Google Scholar.