4.Ann Connolly’s Collection

Exploring Cultural Representation Through Souvenir Dolls

For over five decades, Ann’s Hair Salon served as a beacon of warmth and hospitality in Shantalla, one of Galway’s oldest suburbs. From the graceful hula dancers of Hawaii to the intricate porcelain geishas of Japan, Ann’s collection spans continents and cultures, offering a glimpse into the rich tapestry of our world. Among her treasures are flamenco dancers from Spain, Irish Colleens, Russian dolls, and even a series depicting the storied figures of Henry VIII and his six wives.

Ann, with her skilled hands and kind heart, not only tended to the tresses of her loyal clientele but also fostered a deep connection with her community. Ann’s passion for dolls began in childhood, and knew no bounds. Through the thoughtful gestures of her clients, who embarked on journeys to far-flung destinations and returned with treasures in hand, her collection flourished. Additionally, Ann’s own love of travel took her to distant lands, where she sought out unique dolls to add to her ever-growing collection. Each doll holds a story, a piece of Ann’s unwavering spirit and the love she shared with all who entered her salon.

Beyond her role as a hairstylist, Ann was a cherished aunt to her nieces and nephews, who found solace and joy amidst the enchanting array of dolls that adorned her salon. Though Ann’s salon has closed its doors, her legacy lives on in this collection. Through her generosity, the dolls that once brought smiles to the faces of her clients and their children now serve as a source of inspiration for children and all ages across Ireland.

Research project by Lauren Kavanagh, Museum of Childhood Ireland Collection’s Team, for Heritage Week 2024

As you explore the collection, we invite you to reflect on the power of community, routes, networks, the beauty of connections, diversity, and the enduring spirit of Ann Connolly, whose love and kindness continue to resonate.

Highlighting too, the importance of non-traditional and meanwhile spaces in helping promote connections of heritage and culture across the island. The Museum of Childhood Ireland are particularly grateful to Bloomfields Shopping Centre, and Bank of Ireland, Dúnlaoghaire for their tremendous, ongoing support in the community. Go raibh míle maith agaibh.

We invite you to join us at Bloomfields Shopping Centre, Dúnlaoghaire, on Wednesday the 21st August from 1-3pm to view the dolls, hear about Lauren’s research, and if you have a souvenir doll, we’d love you to bring it, or photos of your doll / collection, and to hear your story too. A range of art materials, kindly sponsored by Faber Castell will be provided too for young designers and artists to capture their favourite doll’s likeness or to imagine a travel doll/s of their own.

Photos above include: Lauren Kavanagh, Collections Team and Sam Hayes, Literature Team Lead at the Museum of Childhood Ireland, Lesley-Ann Hayden from the Heritage Council, Deirdre Black DLRCC Arts, and scores of local adults and children. Thank you all for joining us. Thank you too for the art work on your favourite travel doll/s.

Souvenir dolls are much more than simple toys; they are intricate embodiments of cultural identity and tradition. Souvenir dolls have been symbols of travel for generations, serving as tangible reminders of holidays or brought home as gifts. These dolls encapsulate the culture of a region, offering a snapshot of its identity through details and craftsmanship. Whether dressed in traditional clothing, posed mid-dance, or representing jobs and musical traditions, these dolls tell the stories of the places they originate from. Ann Connolly’s collection of souvenir dolls is a vivid testament to this cultural expression, showcasing the diverse and rich heritage of nations from around the world.

A collection of dolls wearing national clothing from across Europe

The majority of the dolls in the collection are dressed in national costumes, which is the most prevalent way that culture is portrayed through these dolls. While the majority of national outfits are not immediately identifiable on their own, many of these dolls have additional regional accessories that give them a distinctive identity. A few national clothing accessories, like Hawaiian skirts and Dutch clogs, have grown to be symbols of a particular region; their incorporation into these dolls provides a quick and distinctive way to identify where they were purchased. Even though they are less well recognised, other elements of national attire like Nazaré hats and Bollenhuts are incredibly distinctive and serve the same purpose in representing the culture to which they belong.

Hats are among the most recognisable features of national attire, and can be well incorporated into dolls. In national dress, hats have a variety of purposes, including weather protection while working, status symbols, and identifiers of a particular job. Regional variations are common in traditional hats, which have evolved to become quite symbolic of their region of origin. This collection has multiple examples that symbolise jobs, culture, and fashion.

A collection of German dolls from different regions

The German Bollenhut, which can be seen on the two dolls on the left, is one instance of this. Originating in the Black Forest, a mountainous region in southwest Germany. These hats are made of a straw base with fourteen large cross-shaped pompoms on top. It is said that the traditional designs on black forest cakes were inspired by these caps. Although these particularly unique hats are now a symbol of the whole region, these traditional hats were unique to a few small villages, and have come to represent the Black Forest region as a whole as they were popularised after being featured in a number of postwar German films, including Hans Deppe’s 1950 film “The Black Forest Girl”. Black Forest Bollenhuts have become popular tourist souvenirs and are commonly featured in dolls of the region.

The distinctive traditional clothing of the Nazaré region in western Portugal is famous for the layered skirts and felt hats worn by working fisherwomen. Three of the dolls in this image are wearing caps that immediately identify them as being from the Nazaré region. These hats are made of a black pompom and a spherical felt cap that are typically worn over a headscarf that is slung down the wearer’s back to block out the sun as they work. The layered skirts on these dolls are another unique feature of Nazaré clothing. Nazaré women have a tradition of layering underskirts, typically seven, giving these skirts the name sete saias (seven skirts). These skirts are usually short to facilitate movement in the sea and have vibrant colours. There are many theories as to why seven is the typical amount of skirts, such as to represent the seven days of the week, seven waves of the sea, seven colours of the rainbow, and the lucky number seven.

All of these dolls are Russian in origin. The smaller Snowmaiden doll on the left and the larger doll in the middle are both dressed in traditional kokoshnik hats. Kokoshnik hats were traditionally worn by married women at formal events. Kokoshniks were frequently passed down as family heirlooms and were made in a broad range of shapes and styles. These hats are still worn as part of Russian traditional attire and folk dances. In the late 19th and early 20th centuries, they were increasingly fashionable throughout Europe as a result of royalty wearing them in portraits in countries such as Romania and Britain. These hats have recently served as an inspiration for contemporary renditions; stylised versions have appeared on runways and served as the basis for headpieces worn by “Star Wars” characters. Similar hats can be seen throughout western and central Europe, this collection features two dolls from Hungary wearing different styles of pártas.

Hungarian dolls wearing traditional pártas

Dolls wearing traditional Norwegian bunads

Unlike most of the traditional dress seen in the collection, some Norwegians still wear traditional Norwegian clothing for formal occasions and national holidays. In an effort to embrace and preserve national tradition, these outfits, known as bunads, were developed in the 20th century as a more accessible and contemporary rendition of traditional Norwegian clothing. Given that bunads differ from region to region, they can be expensive and are frequently viewed as a status symbol in addition to a way to express local pride. A fundamental similarity between the regions is the use of solje, or gold jewellery. Bunads are a common wedding dress option, and each region has its own style, the doll on the far right of this photo is wearing a wedding bunad from the Hardanger district. Due to the prevalence of bunads in Norwegian culture, it’s no surprise that they are represented through these dolls.

The large collection of Greek dolls displaying regional differences in clothing

Greek dolls are among the most prevalent types in this collection. Similar to Norwegian bunads, traditional Greek clothing varies by area, with lots of islands having their own customs. The gold coin necklaces that each of the female dolls wears are one thing these dolls have in common. Personalised symbols, family crests, and portraits were frequently engraved on these necklaces, which served as a status signal for wealth. These gold coin necklaces are a unique aspect of traditional Greek clothing and are particularly striking on these dolls.

One of the most recognizable images of the Netherlands is clogs, which are worn by all of these Dutch dolls. Despite being worn in many places across Europe and the world, Dutch clogs, or klompen, have come to represent the nation. Nowadays, visitors purchase the great majority of klompen, which were commonly worn by farmers and gardeners.

A small Zulu doll featuring intricate beading

This doll represents a woman and her baby of the Zulu tribe in Southern Africa. Despite being one of the smaller dolls in the collection, the amount of beadwork on this doll shows how important it is in traditional Zulu clothing. Zulu women have long used beadwork as a means of self-expression, creating elaborately beaded clothing for both themselves and as gifts. Given that different hues and combinations have distinct symbolic connotations, Zulu women traditionally expressed their affections through beaded clothing gifts. This doll appears to be wearing an isicholo, a traditional hat made in a manner akin to woven baskets and frequently embellished with beads.

Hawaiian dolls wearing grass skirts and flower leis

These Hawaiian dolls all feature aspects of stereotypical representations of Hawaii seen in western popular culture, particularly the skirts made of grass. These skirts became a symbol of Hawaii after they were introduced to Hawaiian Hula dancers in the late 19th century. Hawaiian traditional skirts were constructed of kapa (bark fabric) and ti leaves. The American vaudeville Hula dancers popularised the tradition of grass skirts because ti leaves were not readily available there. Many Hawaiians find this portrayal of Hawaii to be controversial as the skirts are not really Hawaiian, they are viewed as being inauthentic, and they serve to reinforce a romanticised and westernised view of the island. This practice of portraying inauthentic portrayals of culture within these dolls and broader tourism, is incredibly common and often plays into stereotyping.

A Polish couple in traditional clothing from Krakow

A few instances of traditional wedding wear are also included in this collection. Traditional wedding clothing is typically worn in a more extravagant style. This collection includes a few couple dolls that are frequently sold as souvenirs to tourists who are getting married or spending a honeymoon there.

Dolls featuring a Turkish couple in traditional wedding attire

This doll, which was often sold alongside a male counterpart, depicts a traditional Japanese bridal attire. The Japanese kimono is an instantly recognizable icon of Japan; in fact, renting and wearing one has become a top tourist attraction for visitors to the country. This doll is dressed in a two-layered kimono with intricate embroidery, known as the kakeshita and uchikake, which is a crimson, flowery bridal gown. These dolls, known as ichimatsu dolls, resemble western baby dolls, and have been around since the Edo period in the 17th and 19th centuries and were used for play by young children. Ichimatsu dolls’ cute appearance and traditional attire have made them a favourite tourist memento.

Through their detailed costumes and distinctive accessories, these dolls serve as miniature history lessons on their regions, preserving the unique traditions and stories of the places they represent through clothing. Whether iconic elements like Dutch clogs, Zulu beadwork, or the wedding souvenirs like the Japanese doll, each doll encapsulates the essence of its origin, making this collection a display a celebration of cultural diversity and heritage.

Many of the dolls in this collection are posed mid-dance. Folk dances, like traditional attire, can serve as a common indicator of a culture. Folk dances, which can have a variety of meanings from social gatherings like Irish ceilis to ceremonial dances like the Maori Haka, have long been significant historical and cultural art forms. The amount of dancing dolls in this collection shows how important folk dances are to the locals’ way of life and how they present themselves to visitors.

A prevalent national dance displayed in this collection are the Spanish flamenco dolls. Given that flamenco has evolved into a national emblem of Spain and that the dance is frequently associated with Spanish images, it should come as no surprise that dolls in flamenco poses are a common souvenir all throughout the nation. This dance originated from Romani folk dances in the late eighteenth century and was developed in the Andalusia region of southern Spain. Spain has a fascinating history with flamenco; because of its Romani origins, many people disapproved of the dance. Like the Bollenhut, many Andalusians in the middle of the 20th century felt that the dance should not be considered broadly Spanish, as they considered it to be uniquely theirs.These days, flamenco has established itself as an authentic element of Spanish culture and has even extended to Mexico and other Spanish-speaking nations. Flamenco as a distinct musical genre, continues to be relevant due to popular artists like Rosalía’s reinventions of it. Many of these flamenco dolls were made by the Chiclana Marín company, a twentieth century doll company famous throughout Spain for their flamenco styled dolls.

The French cancan, as portrayed by this Parisian doll, is a more recent invention, much like the Spanish flamenco. created during lavish parties in the beginning of the 1800s by young French bourgeoisie members, the early cancan, which originated from the popular quadrille dance, was viewed as extremely bold and was frequently disapproved of. A more subdued rendition of the dance, became known as the French cancan, and was performed by dancing troupes across the continent. The Moulin Rouge, which established the “rules” of the dance and is regarded as its spiritual home, is credited with its rise to fame. This very distinctive dance, which makes for especially striking dolls, has been inextricably linked with imagery of French performance art.

Thailand is home to a diverse range of dance traditions, like the 13th-century Lakhon dance shown in these dolls. Lakhon is a broad kind of dance that was traditionally performed for aristocracy. Similar to theatrical ballet, the majority of Lakhon dances are dramatic theatre that use dance and music to communicate stories rather than words. The Ramakien, the Thai rendition of the Ramayana, is one of the most well-known examples of the traditional folk and religious stories told in Lakhon performances. A key component of Lakhon dance is its elaborate costumes and intricate set designs, which make the dance a remarkable and well-known representation of Thai culture, often represented in their souvenir dolls.

The Catalan sardana is another traditional dance that originated in Spain. This group of dolls represents the Catalan traditional dance, which is a circle of people dancing together. The Catalan people take great pride in this dance. Since everyone of any age can participate in the dance thanks to its gentle movements, it is frequently expressed as a social event. Experienced dancers frequently perform public dances for tourists to witness, although the moves are gentle, they are precise and difficult to learn. The Catalan people view the sardana as a symbol of identity and unification, and it is considered iconic iconography for the region.

The numerous dancing dolls in Ann Connolly’s collection highlight the deep connection between folk dance and cultural identity. These dolls not only capture the beauty and intricacy of traditional dances like the Spanish flamenco, and French cancan, but also preserve the stories and traditions embedded within these art forms. Whether celebrating social unity through the Catalan sardana or reflecting the historical significance of the Thai lakhon, each doll serves as a vibrant testament to the enduring role of dance in expressing and preserving cultural heritage across the globe.

Another aspect of national culture that is seen in dolls in this collection is the inclusion of animals. Throughout history, animals have been integral to human society in a variety of ways, including companionship, horseback riding, and the transportation of supplies by donkeys and camels. In many cultures, these animals have become as synonymous with their lives as national costumes are.

A cloth doll of a Peruvian woman holding a llama

The llama and its connection to Peruvian culture are a well-known instance of animals having a connection to national culture. The vicuña, which is the national animal of Peru, is related to the llama and alpaca and can be found all over the country and the Andes. In Peruvian folklore, llamas are associated with wealth, good fortune, and gratitude. They have long been ingrained in both Peruvian and larger Andean cultures. Historically, llamas were employed for cargo transportation, and now, wool from them is one of Peru’s most sought-after products.

A leather doll featuring a man riding a camel

Camels native to northern Africa are known as “dromedary camels,” or camels with a single hump, and have long been employed in Morocco for both transporting people and cargo. The origin of this leather doll depicting a man riding a camel is Marrakesh, Morocco, a city strongly associated with camel imagery. Leather camels are a common souvenir from the nations in the region, and camels are a famous symbol of northern Africa.

The presence of animals in this collection underscores the deep connections between animals and people around the world. From the revered llamas of Peru, symbolising wealth and good fortune, to the iconic dromedary camels of Morocco, these animals are more than just companions; they are cultural symbols. Each doll featuring an animal tells a story of how deeply these creatures are woven into the daily lives and identities of the people they represent, further enriching our understanding of cultural heritage and the importance of animals in forming this.

A surprisingly prevalent feature of dolls in this collection is their use of jobs as symbols of national culture. By looking at the jobs that these dolls represent, tourists can gain greater insight into the customs and lifestyles of these cultures. Many of these occupations, such as the lacemakers from Bruges, have come to be associated with the area. Individuals who work in particular professions also often wear recognizable apparel with a symbolic meaning; examples of this are the English royal soldiers and the Swiss guards at the Vatican. Leading to them being well known tourist symbols.

Two English royal soldier dolls — The popular imagery of English royal soldiers are commonly depicted in dolls

A Nazaré woman with a basket on her head

The Nazaré dolls from before serve as an illustration of this. The local fisherwomen are portrayed by these dolls. Many Nazaré women carried baskets of fish on their heads to and from the beach; their bare feet and the previously mentioned short skirts helped them wade through the water. Since the majority of Nazaré people were historically fishermen, this line of work had a significant impact on their way of life in terms of food, fashion, and tourism.

The intricately detailed lacemaker dolls from Bruges, Belgium

These Belgian lacemaking dolls from Bruges are among the most unusual dolls in the collection. In the sixteenth century, Bruges gained notoriety for its lacemaking. Through lace schools, lace making was brought to the city with the goal of providing impoverished women with a means of subsistence. Bruges lace gained immense popularity across the nation and significantly increased tourism in the city. Instead of using the more popular bobbin method, Bruges lacemakers usually employed small hand held looms like the ones portrayed in these dolls. Bruges is still well-known today for its lace business.

Soldiers are a typical occupation shown in this collection of dolls. The honour guards of Vatican City, commonly known as the Swiss guards, were traditionally assigned to safeguard the pope. Being among the most established military groups still in service, they are recognized by their vividly coloured uniforms. Swiss guards are exclusive to Vatican City and have come to represent the small nation.

Unlike other dolls in this category, this one features a person who is more representative of a way of life than a profession. In the late 19th and early 20th centuries, Australian swagmen were transient labourers who travelled from farm to farm performing odd jobs, most common during recessionary periods. Because they carried their possessions in a bag known as a swag, they were referred to as swagmen. In Australian culture, swagmen came to represent anti-authoritarian ideals and were the focus of numerous folk ballads and songs.

The intricate and colourful Geisha dolls

As demonstrated by these three beautifully detailed dolls, Japanese geisha are professionals of traditional Japanese art forms like dance and music. They are also recognized for their traditional kimonos and makeup. Due to the fact that western media frequently portrays geisha as stereotypical Japanese characters, geisha are an essential component of Japanese tourism. They have come to represent Japanese culture abroad to such an extent that the overcrowding in Gion, Kyoto, the capital of the Geisha, has made it illegal for tourists to enter the streets.

These dolls vividly illustrate how occupations serve as powerful symbols of national culture. Through the representation of various jobs, these dolls provide a window into the daily lives, customs, and identities of different regions. Whether it’s the skilled lacemakers of Bruges, the revered Swiss guards of Vatican City, or the iconic Japanese geisha, each doll embodies a profession deeply rooted in its cultural context. By portraying these roles, the dolls not only highlight the significance of these occupations but also enrich our understanding of the cultures they represent.

A nation’s religion is frequently ingrained in its culture. It should come as no surprise that souvenir dolls are a common way for people to express this important aspect of their lived experiences. Particularly holy places, like Lourdes, are frequently entwined with religious characters and images, which are frequently on exhibit as souvenir dolls.

This doll depicts an orthodox Jewish Rabbi holding a Torah

Dolls in religious garb are common souvenirs from holy places

From the shrine of Lourdes, the three dolls on the right are all depictions of Saint Bernadette. As a result of her spiritual apparitions, which helped to establish the shrine of Lourdes, Saint Bernadette gained notoriety and is today associated with the place. frequently portrayed in souvenirs sold to tourists and in artwork featuring Lourdes.

These dolls, particularly those depicting religious figures like Saint Bernadette from Lourdes, offer a tangible connection to the sacred places they represent. By embodying religious narratives and characters, such dolls not only serve as mementos for visitors but also as symbols of the spiritual significance of these locations. This collection underscores the role of religion in shaping cultural expressions, making these dolls poignant reminders of the faith that permeates everyday life in many parts of the world.

Objects are another prevalent feature of national culture that these dolls portray. Including tools used traditionally for labour, like Ghanaian baskets, and musical instruments, such Scottish bagpipes. These items can be used to symbolise a wide range of cultural elements, with a focus on traditionally feminine creative forms.

This doll represents a woman from northwest India’s Rajasthan region. She is carrying a matka, a clay pot that is used for cooking and as a musical instrument. Matka is the Rajasthan region’s version of the ghatam instrument. Even now, matka and ghatam are important components of Rajasthani and Indian folk music and culture. The majority of matka players are men, but there were also a lot of women among them due to the pot’s association with the stereotypically feminine realm of home cooking.

A large collection of Scottish dolls, many of them holding bagpipes — The large collection of Scottish dolls, many of them holding bagpipes

Scotland has come to be associated with the bagpipes. While pipe instrument playing is a tradition in many European nations, most of them saw a decline in popularity in the 20th century. The Scottish bagpipes became the most well-known pipe instrument in the world partly due to the fact that military bands played them, which helped them to remain relevant. Many of these dolls are holding bagpipes, and all of them are dressed in the characteristic tartan cloth of Scotland.

A doll from Ghana depicting a woman holding a basket

The label on this doll says, “woman about to carry basket, Ghana”. Ghana and other West African nations have a long history of basket weaving. Bolga, or traditional Ghanaian baskets, are an essential part of daily life and have developed into a form of art mostly produced by women in Ghana. These baskets, which were traditionally weaved with symbols and utilised in many ceremonies, are an essential component of the region’s cultural history. African basket weavers now weave and sell a variety of different items, including purses, as their artwork has gained global popularity.

Italian dolls from a variety of regions holding water jugs

These four dolls are from three separate parts of Italy: Rome, Umbria, and Puglie. The commonality between the four are the jugs they are holding, a reference to Italian terracotta pots. The Italian Renaissance artists gave us the modern name “terracotta,” which means “cooked earth,” and helped popularise the use of terracotta in the West. Since the Middle Ages, terracotta jugs have been produced and used all across Italy. During the Renaissance, however, they became highly prized works of art, which they remain to this day.

Two dolls from Wales and one from the Isle of Man

I was interested in these three dolls because they depict traditional attire that I had never seen before. The doll clad in purple on the right is from the Isle of Man; the two dolls on the left are Welsh. The dragon-shaped brooch on the first Welsh doll’s cloak made her readily recognizable. Wales’s national symbol is the dragon, which is widely represented throughout the country’s history and is most famously found on its flag. The Isle of Man doll is wearing a classic Manx tartan shawl, which is characteristic due to its distinct purple colour.

These dolls in Ann Connolly’s collection highlight how objects, deeply embedded in national culture, are represented through souvenir dolls. These objects, whether they are tools, musical instruments, or traditional crafts, offer a tangible connection to the everyday and traditional lives and art of their regions. From the matka pots of Rajasthan, which bridge the domestic and musical realms, to the iconic Scottish bagpipes, and the Ghanaian baskets that carry both practical and symbolic significance, each item tells a story of cultural heritage.

Unusual fabrics are used to create some of the collection’s most distinctive dolls. dolls with distinctive textiles are created For a multitude of reasons. They stand out from the other dolls in the collection and may represent regional flora and fauna, like in the case of the Lanzarote palm leaf doll, or they may represent customs associated with the creation of dolls, as in the case of the Mexican rag doll.

A doll from Lanzarote made from dried palm leaves

Dried palm leaves were used to create this doll from Lanzarote. Natural fibre dolls, like those constructed from corn husks, are a global heritage, especially in Native American and Pagan European cultures, as well as in Africa and South Asia. Although not traditionally made in Lanzarote, these palm leaf souvenir dolls are a way for visitors to bring a little bit of Lanzarote home with them.

This string duo portrays the customs and attire of Sintra, Portugal. The man is playing the traditional Portuguese cavaquinho guitar, and the woman is wearing a bundle on her head. Here, the choice of distinctive cloth seems to have been made primarily for aesthetic reasons. The simple design still manages to incorporate aspects of Sintra’s traditional culture.

Two Mexican dolls, a more common looking one on the left, and a traditional ragdoll on the right — Two Mexican dolls, a more traditional looking one on the left, and a fabric ragdoll on the right

The cloth doll on the right is a traditional Mexican rag doll, often known as a Maria doll. The Mazahua-Otomi people made the first Maria dolls in the Queretaro region, believing them to bring good fortune. These dolls, which come in different sizes, are traditionally made by Queretaro inhabitants as a means of expression. However, these days, they are sold as tourist souvenirs across South America and the United States, serving as a symbol of Mexico.

These particular dolls showcase the cultural significance of unusual fabrics in creating distinctive dolls. These dolls, made from materials like Lanzarote palm leaves or traditional Mexican cloth, not only stand out aesthetically but also carry deep cultural meanings. Whether representing the local flora of Lanzarote or the heritage of the Mazahua-Otomi people, these fabrics are more than just materials—they are integral to the stories and traditions of the regions they come from. These dolls offer a unique glimpse into the diverse ways cultures express their identities through the artistry of fabric.

The representation of ethnic minority cultures in these dolls is an especially fascinating example of national culture. Members of minority groups have expressed great discontent over the representation of ethnic minorities in tourist souvenirs, arguing that such depictions are inaccurate and capitalise on their culture. This collection includes many dolls that depict individuals of indigenous cultures or ethnic minorities. It’s fascinating to note how prevalent these dolls are in this collection relative to other cultures within an area; for example, there are notably more Native American dolls than dolls from other ethnic groups in North America. Since members of the minority group do not sell these sometimes incorrect depictions of ethnic minorities, the practice of commercialising and making money off of them has drawn criticism. Having said that, these dolls are extremely unique and important in history.

Two detailed dolls representing Sámi people

These two dolls represent the Sámi people. Parts of northern Finland,Norway, Sweden, and Russia are home to the Sámi people. They are sometimes mistakenly believed to only live in Lapland, while their ancestral homeland is much larger. With their own flag and national anthem, the Sámi regard themselves as a distinct nation. Due to its vivid colours and distinctive materials—bright reds and blues with elaborate embroidery and reindeer fur—their traditional attire, known as gakti, is well-known and famous. The commercialisation of Sámi culture, especially in Finland, has drawn criticism from Sámi people for cultural exploitation and misconceptions because they have traditionally faced discrimination in their home nations.

The large and varied collection of Native American dolls

The Native American and Canadian dolls in this collection are some of my favourites. These dolls’ wildly diverse styles and appearances effectively highlight the variety of dolls in this collection as a whole. The distinctive clothes that each of these dolls is wearing symbolises the wide variations in attire worn by native populations in the United States and Canada. The garments displayed share elements such as animal hides, headbands, and beaded embellishments. An essential component of traditional Native American societies was the art of doll making. These traditional dolls are frequently used to distinguish various tribes’ diverse clothing styles. The validity and morality of tourist portrayals of Native American cultures have come under scrutiny, much like depictions of Sámi cultures.

This doll shows a Iu Mien mother and her child. The Yao people, originally from China, include a subgroup known as the Iu Mien, who live in southeast Asia. The Iu Mien are found throughout China, Thailand, Vietnam and Laos, this particular doll comes from Thailand. This doll demonstrates the intricate stitching and beaded decorations found on traditional Iu Mien clothes. The Iu Mien people are traditionally nomadic and have a long history of travelling around southeast Asia. They have also established villages and integrated into many different countries.

A doll representing a Maori woman from New Zealand

This New Zealand doll, designed like a Barbie doll, depicts a Maori woman, the indigenous Polynesian people of New Zealand.. Their traditional attire consists of skirts made of flax (straw), animal hides, and feathers. This doll is wearing a korowai, a feathered cloak that is symbolic of prestige. Maori-made souvenirs have been more popular recently as a result of the movement to give Maori people ownership of their own tourism industry.

The depiction of ethnic minority cultures in dolls, as seen here, raises important questions about cultural representation and commercialisation. These dolls often reflect the unique attire and traditions of indigenous and minority groups, but their portrayal has also sparked criticism for inaccuracies and cultural exploitation. Overall, while these dolls offer a fascinating glimpse into the cultural diversity of various ethnic minorities, they also underscore the ongoing challenges related to the accurate and respectful representation of regional cultures as a whole in tourist souvenirs.

There are many additional interesting dolls in this collection that don’t fall into any of the other categories but are nonetheless important to discuss. Specifically, the Irish dolls symbolise the various ways that our culture is exhibited to tourists.

A collection of Irish dolls depicting many stereotypes

These Irish dolls include extremely stereotyped images of Irish culture, including a leprechaun and green clothing. These dolls, which illustrate how various facets of culture are frequently combined to express nationhood, are one of the reasons I find them so appealing. The three more conventional souvenir dolls, with their green materials and knitted and lace accents, indicate a highly stylized representation of traditional Irish clothing. The red-haired, Barbie-like “Colleen” doll in the centre is donning a green dress adorned with gold shamrocks, an emblem frequently used to signify Irishness. The leprechaun doll demonstrates the frequent usage of stereotypes in tourism-related marketing.

By contrast, these two dolls, though they were both produced in Ireland, depict Irish dolls in rather different ways. The doll on the right is an Irish “little red riding hood” from the 1950’s, and the doll on the left is dressed more authentically in traditional Irish garb.

These Irish dolls collectively demonstrate the complexities of cultural representation, particularly in how nations present themselves to tourists. They show how cultural symbols can be both preserved and transformed, through blending authentic traditions with commercialised imagery to create a version of culture that is both recognizable and marketable.

As seen through Ann Connolly’s extensive collection, souvenir dolls can encapsulate the diversity and richness of cultures from around the world, offering a tangible connection to the places they represent. Whether through traditional attire, symbolic hats, folk dances, or representations of occupations and animals, these dolls tell the stories of their regions with remarkable detail and craftsmanship. However, the collection also highlights the complexities of cultural representation, particularly in the portrayal of ethnic minorities and the commercialization of indigenous cultures. While these dolls serve as valuable educational tools and reminders of global diversity, they also prompt important conversations about authenticity, cultural appropriation, and the ethics of cultural souvenirs. This collection is a testament to the enduring power of dolls as cultural artefacts, preserving and celebrating the unique heritage of cultures across the globe.

Ann’s collection features a great many more dolls, each one representing its culture through an interesting variety of means, here are just a few others I found particularly interesting.

Lauren Kavanagh, Researcher, Museum of Childhood Ireland Collections Team.