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Analysing this postcard required me to look at the image both in and outside of the frame, using my common sense and emotional cultural framing to determine how I feel about an image that can arguably be seen as multilayered and politically complex. The postcard would likely have been sold as a souvenir at places where the individuals pictured were exhibited as part of a freak or variety show. Until the early 20th century, freak shows were viewed as a normal part of American culture. They were seen as a valuable form of entertainment for middle-class people and were profitable for the showmen involved.

After researching the context behind this postcard I discovered it was probably taken around 1905. The image depicts two male and three female midgets who are dressed in formal attire. Standing behind them is a fully grown man in front of a painted backdrop containing ferns and classical columns. The writing to the right-hand side of the image reads ‘The Troupe of Royal Midgets, including Madam Tom Thumb’. It is not clear if “Madam Tom Thumb” in this postcard is the same person as “Mrs. Tom Thumb” who was the wife of “General Tom Thumb”. General Tom Thumb was the stage name given to Charles Sherwood Stratton (1838-1883). Stratton was a dwarf who became famous as a performer under circus pioneer P.T. Barnum. In 1863, he married Lavinia Warren, another little person. Their marriage became front-page news and their wedding took place at New York City’s Metropolitan Hotel, attended by over ten thousand guests. After their marriage, Warren consequently became known as “Mrs. Tom Thumb”, who is the woman the postcard is possibly referring too, however it has not been confirmed.

Personally, the photograph makes me feel uneasy due to the exploitative nature of the image. In particular, the facial expressions of the little people who seem tense and on edge. The individual in the middle has an object covering their mouth, giving the impression they need to be silenced. We can see that this person also requires both a walking stick and leaning on the person next to them for physical support, this communicates that it is a difficulty for him/her to stand for a prolonged time, therefore taking this image is potentially causing them pain. As a viewer this makes us wonder whether the image is an insight into the treatment they receive daily, if they are forced to stand for an image then perhaps they are also put in uncomfortable and demoralising positions in other ways. The placement of the dominating fully grown man also adds to the uncomfortable feel of the image as his posing with his hand on the hip asserts control over the little people portraying them as unequal.

Some scholars have argued that freak shows exploit the performers, treating them as second-class citizens. However, others have disputed this and argued they were beneficial for people with disabilities, providing them with jobs and an income. In ‘A Debt to the Dead? Ethics, Photography, History, and the Study of Freakery’, Jane Nicholas described freak shows as “the great capitalist venture.” Concerning Mr. and Mrs. Tom Thumb, it is clear to see how performers could benefit from fame whilst still being respected. Nevertheless, it is undeniable that freak shows were about gawking at people deemed as ‘unusual’ which in itself is problematic, hence why there are now laws against such entertainment.