Some recent themes

I never know which of my diverse topics will prove popular. In a way I’m not bovvered—you don’t spend half your life doing fieldwork on Daoist ritual if you’re hoping to be an overnight TikTok sensation. Like Flann O’Brian, I write largely

without regard to expense or the feelings of the public.

Still, I sometimes find it perplexing when one post gets a lot of readers while another related one goes down like a one-legged man at an arse-kicking party.

For instance, Shamans in the two Koreas went modestly viral, whereas readers were underwhelmed when I reposted my roundup of essays on Spirit mediums in China. Would that be because the word “shaman” is clickbait—or is it that North Korea seems more exotic than the PRC?

My lengthy reflections on the new British Museum exhibition China’s hidden century have been well received, with many instances of the wealth of material on the late Qing that can be gained from fieldwork among local rural traditions. Just as fascinating is the life of Nadine Hwang—her high-flying early life in Beijing and Paris, then meeting her partner Nelly Mousset-Vos in the hell of Ravensbrück, and living together in Caracas after their release.

To my chagrin, rather few readers seem to share my enthusiasm for either WAM or pop music—both Beethoven’s Op.109 sonata and Mr Sandman are utterly captivating!

Similarly under-subscribed are my posts on tennis (e.g. Cocomania, A glorious playlist for Emma and Leylah, and the wacky linguistic fantasy Ogonek and Til), along with the genius of Ronnie O’Sullivan on the baize. Hey-ho.

And Love, Deutschmarks, and death is just as fascinating a film as Jazz in Turkey. Thankfully my film about the Li family Daoists, the original raison-d-être of this whole wacky pot-pourri, continues to find viewers.

Just saying, like… I’ll just keep on rabbiting on about things that inspire me.

The lost women of British jazz

Rogers
Gwen Rogers and Her Musical Dolls.

My jazz series is naturally dominated by the scene in the USA—with occasional forays to Poland, Germany, Turkey, Shanghai, Japan, and Ethiopia. A 2007 article by Catherine Parsonage and Kathy Dyson documents the history of women’s jazz in Britain; and in a BBC Radio 4 programme from 2014,

Janine H. Jones explores the early years—and “the tragic story of how a burgeoning musical equality was deliberately snuffed out”. Leading women musicians recall the times, with further contributions from pianist Jen Wilson and historian/photographer Val Wilmer. As singers, women have always been put on a pedestal; their early contributions as instrumentalists are less well-known.

After the end of World War One the UK became a hotbed of music, with bars, clubs, and bottle parties hosting bands every night and women jazzing alongside the men. An early black British performer was sax-player and multi-instrumentalist Sadie Crawford (1885–1965; see also here). By the early 1920s the white pianist Natalie Spencer (also 1885–1965?) (listed here) was playing with the visiting Southern Syncopated Orchestra and leading her own trio.

Left, Sadie Crawford, 1935; right, Valaida Snow for a 1945 advertisement.

Valaida Snow (1904–56) was a trumpet player (known as “Little Louis”) and singer from Tennessee who was popular in the UK. She toured throughout the USA, Europe, and China—from 1926 to 1929 she toured with Jack Carter’s Serenaders in Shanghai, Singapore, Calcutta, and Jakarta. On tour in Denmark during World War Two, when the Nazis invaded she was imprisoned for a period in a Copenhagen jail. Her recordings have been unearthed by Val Wilmer. Here’s High hat, trumpet, and rhythm:

and Poor butterfly (1936):

Another fine black musician on the Soho jazz scene was pianist Clare Deniz (1911–2002)—who married into a fine jazz lineage from Cardiff.

One of the leading early all-female bands was Gwen Rogers and Her Musical Dolls. This recording comes from 1928:

Here the broadcast offers a litany of disparaging sexist comments of the day, egged on by Spike Hughes at the Melody maker. The BBC took a similar line for many years, but in 1943 they made Ivy Benson (1913–93) and her All Girls Band their house band.

Benson

Benson’s band had a high turnover of musicians, as they frequently left to marry G.I.s they met while touring. She once commented, “I lost seven in one year to America. Only the other week a girl slipped away from the stage. I thought she was going to the lavatory but she went off with a G.I. Nobody’s seen her since.”

Here’s a 1947 recording of Not so quiet, please:

Gracie Cole (1924–2006) played trumpet in the band, and formed her own female band in the 1950s, in which Sheelagh Pearson played drums.

Women constantly had to wrestle with male prejudice. Having struggled to keep them in their place in the inter-war years, men reasserted their dominance after World War Two. By the 1950s the respected sax player Kathy Stobart (obituary here) was still having to fight for recognition. Here she is in 1958 with Humphrey Littleton:

The programme makes a fine introduction to a neglected aspect of British social and musical history.

* * *

For early black musicians in Europe, click here. On the British jazz scene since the 1950s, note George Melly’s wonderful memoir Owning up. Women play a major role in the new British jazz (see also here). Cf. Women in early Irish music. And for WAM in wartime, note Myra Hess and her National Gallery concert series.

Love, Deutschmarks, and death

The Germans wanted workers, and they got human beings.

One of the main aims of ethnomusicology is to integrate musical and social insights, as in classics like Enemy Way, Sardinian chronicles, Thinking in jazz, and Soundscapes of Uyghur Islam. So I was fascinated to watch the documentary

  • Aşk, Mark ve Ölüm (Love, Deutschmarks, and death, Cem Kaya 2022) on Mubi. Here’s a trailer:

See this interview with the director Cem Kaya, and introductions e.g. here and here.

The film vividly evokes the lives of Turkish immigrants to Germany from their early days as Gastarbeiter struggling for jobs and rights as workers (music making a means of expression for those lacking a voice in society), right through to rap/hip-hop, as their descendants assert their rights as citizens.

Ismet TopcuThe Turkish music scene in Germany was far from homogeneous. Cem Kaya elicits some excellent comments from characterful musicians. The film opens and ends strikingly with İsmet Topçu, the Hendrix of the bağlama, putting the story in wacky extra-terrestrial context…

old movie

Among the first wave of Gastarbeiter was the protest singer Âşık Metin Türköz, who found a huge audience among the poor factory workers with his songs reflecting their harsh life:

He became the first Turkish star to sing in German:

Left, Yüksel Özkasap; right, Cavidan Ünal.

We meet the female singers Yüksel Özkasap (“the Nightingale of Cologne”) and Cavidan Ünal, as well as the brilliantly camp Hatay Engin (playlist). Such singers who made their name in Germany become popular in urban and rural Turkey too.

The film shows evocative archive footage of the first waves of Gastarbeiter from 1955. Turkish workers were always at a disadvantage besides their German colleagues, but by the 1970s, as the economy went into recession, they came out together on strike. Paradoxically, the 1980s were a heyday for gazinos (cf. The Club)—more footage of the Türkische Basar in Berlin—and the conspicuous consumption (flashing the cash) of ostentatious weddings, which required musicians to perform in regional styles from all over Turkey. Visiting Turkish stars like İbrahim Tatlıses, Zeki Müren, and Ferdi Tayfur drew huge audiences among their compatriots in Germany.

Like the Black Sea, Germany is a region of Turkey…

The theme of protest continues with the charismatic Türk-rock singer Cem Karaca and his band Die Kanaken. He left Turkey for Germany in 1979, but when the post-1980 coup government issued an arrest warrant for him and other intellectuals, he was unable to return home until 1987. This playlist has 62 tracks—here’s Mein Deutscher Freund:

and Es kamen Menschen an (1984):

Another critical singer was Ozan Ata Canani, here with a variation on the “German friend” theme:

Further listening on the Songs of Gastarbeiter compilations (here and here).

Also impressive are the folk-rock/disko-folk duo Derdiyoklar—here they are performing live for a wedding in 1984:

Perhaps their most successful song was Liebe Gabi—again protesting racism:

As the early Gastarbeiter settled, new German-born generations created their own styles, with arabesk leading to R’n’Besk. We find Derya Yıldırım accompanying her wistful song on bağlama, before she progressed to Anatolian psych-pop with her Grup Şimşek. The film’s third section covers recent years. As anti-immigrant sentiment grew in Germany from the 1980s, increasing after the Fall of the Wall, young hip-hop artists from a “lost generation” born of immigrant parents (multi-ethnic groups like King Size Terror and Microphone Mafia) confronted xenophobia and the rise of the far right. Cem Kaya draws astute comments from popular Turkish-German “oriental” rappers of the day such as the inspirational mentor Boe B. (1970–2000) of Islamic Force (musical wing of the 36 Boys gang):

Also contributing are Kabus Kerim and Erci E. of the short-lived but influential Cartel; Muhabbet, who also gained a wide following; Tachi of Fresh Familee and Volkan T error of Endzeit Industry. Such rappers creatively combined their mother tongues with German in Kiezdeutsch or Kanak sprak (cf. French slang).

To complement the archive footage and interviews, Cem Kaya has really gone to town on the psychedelic captions.

captions

Do also watch the documentary Jazz in Turkey, leading to several posts on the Istanbul jazz scene, as well as an introduction to Alevi ritual in Istanbul that ends with a note on its fortunes in Germany—all part of my extensive series on west and Central Asian cultures.

* * *

Another impressive recent exploration of Turkish-German identity is the stage drama Türkland, realised by Dilşad Budak Sarıoğlu, Ilgıt Uçum, and İrem Aydın.

turkland

Mr Sandman

🎶 Bong bong bong bong 🎶

Mr Sandman

Earworms come and go. For me, recent ones include Comment te dire adieu, the finale of Beethoven Op.109, and the Debussy trio, but at present they’re being outranked by Mr Sandman.

Written by Pat Ballard in 1954, it’s one of the dreamiest songs “like, ever“—instant nostalgia (in a good way), ambivalent but utterly irresistible. It was soon recorded by Vaughn Monroe, making a pleasant enough jazz ballad. But later in 1954 came an enchanting version by The Chordettes—full of quirky details in harmony, rhythm, and orchestration. Here they sing it live in 1958:

Later that year the Four Aces recorded it too; despite its classy arrangement and snappy rhythms, I find this version more slick, but this was the version chosen for the 1985 movie Back to the future, when Marty is transported back to 1955:

While the sandman references the figure of European folklore, the lyrics suggest, more mundanely, that the (American) dream they want to be brought is closer to a “dreamboat” (m’lud):

Mr Sandman, bring me a dream
Make him the cutest that I’ve ever seen
Give him two lips like roses and clover
Then tell him that his lonesome nights are over
[…]
Give him a pair of eyes with a come-hither gleam
Give him a lonely heart like Pagliacci
And lots of wavy hair like Liberace

Male and female alternatives of the lyrics were offered all along (Make her complexion like peaches and cream…), though the male gaze doesn’t stretch to a version of the inspired Pagliacci/Liberace couplet.

Among various later versions, Emmylou Harris made an affectionate tribute in 1981:

For some very different dream songs, try Dream a little dream of me, and Australian Aboriginal songs.

Grimaud graces London again!

HB London 2023Source.

Following my tribute to the miraculous Hélène Grimaud, it’s high time to rejoice again in her entrancing presence. She performs in London far too infrequently; a concert in June 2020 having been cancelled during Covid, the last time I heard her in person was in 2015 when she played her Water programme. So I couldn’t miss her Barbican recital last week, playing a programme of Beethoven, Brahms, and Bach-Busoni * in the midst of a tour of Germany and France.

I generally go to some lengths to avoid Beethoven, my wariness confirmed by Susan McClary. I grew up on his late string quartets, but I hardly know the piano sonatas, so Op.109 (1820) came as a revelation. While its improvisatory quality clearly suits Grimaud, to me the manic contrasts of the first two movements often sound like an ADHD diagnosis; but the final movement, with its variations on a tranquil, intense theme (Gesangvoll, mit innigster Empfindung—in the incandescent key of E major, to boot), is a real apotheosis. Here’s her 1999 recording of the movement:

She has a particular affinity with Brahms, and continued with the “private musings” of his late works from 1892–93 (for some reason I’ve always thought of Brahms as mid-century, but the symphonies are from the 1870s and 1880s, and he knew Mahler). First the Three intermezzi, “lullabies in all but name”:

And then after an interval, the Seven fantasias, a contrasting series of intermezzos and capriccios—the fifth movement particularly haunting for me:

In 1877 Brahms had adapted Bach’s monumental solo violin Chaconne (featured here) for piano (left hand—cf. Ravel!). Instead, Grimaud segued from the Seven fantasias into Busoni’s 1893 arrangement of the Chaconne, which I mentioned under Alternative Bach. Here she plays it live in 2001:

Lastly as encores for the rapturous audience she played Rachmaninoff and Silvestrov—the latter part of her latest project.

Averse as I am to the whole mystique of “Pianism”, Hélène Grimaud joins a cohort of celestial musicians of yore for whom the piano is merely a vessel; ** she vanishes deep inside the music, leading us with her. While she’s a devotee of rubato, her playing is unadorned and serious, eschewing mere virtuosity, never glamorising the music. The mood set by her languid stroll on and off stage (gliding, dreamy but not casual—roaming the clouds), once seated at the piano she plays for herself, as if we are but eavesdroppers. To hear her is one of life’s great blessings.

* * *

Irreverent musings on Beethoven are linked in my post on the 7th symphony. For more Brahms: Kleiber’s astounding performance of the 2nd symphony, Celibidache with the St Anthony variations, and reflections on HIP interpretations. My many posts on Bach are rounded up here.


* FWIW, soon after reflecting on the BM “China’s hidden century” exhibition, I note the programme spans the Jiaqing to Guangxu reigns—But That’s Not Important Right Now

** Returning to the Beethoven sonata, I was keen to hear the interpretations of two of Grimaud’s own idols, Glenn Gould (Vienna, 1957) and Sviatoslav Richter (Leipzig, 1963). Now I’m also in awe of the 1950 recording by Wilhelm Backhaus; and the same year in Moscow, the recording of Richter’s teacher Heinrich Neuhaus (one of few who observes the Andante marking of the finale’s theme) has an authentic feel. Going back to 1927 is a piano roll of Alfred Cortot. Without getting too nerdy about HIP, one can’t help wondering about the changing sound of the piano itself—here’s Ronald Brautigam on fortepiano. Oh all right then, let’s admire Alfred Brendel live in 1995.

salon 1915
Posted in Kuzguncuk,
where Beethoven resounded at the kösk of Abdülmecid in 1915.

China’s hidden century

Following the flummery of the Coronation, I keep finding myself perplexed by the ways in which elites dominate images of society.

BM catalogue
Exhibition catalogue.

The new exhibition at the British Museum, China’s hidden century, is a splendid idea. If the Qing dynasty is a poor cousin of the Ming, the 19th century has suffered by comparison with the long and glorious early-Qing reigns of the Kangxi (1661–1722) and Qianlong (1736–95) emperors. So it’s a worthy mission to reinstate the period, “often defined—and dismissed—as an era of cultural decline”, amidst economic crisis, uprisings, and foreign invasion. The Opium Wars of the 1840s marked the beginning of a “century of humiliation”, the late Qing making one of several instances of hitherto thriving empires that now suffered in turn at the hands of foreign imperialism (cf. Pankaj Mishra on the wider context of Ottoman modernization, at end of this post).

Attending a preview of the BM exhibition, I’m reminded that museums and art galleries, and indeed libraries, depend largely on material that reflects the values of a tiny minority of urban educated people (mainly men). This approach was long standard for most societies, but it’s clearly one that more recent historians have been seeking to refine. And of course, like books, artefacts are silent and immobile. Now I don’t mean to give you another of my “What About the Workers?” rants; I quite understand the brief of museums, and the culture of elite minorities has a rightful place alongside those of other social groups. But as anthropologists and ethnomusicologists seek to engage fully with the “red and fiery” nature of performance in local society, the limitations of both museums and elites soon become apparent (see e.g. Society and soundscape, and What is serious music?!).

yyl-on-xiaoSo I’m grateful to the exhibition for stimulating me to revisit some of my own material from the field. In this I’m always in awe of the incomparable erudition of Yang Yinliu (1899–1984). Brought up in Wuxi during the final years of the Qing dynasty, Yang learned instruments from Daoist priests from the age of six, going on to join the refined Tianyun she society and to become a fine exponent of qin zither, pipa and sanxian plucked lutes, while supplementing his training with an education in Western culture.

In his research he had a rare grasp of both early and later imperial history, and at the helm of the Music Research Institute in Beijing after the 1949 “Liberation” he embodied continuity with Qing traditions of performance and scholarship, as well as directing major fieldwork projects.

Proverb
I’m used to people (often local officials, indeed) citing this saying to explain
the inability of Communist policies to penetrate the countryside (an instance here),
but of course its original usage referred to imperial society.

In her online essay, exhibition curator Jessica Harrison-Hall asks,

How did Chinese cultural creativity demonstrate resilience in the face of unprecedented levels of violence in the long 19th century?

In the countryside some ritual and other performing groups suffered interruptions from warfare. Around Jiangsu, the Taiping rebellion must have disrupted some groups; but rather few local traditions were affected by military conflict, and those that were, recovered quite soon. The ritual association of Hejiaying village just south of Xi’an was caught up in conflict soon after the outbreak of the Hui rebellion in 1862, with instruments and scores destroyed and performers killed. The association was only able to relearn much of its repertoire in 1915 from the nearby village of South Jixian; both groups are still active today. I’d like to learn more about reasons for this remarkably long period of inactivity—much longer, for instance, than that between the 1949 Communist takeover and the 1980s’ reforms.

Xi'an village festival, 1950s.

Xi’an village festival, 1950s.

Through the 19th century a major change in local societies was the arrival of Christian missionaries, vividly documented for Shanxi by Henrietta Harrison. By 1900, as the Qing regime went into terminal decline, tensions with traditional religious communities led to the Boxer uprising, when Catholics around Beijing and Tianjin were massacred (as in Gaoluo)—with village ritual associations supporting the Boxers against the Allied armies. Senior villagers whom we met in the 1990s had heard many stories about the events from their parents.

The exhibition has five main themes: court, military, artists, urban life, and “global Qing”. As the online introduction explains,

The show illuminates the lives of individuals—an empress, a dancer, a soldier, an artist, a housewife, a merchant and a diplomat.
Visitors will glimpse the textures of life in 19th-century China through art, fashion, newspapers, furniture—even soup ingredients. Many people not only survived but thrived in this tumultuous world. New art forms, such as photography and lithographic printing, flourished while technology and transport—the telegraph, electricity, railways—transformed society.

This makes sense as far as it goes; but while seeking to reach beyond the elite, whose culture is only the tip of the iceberg in any era, it can hardly address the poor rural areas where the vast majority of the population lived—so any attempt to broaden the topic rather depends on “going down” to the countryside. The evidence for material and expressive cultures may also invite significantly different perspectives. When Dr Harrison-Hall writes “Representing the millions of people who were not wealthy is a challenge as so little survives”, she refers to the material culture preserved in museums. Among the folk, local traditions of ritual and music that endured throughout the troubled 20th century go back multiple generations; many groups preserve early artefacts such as instruments, scores, ritual paintings, and pennants, but more importantly they transmit life-cycle and calendrical rituals that were being modified in ways that can rarely be glimpsed—even in the wealth of field reports for Hebei, Shanxi, and elsewhere in my series on Local ritual.

Niu JinhuaThis reflects another common difficulty: we often seek to document history through major, exceptional events, whereas for peasants customary life is more routine. And apart from artefacts, much of the history of this (or any) period lies in oral tradition—which doesn’t lend itself so well to exhibitions.

Nor do women play a greater role in the traditions I’m about to outline; while we regularly came across elderly women with bound feet, they had hardly been exposed to the public activities of the village with which we were concerned (for posts on gender in China and elsewhere, click here; right, women of Gaoluo).

Even the rubric of “Qing court music” is already broad.

Qinxue rumenFrom Qinxue rumen (1864), with the innovation of gongche solfeggio
added besides the tablature.

The elite solo art of the qin zither is a close ally of museums, having an intrinsic bond with calligraphy, painting, and poetry. Again, qin scholars tend to focus on tablatures from the Ming and early Qing, but John Thompson’s definitive site lists around fifty such volumes from the 19th century. Within this tiny coterie, collections like the 1864 Qinxue rumen 琴學入門 and the 1876 Tianwen’ge qinpu 天聞閣琴譜 must have been in more common circulation than were early manuscripts.

XSBK
Xiansuo beikao score, copied by Rong Zhai in 1814.

It’s also worth observing that there was constant interplay between folk and elite traditions. In Beijing the Manchu-Mongol court elite, such as prince Rong Zhai, were patrons of lowly blind itinerant street performers, with whom they performed a recreational chamber repertoire. For the 19th century we have names (and not much else) of musicians like the blind sanxian player Zhao Debi, and Wang Xianchen, a protégé of the empress Cixi.

XS early
“Musiciens Chinois. légation a Pékin”, Paul Champion, 1865/1866.

In 19th-century Shanghai, the paraliturgical instrumental ensemble of Daoist temples gave rise to the new secular style of silk-and-bamboo, with amateur clubs thriving right down to today. And we can even listen to recordings of music from the late Qing, such as those made by Berthold Laufer in Beijing and Shanghai. Even later releases (e.g. here) reflect an tradition that was unbroken from those times.

* * *

WTS monks and luohan
Former Buddhist monks from Wutaishan with the exquisite arhat at the British Museum, 1992.

As to local temples, again we tend to focus on early dates when they were founded rather than on their social life thereafter, with steles commemorating their periodic renovation. In the temple network of imperial Beijing, traditions of shengguan ensemble which served ritual were inter-related. The Zhihua temple, built in 1443 as the private temple of a Ming eunuch, is famed for not only for its architecture but for its shengguan music, for which we have a precious gongche score from 1694.

Here it’s worth clarifying a significant misapprehension. As with notations for other genres (for the qin zither, the Beijing entertainment repertoire, or the village ritual groups we meet below), the date of copying was always long after the pieces came into currency. Scores were not consulted during performance, but constituted a prestigious artefact for their custodians. So the 1694 score of the Zhihua temple was not “composed” then; moreover, through the 19th century, long after the temple had lost its imperial prestige, the musical monks (yiseng 藝僧) of a network of Beijing temples continued to exchange and recopy scores—an energy that we can only imagine (I eagerly await the publication of Ju Xi‘s research on the evolution of the temple, in the next volume of the major EFEO series Epigraphy and oral sources of Peking temples). Meanwhile, temples in not so distant towns like Chengde and Shenyang were also acquiring new ritual repertoires.

South of Beijing, most village ritual associations on the Hebei plain seem to have been attracted by the same myths as the elite, tracing their history back to the Kangxi and Qianlong eras, or even the Ming—mostly on the basis of long oral tradition or early artefacts. While fieldworkers tend to dismiss the Chinese scholarly fashion for seeking “living fossils” in local traditions, when we extend our enquiries beyond contemporary observation to the past, perhaps we too are guilty of focusing on such early clues, rather downplaying references to 19th-century reign-periods:

Jiaqing 1796–1820
Daoguang 1821–50
Xianfeng 1850­–61
Tongzhi 1862–74
Guangxu 1875–1908

Yet despite the successive upheavals of the 20th century, visiting such groups in the 1990s we gained an impression of remarkable continuity.

Miaoyin transmission 1920
Recopyings of shengguan scores transmitted by Miaoyin,
including Tongzhi 13th year (1874). Hanzhuang village, Xiongxian, 1920. Photo: 1993.

Mostly we have to imagine Buddhist and Daoist priests arriving in rural temples to invigorate village ritual associations. In villages around Xiongxian county, the Buddhist monk Miaoyin transmitted a magnificent repertoire of shengguan suites in 1787, whose gongche scores were periodically recopied over the following 150 years.

S. Shilipu yunluo
Base of yunluo gong-frame with a Guangxu-era date equivalent to 1903,
South Shilipu ritual association.

Around the Baiyangdian lake, members of the Buddhist-transmitted association of Greater Mazhuang recalled an account in their old scriptures that in the Xianfeng era (1850–61) an elderly monk called Runan, from the Xingfu si temple in Libao village in Mancheng, came here regularly for three years to teach them. Nearby in Xin’anzhuang, a 1990 history of the association lists three changes of pennant over the previous two centuries and more: Daoguang 12th year [1832], Guangxu 3rd year [1877], and Republic 26th year (1937).

Ritual artefacts, South Gaoluo:
left, dragon placard, Guangxu reign 1st year [1875] 3rd moon 15th day,
at the behest of ritual leaders Heng Yun and Shan Wenrong;
right, ritual curtain, 1892.

In the village of Gaoluo, my main fieldsite through the 1990s, a new temple built in 1844 proclaimed the identity of a separate south village. In 1875 a “dragon placard” asserted allegiance to the new emperor, and a ritual curtain from 1892 was still displayed in the lantern tent for the New Year’s rituals in the 1990s (see early history, and ritual images).

Among ritual associations in this region the popular “southern music” that competed with the “classical” shengguan instrumental ensemble is commonly dated to the early 20th century, but Qianminzhuang in Xushui county (later famed during the Great Leap Forward) was among several village associations said to have learned in the Xianfeng era (1850–61) when the Daoist priest Wang Leyun came from Nangong county to transmit the style.

Genealogy of the Li family Daoists, from Li Fu, first in the lineage to learn Daoist ritual
in the 18th century (see also Customs of naming).

Our perspectives change once we engage with living traditions. By the 1990s, when we met senior ritual specialists born around the 1920s, they could often list the names of their forebears back five or more generations. Even if we can rarely do more than document their names, they would naturally feel more of a connection with their grandfathers than with earlier ancestors. For Shanxi, I think of hereditary household Daoist traditions like that of the Li family Daoists in their home village of Upper Liangyuan; if only we could learn more about the life of Li Qing‘s great-grandfather Li Xianrong (c1851–1920s), some of whose ritual manuals the family still preserves.

Left: manual for Presenting the Memorial ritual, copied by Li Xianrong.
Right: Li Manshan discovers temple steles.

Temples continued to be restored throughout the late Qing. The village’s Temple of the God Palace (Fodian miao) fell into disuse after Liberation (see our film, from 08.25), but we found a stele composed  in Guangxu 6th year (1880), the year after the villagers completed a new bell tower and four priests’ rooms in gratitude for the end of a drought following a rain procession in Tongzhi 6th year (1867). But severe droughts again afflicted Shanxi from 1876 to 1879, so perhaps the stele further offered gratitude for this second recovery.

Another instance from Shanxi: we can trace the hereditary transmission of the Zhou lineage of Complete Perfection household Daoists in Shuozhou county. Of the third generation, probably active from the late 18th century, Zhou Laifeng was a temple Daoist, his younger brother Zhou Lailong a household Daoist.

Yuhuang miao ms

Their descendant Zhou Erdan showed us a manuscript Yuhuang shangdi beiji (above, probably copied by his uncle Zhou Fusheng), that reproduces an 1813 stele of the Yuhuang miao temple in Shuozhou town, mentioning the brothers’ fine calligraphy.

Tianjin huanghui tuFrom Qing-dynasty Tianjin Tianhou gong xinghui tu 天津天后宫行會圖.

Yet another instance of a tradition maintained through from the 18th to the 20th centuries is the “imperial assembly” of Tianjin, in this case among folk dharma-drumming associations.

* * *

Wanhe tang 1993
Wanhe tang musicians, 1993, heirs to an illustrious tradition.

As to local traditions of narrative singing and opera, the respective provincial monographs of the great Anthology of folk music of the Chinese peoples (Zhongguo quyi zhi, Zhongguo xiqu zhi) contain much evidence for both material artefacts and oral tradition (e.g n.2 here; further citations in posts under Chinoperl). Near Suzhou, the Wanhe tang Kunqu association was founded in the second half of the 19th century, performing largely for life-cycle ceremonies.

In Shaanbei, the Yulin “little pieces” are said to have been transmitted outside the regional court in the Daoguang era (1821–50) by Li Diankui and his son Li Fang—and the brief biographies throughout the volumes of the Anthology introduce many locally-renowned 19th-century performers. The style of the “little pieces” is thought to be influenced by opera troupes brought by Qing-dynasty regional governors from the Jiangnan region; some local scholars claim that it was based on the opera of Hunan, which may have been brought during the Tongzhi reign (1862–74) by a company attached to a division of Zuo Zongtang’s Hunan army on campaign in the region.

nanyin 86
Nanyin in Quanzhou, 1986.

Further evidence is to be found in the riches of Hokkien culture of south Fujian, such as the exquisite nanguan (nanyin) ballads—the study of which is again rooted in the search for early origins rather than its vibrant later life. Similarly, scholars of  Daoist ritual set their sights firmly on Tang and Song texts, but monographs on local household altars around south China also contain material on 19th century transmissions, including particularly rich collections of ritual paintings and manuals.

Huapencun 2Mural (detail), Shrine to Lord Guan, Huapen village, Yanqing, Beijing suburbs, ~1809.

And to return to rural north China, Hannibal Taubes’ extraordinary fieldwork reveals that painters of temple murals were just as creative through the 19th century as in earlier and later periods. As he notes,

Late Qing murals are characterised by strong use of blue and white. While all of the old themes continued to be painted, a variety of new types of painting appeared in this period, some of them seemingly unrelated to anything which had come before. Important new developments include: new genres of opera-stage murals, often incorporating Western architecture, figures, or text; paintings connected to the Yellow River Formation 黃河陣 ritual; and a large number of rather eccentric Buddhist murals commissioned by charismatic wandering monks.

* * *

Given its parameters, the BM exhibition is very fine; here I’ve just offered a few suggestive instances of the potential for documenting grass-roots history through local fieldwork. Much as we may hope to broaden the social base of our enquiries, it’s often hard to say much more than this: despite growing challenges, rural and urban ritual and performing groups, founded in the 18th century or earlier, maintained activity not only through the late Qing and Republican eras, but even after the 1949 “Liberation” and the convulsive campaigns of Maoism. Still, as the exhibition reminds us, it’s important to join up the dots between the late Ming/early Qing and the 20th century; and whether or not we spell it out, the late imperial period makes a constant backdrop to our fieldwork.

Nadine Hwang

6

I belatedly found the remarkable story of Nadine Hwang (1902–72) through the documentary

It’s the last in Magnus Gertten’s documentary trilogy on the lives of women rescued from Nazi concentration camps in 1945, preceded by Harbour of hope (2011) and Every face has a name (2015) (cf. this site).

While it makes sense within the trilogy, I’m not sure that the contrast between the nightmare of Ravensbrück and the couple’s later carefree life in Caracas quite works. Of course, it was a common reaction for survivors to remain silent about their hellish experiences; for Nadine and Nelly this was compounded by the double burden of their sexuality. In the film, recreating the story in rural France features too prominently, with little context about either the resistance, the camp system, or the Swedish rescue missions. It works better as a love story, in particular that of two brave women.

The story of Nadine asking Nelly to sing an aria from Madam Butterfly on Christmas Eve in Ravensbrück might lead us to the remarkable story of M. Butterfly.

* * *

The story of Ravensbrück and Nadine’s later ménage with Nelly tends to overshadow her earlier life—note articles here and here, the latter with a documentary:

Nadine was born in Madrid of a Belgian mother and a Chinese father, both Catholics. Her father was a diplomat; transferred back to Beijing in 1913 after the collapse of the Qing dynasty, the family moved in high circles.

1

5

Nadine Hwang in the late 1920s. These and other images here from the articles cited above.

Nadine resisted conventional gender roles from young, learning to drive a car and fly planes, and wearing men’s clothes. She became a honorary colonel in the Air Force of Shandong warlord Zhang Zongchang and later a lieutenant in Chang Hsueh-liang’s army. By the age of 25 she was working for the Beiyang government as adviser to Prime Minister Pan Fu. As a 1928 German report described,

She changes her personality with her costume and appears in the twelve hours of the day as a tomboy par excellence, a dashing officer, a politician, a young society girl and an accomplished world lady. In the morning she is seen riding, fencing or playing tennis in a correct man’s suit, until she goes to her office punctually at 8 o’clock, at the flounce of her own car, with a chauffeur-soldier behind her.

4

But by 1933 unrest and Japanese incursions prompted her to move to Paris, giving lectures around Europe and the USA while leading a bohemian life. She became chauffeur and soon lover of the socialite Natalie Clifford Barney, taking part in lively artistic salons. Under Nazi occupation Nadine seems to have worked as a spy for the French Resistance. She was deported to Ravensbrück in May 1944.

2

Kerchief embroidered with names of Ravensbrück inmates.

3

For Republican China, see also Fou Ts’ong, and The qin zither under Maoism. Note the tragic story of Noor Inayat Khan; for occupied France, see Les Parisiennnes, and A life in secrets; as well as my posts on Ravensbrück (with more on Germaine Tillion here) and Sachsenhausen.


* Reviews e.g.
https://www.theguardian.com/film/2023/feb/07/nelly-and-nadine-review-tender-tale-of-lesbian-concentration-camp-survivors
https://www.theguardian.com/tv-and-radio/2023/apr/25/nelly-and-nadine-ravensbruck-1944-storyville-review-a-radical-tale-of-lesbian-love-in-a-concentration-camp
https://www.nytimes.com/2022/12/15/movies/nelly-and-nadine-review.html.

Xu Tong: subaltern lives

Filmed around the very regions where I’ve done my long-term fieldwork on ritual life in north China, the documentaries of Xu Tong 徐童 (b.1965) make deeply uncomfortable yet necessary watching. *

His work explores aspects of subaltern people’s lives of which I’ve only been peripherally aware. I’ve never wished to filter them out: unlike most portrayals of religious activity in China, my films show glimpses of itinerant performers, grave-diggers, beggars, pop music, smoking, joking… But my focus has made it hard for me to do these people justice.

As peasants migrate to urban areas in search of labour, choosing urban squalor over rural poverty, the depletion of the villages continues. In Xu Tong’s films, the scenery alone challenges our image of China’s rapid economic progress; the values of the pre-Liberation and Maoist eras (whether traditional, religious, or socialist) are almost entirely absent, yet one catches hints of a different kind of morality. As I observed in my post on Guo Yuhua, under Maoism the Chinese Masses were thoroughly exploited even while they received empty praise as salt-of-the-earth laobaixing, but since the 1980s’ reforms, state media have serially demonised them with the taints of  “low quality” and “low-end population”.

  • Cut out the eyes (Wa yanjing, 挖眼睛, 2014) is a most striking documentary (substantial review in Chinese here), in which Xu Tong follows round an itinerant blind errentai singer in rural Inner Mongolia—just north of my fieldsite in north Shanxi.

ZJYT beggars

Itinerant beggars at funeral, 2018. My photo; see Yet another village funeral.

Small groups performing errentai songs and skits appear regularly at weddings and funerals along the broad northern expanse of Hebei, Shanxi, and Shaanxi. I’ve often come across them—several scenes in Cut out the eyes remind me strongly of fieldwork, such as the funeral beggars (from 16.41), or Blindman the Fifth’s troupe (from 54.38). The shawm bands (known here as gujiang 鼓匠), very much part of this lowly milieu, include errentai in their repertoire (see vignettes in my DVDs Doing things and Notes from the Yellow Earth that come with my 2007 and 2009 books); even household Daoists incorporate such pieces in their popular sequences (see my film Li Manshan, from 42.52). Note also Yanggao personalities; A flawed funeral; Blind shawm players of Yanggao; Women of Yanggao 3; Hequ 1953; An unsung local hero; and Blind musicians in China and elsewhere.

However, the way I’ve delineated my topic has never afforded me time to immerse myself in this world—mercifully, one might say; so Xu Tong’s ethnography of their lives, “warts and all”, is most welcome. It all feels so familiar: gambling, dysfunctional families, pimps, dope-smoking, overturned lorries by the roadside…  And hearing the dialectal expression bulei (“great”) again, which would be bulai in putonghua, is music to my ears.

Here’s the blurb for Cut out the eyes from a recent festival:

At once piercingly observant and intimately complicit in his approach, director Xu Tong trains his mobile, intimacy-generating camera on unique real-life characters in order to explore the ongoing clash of rural traditions with China’s rush to modernity.

In Cut out the eyes, Xu follows Er Housheng, a blind musician who travels Inner Mongolia with his lover/partner Liu Lanlan performing the saucy, sensationally bawdy form of musical duet comedy called errentai. Er Housheng’s female audiences are particularly enthralled with his combination of sensuality, Rabelaisian earthiness, and socially subversive lyrics.

Er Housheng is a charismatic, mesmerising narrative-generating machine, singing of his own incredibly fascinating, violently tumultuous life, and of the (mostly) sex lives of the people who form his community, grass roots down-to-earth folk whose lives haven’t changed much in decades, in rural Chinese Inner Mongolia.

Live performance, in Er Housheng’s hands (and in his and Liu Lanlan’s voices) is something both enthrallingly surreal and earthily commonplace: his audiences hear him boast about his prowess, his courage, his creativity, his trouble with women, not unlike a 1930s American blues singer, or even a 21st-century Chinese rural Kanye West!

The commonplace becomes spectacle, reality shines like magical fables, but there is darkness, danger, and unspeakable violence in Er Housheng’s life, love, and lyrics.

While the film is on one level an enthralling ethnographic showpiece, at its core Cut Out the Eyes is a passionate, frenzied psychodrama of lust, violence, and genius.

At last in a long scene on a visit home, Er Housheng tells how his lover’s husband cut out his eyes when he was 29; later (1.02.13) his graphic retelling of the lurid true crime story in song (and even the sexist denouement) has a painful authenticity which, just as much as his bawdy lyrics, explains his popularity. His songs contrast with much of the music in Xu Tong’s films, where the brash propriety of revolutionary songs and the saccharine pop from recent times express the degradation of people’s lives in a different way.

Here’s the film, with subtitles in Chinese and English:

Guo Youshan, senior master of “east-road” (donglu) errentai, recalls the perils of singing “unhealthy songs” after Liberation.

Wa yanjing 1976

He and cultural pundits may deplore the “unhealthy” downward spiral represented by performers like Er Housheng and Lanlan, but men and women, old and young, gobble it all up (and I suspect that’s a more subtle pun than you’ll find in the songs!).

Cut out the eyes gives an unflinching portrait of grass-roots errentai, utterly remote from the sanitised image of state troupes (cf. my vignette on attending a “concert” in Shaanbei) and the razzmatazz of the Intangible Cultural Heritage. Unsettling as it is, this film should be compulsory viewing for anyone interested in Chinese society and its expressive culture.

* * *

Xu Tong trilogy

The sense of voyeurism in viewing such harrowing scenes is accentuated when watching the “Vagabonds trilogy” (Youmin sanbuqu 游民三部曲) with which Xu Tong made his name—films on subaltern lives around Beijing that are also most revealing:

  • Wheat harvest (Maishou 麦收, 2008).
    The protagonist Hongmiao is a sex worker at a brothel in Fengtai district of south Beijing. Her home village is in Dingxing county, where I found ritual groups through the 1990s (see under Local ritual, notably The Houshan Daoists), very near Gaoluo. This world of migrants drawn to Beijing—construction jobs, rudimentary health care, brothel workers and clients, seedy karaoke bars—is one that I only glimpsed. The benefits of modernization look most elusive; contrary to Partyspeak, there’s nothing noble about the plight of “the masses”. But the characters consider “culture”, “moral quality”, and “respect”.

You can watch the film complete in three parts, which should follow on from here; or, on YouTube, here’s the first 68’ (missing the last 31′) (this and the following videos with Chinese subtitles only):

  • Fortune teller (Suanming 算命, 2009; see here, wiki, and this critical review on the “Screening China” site).
    Caring for a mentally and physically handicapped partner, the disabled Li Baicheng moves round Hebei province offering his services as a fortune teller (his story far from those of the prestigious hereditary Daoist lineage of Li Manshan in Shanxi). The stories his clients tell him are distressing too—sexual violence, self-harm, prison, begging. Here it is, punctuated by Xu Tong’s instructive commentary:

One of Li Baichang’s clients in Fortune teller became the protagonist of

  • Shattered (Lao Tangtou 老唐头, 2011; see e.g. here and here), uploaded in three parts, which should follow on from here.
    After her release from prison, the tough brothel owner Tang Caifeng returns home to visit her family in rural Heilongjiang in northeast China. Her father Old Man Tang recalls how he joined the Party in 1948 but withdrew in 1958, disgusted by the farcical, and tragic, steel campaign; still, like many veterans, he deplores the decline since the 1980s’ reforms. Dysfunctional family dynamics are paraded on camera again. Caifeng is impressed by Brother Wu, owner of an illegal coal mine (cf. Platform); in the final scene, captions reveal that she has hired thugs to beat up the man who reported the mine to get it closed down.

Around this time she changed her name to Tang Xiaoyan, and began working with Xu Tong on his projects (Cut out the eyes was among the films on which she helped him—see e.g. here); in 2023 they married.

Again, the “Screening China” site has valid criticisms:

Xu must be aware how these scenes will look to his audience—who like him are mainly urban, educated and relatively well off compared to the people on screen. By constantly homing in on aspects of rural life that he knows will likely make this audience squirm, I feel like Xu is—perhaps unconsciously—pandering to the disparaging view of rural life commonly held by Chinese urbanites. […]

I always end up feeling uncomfortable with Xu’s films because I feel like he looks at his subjects with the detached ethnographic gaze of an educated, middle class urbanite fascinated with the “primitive” life of China’s poor—a perspective that can’t help but end up being condescending towards his subjects.

Even if the results may sometimes seem invasive rather than empathetic, with some scenes extended gratuitously, I still admire not just Xu Tong’s choice of subaltern subjects, but the way he masters the considerable challenge of filming them unobtrusively. And his attention to the accounts of older people recalling the Maoist era adds a valuable historical dimension.

All these films are seriously challenging to watch. My focus on ritual performance has to a large extent insulated me from confronting many of these issues; and it reminds me how equivocal my Chinese colleagues must have been when they realised my enthusiasm to get to grips with grass-roots life. Yet the desperation of people cast adrift, the utter inadequacy of the state’s response, and the clash of values, need to be revealed.

* * *

For Jiang Nengjie’s unflinching documentaries on rural Hunan, click here. For Chinese movies, see Chinese film classics of the early reform era (including Life on a string, more magical than realist); Platform, The street players, One Second, So long, my son, and Rock it, mom.

On the written page, I value exposés of subaltern China such as Liu Hongqing’s harrowing book on blind bards and their families, Kang Zhengguo’s Confessions, and Liao Yiwu’s vignettes (here and here). And for the “dark underbelly” of Lhasa society before the Chinese occupation, click here.


* Since I began working on this post, this and other links to yimovi.com have become temporarily unavailable, but do check back, as it’s a useful site!

China: human rights, and soundscape

Xu and Ding
Source (2006).

As the scope for debate in China shrinks, the recent sentencing of human rights lawyers Xu Zhiyong and Ding Jiaxi for “subversion of state power” has drawn much media attention (e.g. here; for Xu, see translations and interviews by David Ownby, Geremie Barmé, and Ian Johnson—note also this interview).

I gave some links to the work of other righteous dissenting scholars in my lengthy post on Guo Yuhua, who gave me such a valuable education in rural Shaanbei as she collected material for her brilliant book Shoukurende jiangshu [Narratives of the sufferers].

* * *

In that post I also led on to reflections on expressive culture—the blind bards and shawm players who survived the Maoist era to adapt since the 1980s’ reforms. See also China: commemorating trauma, and China: memory, music, society.

As I suggested, one might expect that exposure to the lives and cultures of poor rural dwellers would prompt us to ponder their situation and stimulate a social conscience. Even if it rarely surfaces clearly in fieldwork on China, perhaps that’s why authoritarian governments are likely to be wary not just of human rights lawyers but of anthropologists and “experts” in general.

The twin disciplines of anthropology and ethnomusicology (see Society and soundscape, and the canonical work of Clifford Geertz and Bruno Nettl, with a roundup of posts on the latter here) seek to study all of human behaviour (not only elites, but including them too, as well as popular genres such as karaoke and Eurovision); still, the lives of the under-represented subaltern poor, women, and minorities emerge as major themes (see also The reinvention of humanity). So perhaps ethnographers make natural allies with the righteous activists.

Thus “world music” should be more than just a fashion accessory. Even Songlines features articles on groups promoting the cause of liberation from oppressive regimes.

Siblings: life in the GDR

Reimann mural

With my experience of China, I’ve long been curious about people’s lives under state socialism behind the Iron Curtain, particularly in the GDR (links here), and the potential for expressing alternative viewpoints under such regimes.

In China political and artistic dissent had already been severely punished in the Communist Base Area at Yan’an from the 1930s, and during the Maoist era after the 1949 “Liberation” the scope for variant stances was highly circumscribed, with only a few bold authors like Ding Ling, Wang Meng, and Liu Binyan daring to publicly query the Party line (see e.g. here); the brief Hundred Flowers campaign of 1956–57 was soon regarded as a trap to expose subversion.

As to the GDR, the new translation by Lucy Jones of Brigitte Reimann’s novel Siblings (Die Geschwister, 1963) has prompted a spate of perceptive reviews. *

New German and English editions of Die Geschwister/Siblings,
the latter with well-chosen cover artwork by Walter Womacka (1925–2010) (full mural here).

Rejecting the “boy-meets-girl-meets-tractor” tenets of socialist realism, Brigitte Reimann (1933–73; Foundation; wiki) was an idealistic yet conflicted writer. Besides her diaries (citations below from this article),

Her most famous novel, Franziska Linkerhand, which Jones describes as “German history fed through the form of a love letter”, was incomplete when she died, but became a bestseller when it was published in 1974. […]

Her books’ unusually open depictions of day-to-day life in the GDR, told through the particular viewpoint of a woman, led to them playing an important role in the country, particularly in the 1970s and 1980s as East German citizens sought to critically examine the rationale behind a land that either cosseted them or locked them in, depending on your viewpoint. In the post-communist era they have also offered an insight for younger generations keen to understand their own mothers’ attitudes towards the socialist state in which they grew up.

Source.

Here’s the publisher’s blurb to Siblings:

For Elisabeth, a young painter, the GDR is her generation’s chance to build a glorious, egalitarian socialist future. For her brother Uli, it is a place of stricture and oppression. Separating them is the ever-wider chasm of the Party line; over them loom the twin spectres of opportunity and fear, and the shadow of their defector brother Konrad. In prose as bold as a scarlet paint stroke, Brigitte Reimann battles with the clash of idealism and suppression, familial loyalty, and desire. The result is this ground-breaking classic of post-war East German literature.

As this review observes,

Charting the reality of the everyday in socialist Germany, she details her time spent as a state-sponsored artist at an industrial plant in the new town of Hoyerswerda where she ran writing classes for the workers. Her stints on the factory floor, during which she sucked in the black sooty air which likely contributed to the cancer that ended her life, also informs her gritty descriptions of industrial life and quotidian challenges of a socialist state, from supply chain issues, to the scorn she attracted for wearing lipstick at work.

Like Reimann herself, Elisabeth “strains against the artistic and political orthodoxies of old party comrades who refuse to listen to young people, especially women, with fresh ideas”.

It wasn’t blind confidence we were after. It was trust. My generation had designed new machines, cleared forests and built power plants. We’d drained swamplands and manned border posts. We’d painted pictures and written books. We had a right to be trusted. We had a right to ask questions if something seemed shady, if a verdict was disputable, or an authority questionable.

The shadows of Nazism and the war are sketched only briefly; and when Elisabeth is visited by a “nice young man” from the Stasi, she is startled but unscarred. Her brother Konrad has already defected; visiting him in the Western sector, she feels out of place:

Even though I heard German words, I felt like a stranger in a foreign country. I’d thought: When I went to Prague last year, I felt at home, and no matter where I went, I heard Czech being spoken, but never once, not for a minute, did I feel like a foreigner.

The translation comes with useful endnotes. Among the attributes of this short-lived lost civilisation, Michael Hofmann notes

the distressing ugliness of the official jargon, the Kaderwelsch, a play on the words Kader (a party cadre) and Kauderwelsch, meaning “gobbledygook’”.

Of course, such words had a life before and since the GDR (see Some German mouthfuls).

ReimannHofmann also remarks, rather too sweepingly, that

Elisabeth’s feelings towards seniority—as I think Reimann’s were too—are informed by expectant obedience, a sort of eroticised respect. […] All the men in Siblings seem to be the same man, and the woman seems to be equally drawn to all of them. 

This brief film clip sets the scene.

While soul-searching became common—almost de rigueur—in Germany after the fall of the Wall, it’s impressive that writers such as Reimann could represent such nuance amidst the high tide of state socialism.

For a compelling biography of a GDR family over three generations, do read Maxim Leo’s Red love.


* E.g.
https://www.dw.com/en/cult-east-german-novelist-now-published-in-english/a-64586240https://www.newyorker.com/magazine/2023/04/03/siblings-brigitte-reimann-book-review
https://www.lrb.co.uk/the-paper/v45/n05/michael-hofmann/no-room-at-the-top
https://www.theguardian.com/world/2023/jan/04/east-german-feminist-author-gets-english-debut-50-years-after-death
https://www.theguardian.com/books/2023/feb/11/siblings-by-brigitte-reimann-review-rebel-with-a-cause
https://www.theguardian.com/books/2023/feb/19/siblings-by-brigitte-reimann-review-a-family-split-in-a-divided-germany

Shamans in the two Koreas

Mudang old pic
Mudang ritual, early 20th century. Source.

In China after the 1949 “Liberation”, all kinds of religious activities persisted, with difficulty, at local level under Maoism—even during the Cultural Revolution—until they could be observed more openly since the 1980s’ reforms, as shown in numerous posts on this blog. Among the diverse cast of practitioners in local communities are spirit mediums, who constitute an important resource consulted by those seeking to resolve various physical, psychological, and practical afflictions (see this roundup of posts).

Manshin still
From Manshin: ten thousand spirits (see below).

In Korea (where they are mostly women), there’s a range of terms, among which mudang and manshin are commonly heard; in English they are widely, if controversially, known as “shamans” (see the useful discussion in wiki). While their practices in the south are well documented, they have clearly also maintained clandestine activity under the severely impoverished conditions of the DPRK in North Korea—a regime often likened to an ongoing Cultural Revolution. [1]

So I write these notes mainly out of curiosity; for whereas scholars who were previously limited to fieldwork in Taiwan have been able since the 1980s to turn their attention to religious life under state socialism in mainland China (see e.g. The resilience of tradition, Kristofer Schipper, Ken Dean), no such thaw has occurred in the DPRK, so clues to their activities there, gleaned mainly from defectors, remain highly elusive.

Korea 1903
Two jangseung tutelary deities outside a Korean village, 1903. Source.

After the Korean war, the ecstatic shamanic tradition of the Hwanghae region (now the southwest of the DPRK) was introduced by many shamans taking refuge in the south. It seems important to distinguish the large-scale kut rituals performed by the mudang and the less public divination sessions of jeomjaengi fortune-tellers. An NPR article from 2021 provides some clues to the recent situation: 

In South Korea, shamanistic rituals are visually flashy and involve a lot of sound, whereas in the North, from what I’ve heard, they are very small-scale and quieter. […] Practitioners can be jailed, sent to reeducation and labour camps, or executed for taking part in what’s considered an illegal superstition.

As in China, where religious activity increased in response to periods of extreme deprivation (such as in Hunan), an article on North Korea from 2015 suggests that consulting shamans (or at least the jeomjaengi fortune-tellers) has surged in popularity since the 1990s’ famine. As one defector commented:

North Koreans widely believe in shamanism. Before marriage they check their marital compatibility, when moving houses they check the site of their future home, and before they leave for business people used to ask me whether the journey would be comfortable or not.

Despite severe deterrents, the law may be overlooked at local level (again as in China, e.g. Officials without culture, and One eye open, one eye closed; for Chinese cadres maintaining their local ritual traditions, see e.g. here)—not least because local cadres are themselves among the shamans’ main clients (cf. this article from 2022). In a 2018 report on religious freedom in North Korea, the US State Department reported

an apparent continued increase in shamanistic practices, including in Pyongyang. […] Authorities continued to react by taking measures against the practice of shamanism. […] Defector reports cited an increase in Party members consulting fortune-tellers in order to gauge the best time to defect.

A South Korean scholar consulted for the 2021 article commented:

Because North Korean shamans who hold rituals risk being discovered and arrested, some shamans there simply do fortune-telling, which can still be effective in explaining the reasons for clients’ problems.

The article goes on:

Lee Ye-joo told fortunes in North Korea before defecting to the South in 2006 at age 33. She now lives in Chungnam province, south of Seoul. When she was 12, Lee began studying a book of divination called the Four Pillars of Destiny, based on the Chinese calendar system. She began telling fortunes eight years later. “All people who came to me were officials”, she recalls. Because ordinary North Koreans “don’t even have enough to eat, the only people who seek out fortune-tellers are those with money, like big-name officials. They usually ask when they might lose their job or who their children should marry.” Lee built up her clientele surreptitiously, by word of mouth. She had to be careful not to get caught, she says—but then again, so did her clients. “They were all linked to other officials who introduced me to them”, she says. “So if one of them got me into trouble, I could tell on all the others.” Telling fortunes didn’t pay well, so she turned to trading. She says she bought and smuggled goods out of a special trade zone to sell, often making a perilous trek through the mountains to evade authorities.

In a 2021 article, Andrei Lankov cites some informed studies by South Korean scholars. Selected quotes:

In the late 1950s, the state began to conduct campaigns against “superstitions”—a term that often included more institutionalized forms of religion as well. Since women made up the majority of fortune-tellers’ customers, the Women’s Union carried out most of these actions. […]

There are even reports about shamanistic rituals occasionally being performed in the countryside in the 1960s and 1970s—but a limited number of participants carried out such rites quietly, without music or singing, to avoid discovery. […]

The situation began to change in the early 1990s. Economic crisis and famine seriously damaged the once hyper-efficient surveillance system, and poorly-paid enforcers lost much of their erstwhile zeal. 
Simultaneously, the new world of trade, starvation, opportunities, and dangers made all kinds of superstitions far more popular. Amid capitalist uncertainties, it was too tempting to believe that a skilful shaman would persuade spirits to guide the newly established venture to prosperity. […]

Though sacrificial offerings, called jaesa, remained banned for a few decades, the state partially permitted some graveside rites from 1972. […]

As to geomancy and physiognomy, palm reading and dream interpretation,

North Korean refugees report that during the “Arduous March” famine it became common to consult with kunghap specialists about a would-be spouse.

Just as in China, assaults on custom are often made in the name of anti-extravagance campaigns:

In April 2007, Choseon Yeoseong (Korean Woman) magazine criticised large celebrations for the “four family events” of coming of age, weddings, funerals, and ancestral worship. “This extravagance leads to the waste of grain which was harvested with such great labour, and creates conditions for drunkenness.”

* * *

In South Korea, besides having to adapt to commercial pressures and competition from Christianity (the latter also a significant underground presence in the DPRK), shamans have also experienced periods of state repression. A celebrated figure since the 1980s, when the mudang first came to wider attention and were documented by scholars and the media, is Kim Keum-hwa (1931–2019). [2] The vicissitudes of her life are brilliantly depicted in the splendid Manshin: ten thousand spirits (Park Chan-kyong, 2013), both documentary and biopic, a must-watch (here) even without English subtitles—which are at least provided in this trailer: [3]

Born in Hwanghae province—now part of North Korea, and then under Japanese occupation—Kim was subject to disturbing sinbyeong visions in her youth (such psychic crises commonly indicate that one is “chosen” to become a medium, in China and elsewhere); by the time she was 17, her parents could no longer resist, and her grandmother (who was also a mudang) initiated her with the naerim-gut ritual.

Wanshin screenshot

After the outbreak of the Korean War, [4] Kim Keum-hwa’s “superstitious” practices came under attack from troops of both sides. For this turbulent period, the film (from 23.44) has some intriguing detail, which Simon Mills has kindly summarised:

During the war, Kim recalls seeing someone’s head explode and their guts fly up into the branches of a tree—she still feels disturbed when she thinks of it. One day a man wearing a communist-style cap and trousers said “You! Come out here!” As she came out, he said “So you’re a mudang, eh? Bring out all your things and we’ll burn them!” So she has nothing remaining from that period. At the time it was a case of do or die.

[Recreation] A woman asks Kim: “Could you help us? I hear that you’re a new mudang! Please do a kut just this once for us, to save my son-in-law Mr Park!” Kim replied: “I sense that his fortune is good. Let’s figure out a suitable date for the kut.”

So Kim makes the risky decision to head out to heal Mr Park—a spy from the South. During the ritual, she declares “He’ll get better” but in her head she’s hearing “He’s going to die”—and as she sings, her unconscious thoughts come out. A man points a gun at Kim and says “an unskilful novice just kills people; you should die right now!”, but both the woman who invited her and the afflicted man intervene. Kim comments: “That kind of thing happened all the time—people saying that it was all superstition and illusion… When they accused me, I just said: “My only sin was being born as a mudang…”

Korea Saemaul

Ritual specialist attacked in anti-superstition campaign, South Korea 1972.
Still from Manshin: ten thousand spirits.

Kim Keum-hwa eventually managed to relocate to Seoul, going on to master major rituals from great shamans. She started promoting the artistic features of shamanic rituals to the public, going on to win an award at the National Folk Art Competition in 1974.

But even in South Korea the mudang‘s trade was vulnerable. Coinciding with the Cultural Revolution in China, as part of the Saemaul campaign the authoritarian president Park Chung-hee unleashed a Movement to Overthrow Superstition. As mudang Kim recalled (here):

Anything that hinted at superstition was frowned upon. I was persecuted day and night. I detested that I couldn’t be a normal housewife, raising a family that loves me. I loathed my fate for that. As I encountered one obstacle after another and saw how happy other people were, I was envious. Then I told myself off for coveting things that weren’t mine. My path was clearly in front of me, and I made up my mind to live it the best I could. After 40, I stopped envying the lives of others.

By the 1980s shamanism began to enjoy a vogue, and Kim Keum-hwa received the title of Living National Treasure in recognition of her work in preserving rituals, notably the baeyeonshin-gut fishing-boat blessing. 

The film also shows a ritual for unification that Kim performed in 1998 near the demilitarized zone, during which she became possessed by the spirit of DPRK leader Kim Il-sung, behaving exactly as he did, to everyone’s amazement.

Still in South Korea, several other renowned mudang have perpetuated the northern Hwanghae style (see e.g. this 1988 article, and here on Yi Hae-gyŏng).  Here’s a short film on the younger shaman Seo Gyunguk:

Back in the DPRK [unreleased Beatles track?], under the state ideology of juche “self-reliance”, the intense fervour for the Supreme Leader that is demanded at public demonstrations has led scholars to suggest influences from traditional Korean religions, such as the ecstasy of shamanic ritual. I would need to read up more on this before being convinced, since such politically-induced veneration appears across diverse cultures.

DPRK fervour
Source.

* * *

If grass-roots religious practices in China like those of spirit mediums have become a sub-theme of research alongside the formal institutions of Daoism, Buddhism, and Christianity, it remains impossible to conduct such ethnographic fieldwork in North Korea. Still, it’s clearly not a religious void, even if tantalising clues from defectors suggest that “shamans” there mainly practise surreptitious divination, rather than the grand public rituals of the south. If only we could somehow gain access to internal reports from local Public Security and Cultural bureaus on the continuing need to suppress “superstitious practices” among the people, such as we have for Maoist China (see e.g. under Hunan).

With thanks to Simon Mills.


[1] For the opaque society of the DPRK, note Barbara Demick’s fine book Nothing to envy: ordinary lives in North Korea (2010); and the Inspector O crime novels of James Church are both imaginative and well-informed. For divided Germany after the war, see links here, under the GDR.

[2] The best written account in English that I’ve found of Kim Keum-hwa’s life is this 2009 article; briefer sketches consulted for this post include
https://koreajoongangdaily.joins.com/2014/02/27/movies/Shaman-focuses-on-unity-healing/2985599.html
https://www.festival-automne.com/en/edition-2015/kim-kum-hwa-rituel-chamanique-mansudaetak-gut
https://world.kbs.co.kr/service/contents_view.htm?lang=e&menu_cate=culture&id=&board_seq=42955.

[3] In English, Park Chan-kyong also filmed this documentary; for a lengthy ritual sequence, see the second half of this post, and cf. Bowed zithers: Korea and China.

[4] For the story of the goddess Houtu rescuing a Chinese brigade during the Korean war, see The Houshan Daoists, under “Houshan before and after Liberation”—another article that shows the tenacity of religious faith under Maoism. Cf. the deified young soldier shown on the pantheon of a Shanxi medium,(here, under “Dongye township”).

The honky-tonk nun

Emahoy 1

To accompany my post on Ethio-jazz, the whimsical piano music of Emahoy Tsegué-Maryam Guèbrou (1923–2023) made another great coup for Buda Musique producer Francis Falceto in the CD series Éthiopiques. Vol. 21 (2006) opens with the enchanting sounds of The homeless wanderer (playlist):

In 2017 Kate Molleson visited Emahoy to make an engaging BBC radio programme, The honky-tonk nun. Below I also cite obituaries in the Guardian, Songlines, The New Yorker, and the BBC, as well as wiki and a biography on her Foundation’s website.

From Addis Ababa’s upper classes, she was immersed in Ethiopian traditional song, then trained in classical violin and piano, embraced early jazz, and later took holy orders. […]

Emahoy 2
Source.

Her father, the European-educated diplomat and former vice-president of Ethiopia, Kentiba Gebru Desta, was 78 years old when she was born, making her possibly the only person on the planet alive in 2023 with a parent born in 1845. The young Guèbrou was a glamorous society girl, educated at a Swiss boarding school and fluent in several languages. She had piano and violin lessons at a classical conservatoire in Cairo (learning under the Polish violinist Alexander Kontorowicz), immersing herself in the music of Bach, Beethoven, Brahms, and Schumann. On her return to Addis Ababa, she started to write her own compositions, and assisted Kontorowicz when he led the Emperor Haile Selassie’s Imperial Guard Band (she recalls playing the Emperor some solo piano pieces and singing him a ballad in Italian).

Following Mussolini’s invasion of Abyssinia, Emahoy spent time in confinement with her family on an island near Sardinia (cf. this post). In 1948 she was offered a scholarship at the Royal Academy of Music in London, but for some reason she couldn’t take up the offer. Depressed and apparently disillusioned, she abandoned high society life to take holy orders, going to live barefoot at an austere convent on the holy mountain of Gishen Mariam north of Addis Ababa.

There she stayed for a decade before returning to Addis to live with her mother, when she started playing the piano again; her recordings between 1963 and the mid-70s have become the basis for her canon. She remained in Ethiopia after the 1974 coup, but was increasingly involved in charity projects with the Ethiopian Orthodox church in Jerusalem, where after her mother’s death in 1984 she lived in a convent for the rest of her life.

In the words of John Lewis, her compositions are a “curious fusion of fin de siècle parlour piano, gospel, ragtime, Ethiopian folk music, and the choral traditions of the country’s Orthodox church… pitched somewhere between Keith Jarrett, Erik Satie, Scott Joplin, and Professor Longhair”, using

a series of pentatonic scales, or kignits [useful intro here], which are the building blocks of all Ethiopian music, from its ancient liturgical chants to its folk songs and funky pop music. These five-note scales are similar but musicologically quite distinct from Arabic maqams or Indian modes. They have names like the anchihoye, the tizita and the bati, and most have major and minor-key variations (some, like the ambassel, don’t have a minor or major third at all, and so have a wonderfully ambiguous, open-ended feel). Guèbrou’s piano playing manipulated these modes to draw us in and hypnotise us, like a snake charmer with a pungi.

Here’s an excerpt from the long-awaited documentary Labyrinth of belonging:

Sara Gómez films the revolution

Gomez
Photo: ICAIC.

In her all-too-brief life, the film-maker Sara Gómez (1942–74) applied a critical ethnographic eye in documenting everyday lives in Cuba after the 1959 revolution.

One of only two black film-makers in ICAIC (Instituto Cubano del Arte e Industria Cinematográficos), and the institute’s first (in her lifetime, Cuba’s only) woman director, she was “concerned with representing the Afro-Cuban community, women’s issues, and the treatment of the marginalized sectors of society” (black people and women, the poor, religious, and young)—highlighting social injustice, as well as racial and gender discrimination. *

Cierta
From De cierta maniera.

Most of her oeuvre consists of short films, such as her debut Iré a Santiago (1964)—visually innovative despite some almost touristy images, its voiceover as yet unchallenging but eschewing the clichéd travelogue style later parodied by Monty Python—note the funeral from 4.07, and Carnival from 11.53:

The social agenda (both the regime’s and her own) develops in Una isla para Miguel (1968):

In her final, full-length, masterpiece De cierta maniera (One way or another, 1974) Gómez incorporates a fictional love story within a documentary style to shed light on tensions in the revolution, using real people playing themselves alongside professional actors. While the style of the criticism session that opens the film may recall China under Maoism, her message is far more probing than in Chinese films of that era. Here it is:

As Alonso Aguilar comments,

Melodramatic outbursts of emotion are followed by an erratic camera flowing freely inside crumbling edifices. Sociological musings fade in favour of heartfelt musical renditions.  Transitions are rarely seamless, clashing with every canon possible (even the revolutionary ones), but precisely because of such frontal disregard, Goméz’s cinema feels liberated. Only answering to the concerns of the souls framed on screen, every moment is used to challenge official narratives and position the urgency of the work still to be done.

Note also the vignette on the Abakuá religious fraternity (14.35–18.23)—here Gómez’s analysis concurs with socialist orthodoxy:

This cultural manifestation epitomises the social aspirations, norms, and values of male chauvinism in Cuban society. We believe that its traditional, secret, exclusive nature sets it against progress and prevents it from assimilating the values of modern life. Therefore, in the present stage it generates marginality, promoting a code of parallel social relations that is the antithesis of social integration.

Discuss—for a range of more nuanced approaches to ritual, refer to Catherine Bell

With Gómez’s black middle-class background (see her 1966 short Guanabacoa: crónica de mi familia), her musical training was classical—but she was animated by the Afro-Cuban rhythms of the streets, lovingly documented in the fine Y… tenemos sabor (1967): **

The procession from 22.27 even features a shawm! ***

Here’s the illuminating documentary Sara Gomez, an Afro-Cuban filmmaker (Alessandra Müller, 2004):

* * *

More recently, note the films on Cuba in the Growing into music series. Akin to Goméz’s stress on marginalized groups, for the Maoist decades in China Guo Yuhua documents “the sufferers”—ironically, the peasant majority, again including women. For musicians’ “licence to deviate from behavioural norms”, click here. ****

Gomez 1
Sara Goméz dancing the cha-cha-chá, from Agnes Varda’s Salut les Cubains (1963).


* Making Gómez a fully-paid-up member of the Guardian-reading, tofu-eating wokerati—and quite right too.

** More piffling linguistic pedantry: the three dots should indeed follow the opening word Y, although many citations put them before it. No less pedantically, I note that the 2004 documentary seems to lack the accent on Gómez’s surname. Yes, I should get a life.

*** On YouTube the coda appears to be a promo for Nicolás Guillén Landrián‘s 1963 short En un barrio viejo, another intriguing film.

**** This isn’t the place for an analysis of suitable venues for a revolution (cf. Bill Bryson), but I recall a tour of France with an early music group playing worthy recreations of Qing-dynasty court music, where we ended up in the same hotel as a young early music group from Cuba, playing recreations of early Cuban music in the same festival. While our group were all buried in our arid, ponderous early music conservatoire shtick, the Cubans exuded sensuous physicality from every pore, laughing, grooving, alive. With All Due Respect, I realised I was doing the wrong gig—like the musos’ recurring dream. For the denial of the body, cf. Madonna and McClary.

Bards of Henan

Journalists in search of a soundbite sometimes claim rashly to have discovered “the last” exponent of some precious ancient genre; even ethnomusicologists may be prone to this faux pas (e.g. Balkan bards; the lama mani of Tibet; cf. Ishi, “the last wild Indian”). [1] There may be some cases of this, but it seems to misinterpret constant change in folk cultures.

I was reminded of the hallowed clickbait by a recent article on zhuizi shu 坠子书 narrative-singing of Henan province in central China. Despite the title “The last blind folk storytellers”, it’s an interesting piece. As it points out, narrative-singing, along with fortune-telling and massage, remains the most reliable means for blindmen to make a living, a traditional form of “poverty alleviation” not just in Henan but throughout China (e.g. Shaanbei, and note Liu Hongqing’s book on blind bards in Shanxi, which makes an even more harrowing version of the story told in the article on Henan).

The blind female performer Zheng Yurong 郑玉荣 (b.1985) was taken in by a poor couple after being abandoned as a baby. She took up zhuizi shu in the hope of making a living after losing both her foster-parents when she was young. As I learn from a 2022 article, after befriending another blind performer in 2011, they felt such an affinity that, utterly unlikely as it sounds, DNA tests determined that he was in fact her younger brother—though he too had been abandoned, his foster parents had survived to bring him up well. As Zheng Yurong made a name for herself, they sought their birth parents through the auspices of Zhengzhou TV, but without success. She had gone on to marry her accompanist Feng Guoying 冯国营 (43), also blind, and they raised two sighted children in a flat provided by the government in Lushan county-town.

Henan zhuizi couple

Some of their many filmed excerpts:
https://k.sina.com.cn/article_1920998331_m72801bbb02000ls6q.html?from=photo#/
https://v.qq.com/x/cover/mzc00100hcb0laa/b0712lx0z0i.html
https://haokan.baidu.com/v?pd=wisenatural&vid=10090594473931209072
https://v.qq.com/x/page/d0862hzw51q.html

Blind performers are no longer considered so auspicious—and then came Covid. Faced by rising household bills and the cost of their children’s education, Feng has had to take up fortune-telling again, from a rented flat.

The economic climate since the 1980s’ reforms has certainly affected the livelihoods of folk performers. Still, unlike narrative-singing in regions such as Shaanbei, zhuizi shu as never been limited to blind people (for posts on blind musicians in China and elsewhere, click here). And none of this justifies portraying them as “the last” bearers of the tradition. It feeds into the widespread yet powerless laments of well-meaning pundits about the decline of traditional culture—laments that, again, have a long history.

* * *

Henan has long been poor; but the most desperate famine there came in the “three years of hardship” following the Great Leap Backward. In recent decades the province has been hard hit by the HIV/AIDS scandal (see.e.g. here, and here).

I’ve mentioned Henan in posts on the zheng plucked zither (cf. the yaqin bowed zither) and spirit mediums (including refs. in n.3). Without the benefit of fieldwork, I thought I’d seek a basic acquaintance with the zhuizi shu, equipped with the great Anthology (click here, leading to my review “Reading between the lines”), whose monographs on narrative-singing Zhongguo quyi zhi 中国曲艺志, province by province, are among the most impressive of the whole vast project—further complemented by the Zhongguo quyi yinyue jicheng 中国曲艺音乐集成 volumes on narrative-singing music (for the folk-song volumes, see also here).

Henan

Despite the poverty of the region, one of the most notable survivals of its literati heritage is to be found in its folk narrative-singing. As shown in the Henan volume (1995), the genre known as zhuizi shu (named for its distinctive bowed fiddle zhuizi) is just one of thirty-five genres of narrative-singing identified around the province, including guzi qu 鼓子曲, dadiao quzi 大调曲子, sanxian shu 三弦书, pingshu 评书, dagu shu 大鼓书, daoqing 道情, shanshu 善书 morality tales (pp.93–4), and lianhualao 莲花落.

As always with these monographs, one has to piece together material distributed around various rubrics. The framework for zhuizi shu is presented in a brief overview (pp.65–70), which packs in some impressive historical documentation, supplemented by sections on performance contexts (pp.373–4) and venues (pp.456–497). Defined by the zhuizi fiddle, it emerged in the 19th century on the basis of other genres, notably sanxian shu and daoqing, spreading from Kaifeng to the southwest of the province and beyond. In its early days stories were delivered by one or two itinerant performers, invited for the redeeming of vows huanyuan shu 还原书, a common context in Henan (pp.498–9) and elsewhere, and for temple fairs (again, cf. Shaanbei).

Traditionally a solo male performer accompanied his own singing on fiddle, but by the early 20th century the roles of fiddle player (waikou 外口) and vocalist (likou 里口) were sometimes separate, and soon afterwards female vocalists began to emerge on the little stages of tea-houses, with simple props. By the 1920s (in a typical process) some groups featured both male and female vocalists, emulating the style of “little opera”, further enshrined by professional troupes after the 1949 Liberation.

The genre was performed as far afield as Tianjin and Beijing. The first recordings seems to date from 1928, and by the 1930s several companies were issuing 78s; click here for one of several recordings online of the influential singer Qiao Qingxiu 乔清秀 (1910–44). Another section of the Anthology volume documenting various types of organisation features zhuizi shu groups active in the Republican era: those of Wang Yulan 王玉兰, Lu Yuancheng 鲁元臣, Liu Weiran 刘蔚然, and the Fan 范 family (pp.418–20).

But it is rare for new styles to simply replace the old (note the wise words of Bruno Nettl): the itinerant, unstaged format persisted in the countryside. As the Anthology notes, while the state troupes came to be dominated by short excerpts from female vocalists, in the countryside itinerant male artists prevailed for much longer, performing lengthy stories (whose plots, related to other genres of narrative-singing and opera, are outlined in a separate section, pp.128–200). I’d be keen to document the enduring activities of story-tellers performing for poor rural families redeeming vows, and at temple fairs (you know me…).

Majie shuhui
The New Year’s narrative-singing at the Horse Street festival in Baofeng county.

Before we consult the Zhongguo quyi yinyue jicheng, the Zhongguo quyi zhi has a succinct outline of musical features (pp.205–21), identifying melodic and metrical aspects of eastern, western, and northern styles, with transcriptions.

As well as a detailed chronology for genres, the material I enriched by biographies of celebrated zhuizi shu performers. [2] It introduces a wealth of studies over the decades preceding publication, such as the 1951 book Henan zhuizi shu (quyi zhi, p.531) by Zhang Changgong 张长弓 (1905–54; quyi zhi, pp.638–9), as well as official documents (pp.665–701) for imperial, republican, and Communist eras—the latter in particular offering illuminating vignettes on social change (cf. Hunan).

* * *

More recently, click here for lengthy footage from Baofeng county from 2022, and here for a documentary on the life of Xia Lingshan 夏玲珊, reflecting changing styles of presentation. And here’s a busker. For the same genre in nearby Shandong, there is film footage online of blindman Guo Yongzhang 郭永章 (b.1945), such as: [3]

Long before the Intangible Cultural Heritage sank its fangs into zhuizi shu, performance on the concert stage has become common—as usual, supplementing rather than replacing traditional folk contexts.

Even if we can’t refine the picture through our own fieldwork, the Anthology confounds the simplistic, reified image of the whole range of Chinese performance arts, showing the wealth of activity before, during, and since Maoism—supplemented by articles suggesting the precarious survival of poor families through all three periods.

For more on narrative singing in China, see under my post on Chinoperl.


[1] Ishi’s songs were wisely studied by Bruno Nettl in “The songs of Ishi: musical style of the Yahi Indians” (1965).

[2] Including (I’ve marked female performers—who emerged only later—with *):
Liu Weiran (1878–1956), Li Mingyi (1888–1979), Gao Liankui (1889–1956), Zhang Zhikun (1889–1975), Liu Zhongtang (1890–1955), Zhao Yanxiang (1891–1963), Chen Yongqing (1891–1971), Chen Zhikui (1893–1939), Hou Wenming (1894–1942), Zhang Hongyu (1894–­1947), Zhao Cuiting* (1897–1960), Gao Xuebin (1898–1945), Meng Zhifa (1899–1974), Fan Mingyan (1898–1980), Cheng Liyan (1900–1975), Li Zhibang (1901–83), Bi Liduan (1903–43), Zhu Yuanli (1907–76), Wang Gancheng (1908–60), Zhang Quanyou (1909–77), Zhang Yuqing (1914–79), Zhang Xiushan (1914–69), Wang Shuangqi (1914–85), Chen Fuzeng (1917–85), Liu Mingzhi* (1920–77), Zhao Yuqin* (1921–81), Zhao Yuanxiu (1923–84), and Ma Yanqiu* (1933–77).
And that’s just the more celebrated names for whom the edited publication found space…

[3] For more footage of Guo Yongzhang, see e.g.
https://www.youtube.com/watch?v=0cKCCsFUPHg
https://www.youtube.com/watch?v=_NmBB64RPwg

Rooney and Ferrante in China

Rooney in Chinese

Just in case any confused football aficionados have wandered in here by mistake,
my title refers, of course, to Sally and Elena, rather than Wayne and, um, Marco

I was heartened by a recent Guardian article on the popularity of translations of Sally Rooney novels among Chinese feminists, despite the recent clampdown on the movement there. Considering the suffering that China’s male dictatorship continues to inflict on the population, and its enduring suppression of women, this is a tiny bit of good news. Foreign fiction, apparently safe in refraining from explicit political points, slips through the net.

While I usually home in on issues of gender, somehow I never made an explicit link between Normal people and feminism. ** Indeed, that may be one reason why the book and TV series have enjoyed such success.

In The sceptical feminist (1980), Janet Radcliffe Richards defined feminism as a movement for the elimination of sex-based injustice (which also allows men to count as feminists; as she stresses, feminism is important for everybody). And she tackled the resistance of some British women (then, at least) to embrace the label (a similar image problem, I think, to that of “socialism”—with conservatives fiendishly distorting what should be a self-evident agenda for social justice and basic moral decency). Now it’s quite right to bang the drum for feminism, as do plenty of fine younger authors (Laura Bates, Natasha Walter, and so on), and while evidence is ambivalent, it seems that British women, at least, are no longer so swayed by recurring negative media portrayal

Anyway, Sally Rooney does that thing that young people can do, thanks to previous generations: while deeply conscious of gender issues, she doesn’t alienate those who for some reason balk at the term feminism. She shows deep empathy for the fucked-up worlds of both women and men; “normal people” indeed.

Ferrante Chinese

I’m also pleased to learn from the Guardian article that translations of Elena Ferrante’s novels have become popular in China.

All this may be largely irrelevant to people still stuck in the poor Chinese countryside, but reading of the translations gave me a sudden burst of optimism.

See also under Gender: a roundup.


* Just a selection of articles considering the feminist perspective in Normal people:
https://www.theguardian.com/commentisfree/2020/may/01/the-guardian-view-on-normal-people-young-love-never-looked-better
https://www.esquire.com/uk/culture/books/a25410475/sally-rooney-normal-people-interview/
https://twssmagazine.com/2020/06/18/a-feminist-take-on-normal-people/#:~:text=’Normal%20People’%20is%20a%20coming,grow%20from%20school%20to%20university.

Bach, Haydn, Berg, Vivier

Hannigan Vivier
Source: review.

Barbara Hannigan’s concerts with the LSO are always stimulating (for more, see under Conducting: a roundup).

Their programme at the Barbican last week (notes here) was intense right from the start, with Berio’s hieratic Contrapunctus XIX, an arrangement of the final unfinished work in Bach’s Art of fugue, completed with an enigmatic B-A-C-H chord. Then came Berg’s violin concerto (1935), mourning the death of 18-year-old Manon Gropius, daughter of Alma Mahler—with another homage to Bach. Having been entranced by the piece through my teens, I was glad to hear it again, played by Veronika Eberle. Though this was the only piece requiring larger forces, the way she blended with the orchestral sonorities reflected the whole intimacy of the concert, reminiscent of chamber music.

BH Haydn
Image: Mark Allen, via @londonsymphony.

After what is known as an “interval”, * Haydn’s Trauersinfonie, more Sturm und Drang than sombre, was delightful. Symphony orchestras venturing back into Early Music can sound ponderous and drab, but scaled down, in the hands of a tasteful director, they’re perfectly capable of bringing such works to life. Not an obvious choice, the symphony is full of the light and shade highlighted in the rest of the programme, and juxtaposing it with new works, Hannigan and the LSO reminded us of Haydn’s creative originality. The oboes and horns shone, the strings with some fine pianissimos between bursts of manic, angular noodling (1st and 2nd violins seated antiphonall, YAY!); and the Adagio (in E major!) was radiant (I couldn’t help imagining Haydn beating Henry Mancini to it with a minor-key variation on the Pink Panther theme).

And so to a most original finale: Lonely child (1980) (see e.g. here and here) by the Canadian Claude Vivier (1948–83) (wiki, and here)—yet another composer whose sound-world was enriched by Balinese gamelan. Without knowing of his traumatic, short life, his text may seem more dreamlike and reassuring, with its “great beams of colour”, stars, magicians, sumptuous palaces, and mauve monks. But Vivier’s music is “forever grasping at a place of security and eternity that is just beyond reach”, in the words of Jo Kirkbride’s programme notes. Hearing it live, I felt a certain remote Arctic chill—suggesting a link with Hans Abrahamsen’s let me tell you, already a modern classic thanks to Hannigan.

Lonely child was first sung by Marie-Danielle Parent, for whom Vivier wrote it. Whereas Hannigan often combines singing and conducting, here she accompanied the evocatively singing of Aphrodite Patoulidou—here they are in 2019:

They soon followed with a ravishing programme of Mahler and Messiaen!!!


* At this point my keyboard was hijacked again by a Martian ethnographer, whose note I append here:

Interval: an interruption in the proceedings that appears to be widely accepted by the participants, when they take leave of the ritual building to partake further in the ingestion of mind-altering substances.

Cf. ethnomusicological approaches to Western Art Music such as those of Christopher Small and Bruno Nettl.

Holding Don Giovanni accountable

My allusion to La ci darem la mano (in Sentimentality in music) reminded me belatedly to catch up on the extensive body of material on the problematic nature of Mozart’s Don Giovanni, from which I cite a mere selection.

DG

As I performed the opera in the pit since the 1970s—effectively “one of the servants”—it hardly seemed my place to reflect on its messages. One likes to think that audiences are more aware since #MeToo, but in my memory of earlier performances, I suspect that many people enjoyed the dramatic frisson and some jolly good tunes without agonising too much over the issues involved—Harmless Fun for All the Family? Among the well-heeled Covent Garden audiences demurely sipping their interval champagne are doubtless victims and perpetrators of sexual violence, yet such a venue may not seem a promising constituency for feminist views.

While the views of Mozart and his librettist Da Ponte are among those considered in the articles I cite below, they (like me) are more concerned with the opera’s later reception history.

Music has the power to conceal as well as to illuminate dramatic agendas; as Roger Kamien noted, “Mozart’s music has made a sinner seem very attractive”—this article, reflecting the mood since #MeToo, incorporates some musical analysis. In this post I relished the aria Protegga il guisto cielo while hardly delving into its message and context.

Writing in 2022, Hannah Szabó notes that E.T.A. Hoffmann’s 1813 story praises the opera, treating the protagonist as a venerable force:

the baritone playing Don Giovanni boasts a “powerful, majestic figure” with a “masculinely beautiful” face that stands out in the provincial town where the performance takes place. […]
Women, once they have met his gaze, can no longer part with him, and, spellbound by his uncanny power, must ineluctably achieve their own ruin. […]
A tyrannical king, he towers above the “puny specimens of humanity whose feeble dreams and plans”—Zerlina’s marriage, Donna Anna’s chastity, Donna Elvira’s infatuation—“he hijacks solely for the sake of his own pleasure”. In comparison, the harem of women he surrounds himself with are reduced to “factory-produced mannequins”, soulless clones who can only be animated by his ever-shifting presence. Among this “vulgar rabble,” Don Giovanni ascends to near-divinity.

This was an enduring view. Joseph Kerman portrayed Don Giovanni as “a romantic hero, a scorner of vulgar morality, and a supreme individualist”. In her fine 2017 article “Holding Don Giovanni accountable”, Kristi Brown-Montesano expresses shock at William Mann’s 1977 misogynistic portrayal of Donna Anna; she finds his position widely echoed in the critical reception of Don Giovanni at the time, heavily skewed in favour of the libertine aristocrat (she makes an apt comparison with James Bond).

Commentators and directors have idealised Mozart’s wilful, seductive, and violent protagonist, crediting him with virtues (unflagging bravery, triumphant self-determination, revolutionary resistance to oppressive societal power, and sensual idealism) that are, at best, only equivocally suggested in the original libretto. […]
The female characters are judged largely in terms of charm and receptiveness to the Don’s don’t-say-no sexual advances. […]
Fast forward 170 years later and you find conductor James Conlon rhapsodising that all three female characters have experienced a sexual metamorphosis, compliments of Don Giovanni: “their erotic impulses awakened, magnified, and irrevocably changed by their encounter with this mythical seducer”.

But meanings change. Liane Curtis published two articles in 2000: “Don Giovanni: let’s call a rapist a rapist” and “The sexual politics of teaching Mozart’s “Don Giovanni”. Szabó notes Catherine Clément’s 1979 book Opera, or the undoing of women, “reframing Don Giovanni as an exploration of the ways that gendered power oppresses men and women alike”. As well as the violated noblewomen, Zerlina’s aria Batti, batti,

the most famous invitation to domestic violence in the genre of opera, * reveals a woman of the lowest social class employing the only tool available to her, that of her “feminine” sexuality—”feminine” in the traditional sense of completely submissive. “Beat me, beat me, dear Masetto, beat your poor Zerlina. I will stand here like an innocent lamb and take your blows,” she sings, a frightening stance to take on the first day of her marriage.

As with La ci darem, it was long possible to delight in the apparent romanticism of the aria:

Brown-Montesano again:

Yes, Don Giovanni comes from a different time. But this is a poor excuse for partitioning opera/art from contemporary ethical values, forever justifying behaviour that—in any age—is predatory and exploitative. Does the work benefit from this protection? Do we?

She ends thus:

If we really care about opera’s continued relevance, then everyone who loves the art form—directors, conductors, singers, critics, educators, audiences—must acknowledge the connection between what we applaud on stage and what we permit in the workplace, school, home. Because Donna Elvira could tell you, the “Catalogue Aria” is not so funny when your name, or the name of someone you love, is on the list.

Don Giovanni finally meets his downfall not at the hands of wronged women but through divine vengeance. Necessarily, modern productions invariably reflect changing perceptions regarding gender violence, all the more since #MeToo—providing reviewers much food for thought. Here are some thoughts from the director of the 2023 Glyndebourne production.

Susan McClary was a pioneer in unpacking the sexism of Western Art Music. For Michael Nyman’s scintillating instrumental take on the Catalogue aria, click here. On a purely linguistic note, do read Nicolas Robertson’s brilliant anagram tale on Don Giovanni (Noon? Gad—vini!).


* Cf. this interesting discussion on the song Delilah at sporting events, covering a range of issues.

Walk on by

Bacharach
Source: obituary.

Burt Bacharach, who has just died at the age of 94, commanded the broad territory between soothing and rebellious musics, hardly deserving the epithet “easy listening”, as Alex Petridis comments in one of many tributes to his artistry.

Having admired I say a little prayer (under Detroit 67) and the soundtrack to Butch Cassidy and the Sundance kid, I’ve been listening again to Walk on by (1963). “a woman’s perspective on a failed relationship”, written with Bacharach’s lyricist Hal David in the early days of their collaboration with Dionne Warwick, and recorded in the same session as Anyone who had a heart. Here’s 1964 footage of her singing it in Belgium—not just live but really live, apparently:

Again, the cool syncopated trumpet interjections (cf. Comment te dire adieu) don’t quite remind me of Messiaen…

Here’s a 1996 BBC documentary on Bacharach’s life and music (opening with Marlene Dietrich, narrated by Dusty Springfield, with cameos from many of his collaborators):

Always worth reminding you of What is serious music?!

Arabesk: Dilber Ay

Dilberay
Left, Dilber Ay; right, Büşra Pekin in the title role of the 2022 movie.

Flying on Turkish Airlines, to follow the safety video (Trailer for a thriller) and a dodgy dervish movie (note here), I’m also grateful to them for introducing me to arabesk [1] singer Dilber Ay (1956–2019), subject of a recent biopic (Ketche, 2022) that captivated me, even without subtitles. Here’s a trailer with German subtitles:

Dilber Ay was brought up in a Yörük-Kurdish tribe of Kahramanmaraş province, south Turkey. Her family migrated north to Ankara and then Düzce, where she was discovered by TRT scouts at the age of 13. Constantly abused at the hands of men, her story chimes in with what seems to be a dominant genre in Turkish cinema. This interview doubtless reads better in Turkish, but you get the gist…

Like much of the most moving music around the world (see e.g. under flamenco, or the Matthew Passion), Dilber Ay’s music expresses anguish—often stressing the theme of imprisonment, as in her Flash TV series Kadere Mahkûmları (Prisoners of fate, 2011–15). It’s always the plaintive slow laments that captivate me, often with exquisite free-tempo taksim preludes on violin. Two songs featured in the film:

  • Antepten Ötedir:

  • Meyrik (1981)

Among her other songs,

  • Kader:

  • Barak havasi, with further contributions on zurna:

  • Deli gönül yastadır:

For more anguish, try Songs of Asia Minor, and Some Kurdish bards, under West/central Asia: a roundup.


[1] I featured İbrahim Tatlıses under The call to prayer. On the changing arabesk scene, Izzy Finkel’s instructive BBC radio programme “Istanbul’s factory of tears” (2019) includes contributions from various singers and producers, as well as Martin Stokes, author of The arabesk debate (1992).

Sentimentality in music

Assessing sentimentality in music seems to be rather subjective (more on wiki here and here). I offer these random jottings largely as a reflection of my personal tastes.

It’s hard to police taste. In our times the term “sentimental” has come to have pejorative connotations—as wiki suggests, “a reliance on shallow, uncomplicated emotions at the expense of reason”; meretricious (and a Happy New Year), trite, even false. Other items on the word-cloud of sentimentality include maudlin, mawkish, tear-jerking, schmaltzy, manipulative, heart-on-sleeve, and self-indulgent—restraint being a virtue fraudulently claimed by the elite. Apparently emotions, and the declaration of sentiment, have to be earned (Oscar Wilde: “A sentimentalist is one who desires to have the luxury of an emotion without paying for it”).

Gender is a major element in the discussion, with the often-unpacked trope of rational/repressed men and emotional/communicative women. The “sentimental novel” (indeed, empathy itself) is often associated with the rise of female authors, although Dickens is a notable suspect, as well as some poetry of Wordsworth. In daily life, while objects of “sentimental value” seem exempt from censure, much-noted contexts include family, cute pets (the main content of social media, grr), teddy bears for Princess Diana, nature (the sentimental/pathetic fallacy; think sunsets), and Christmas cards. For a brilliant antidote, do listen to Bill Bailey’s Love song!

I note that my own playlist of songs is heavily weighted in favour of women singers, who seem most capable of emotional expression. By contrast with bubblegum/wallpaper music, at last the songs I’m considering are intense. Apart from the lyrics (even assuming we know or care what they mean!), much depends on the framing, the dramatic context. Irrespective of genre, one would suppose it difficult to “earn” the declaration of sentiment within the limits of a song lasting only a few minutes; but it’s perfectly legitimate to plunge right into a mood, as do many WAM songs. Performance is also crucial, the establishment of rapport: the vocal quality of the singer, the arrangement, harmonies, instrumentation (smoochy strings being a giveaway), and tempo. Some may find “the same song” sentimental (or not) according to such variables.

I’m not entirely fascinated by philosophical discussions, such as this from Charles Nussbaum (I’m somewhat thrown by his idea that “passion excludes sentimentality”—really?). He distinguishes sentimental music from the musical portrayal of sentimentality, which is OK, apparently. While critics defend such music by detecting layers of irony, detachment, and distance, isn’t it just those qualities that expose a song as false, a device for feigning passion? Surely we want sincerity; there’s nothing intrinsically superior about ironic detachment. It seems that a song can be both denigrated and excused for being fake.

I’m wary of Posh People claiming the cerebral high ground of lofty moral sentiments, trying to belittle the experience of the Plebs, moving the goalposts; as if their own emotions were noble, but those of the lower classes unworthy of expression. Corduroyed Oxbridge professors (and perhaps even the “tofu-eating wokerati”) pretend to more legitimacy in channelling feelings than a hairdresser from Scunthorpe, but if there was ever a time when this mattered, then fortunately it has receded. Responses to music can’t be policed (cf. What is serious music?!).

So the term is often used as a simple dismissal of a nuanced spectrum. WAM is a broad church, within which pundits make distinctions. Some more austere ideologues, still hooked on “autonomous music” (debunked by Small et al.), might claim to relegate emotion entirely, but WAM is full of it. Puccini is a classic case who appears to need defending (see e.g. here, and here), such as O mio babbino caro:

Predating anxieties over sentimentality, while I refrain from considering the courtly love of medieval ballads, we might now find sentimental some elements in the music of Bach (“O Jesulein süß, o Jesulein mild!”)—set within a religious frame. In WAM (as in Sufism) the portrayal of divine love can be controversial; some critics shrink from the sumptuous string harmonies that are part of Messiaen‘s unique musical lexicon. Baroque arias such as Handel‘s Lascia ch’io pianga, or Purcell’s When I am laid in earth, are never rebuked for sentimentality. Mozart arias too are presumably “rescued” by dramatic irony—such as La ci darem la mano (cf. Holding Don Giovanni accountable), the Terzetto from Così, or the Countess’s aria:

But many audiences, even “high-brow”, are presumably moved by such arias irrespective of the dramatic context.

Mahler 5 tune

Moving on to the Romantic era (generally considered OK, you gather), the OTT pathos of the finale of Tchaikovsky’s 6th symphony is clearly “earned”. For Mahler, the kitsch of popular folk music made an essential and utterly moving counterpoint to his more metaphysical strivings. But he weaves layers of “sentiment”, such as the slow melody that contrasts with the monumental opening of the 5th symphony (above). The Adagietto, of course, is easily co-opted to what we might consider sentimental ends—a not uncommon fate, like Rachmaninoff in Brief encounter. Again, a lot rests on interpretation: conductors are often praised for toning down the sentimentality in Mahler’s music—WAM pundits are dead keen on restraint (cf. Susan McClary on the denial of the body). Returning to gender, this article by Carolyn Sampson on performing Schumann songs may also be relevant.

Modern times
Modern times (1936).

Just as in opera, music manipulates us strongly in film (e.g. “weepies”), such as The way we were or Cinema paradiso. Again, our dour WAM pundits tend to disdain the art of film composers such as Korngold.

Turning to popular musics, I revisit my (not to be missed!) playlist of songs. Again, in such pieces a certain dramatic distance seems to help. Charlie Chaplin’s Smile is a parody of the domestic bliss of which most people are deprived. The nuanced ballads of the Beatles seem sacrosanct—besides Yesterday and Michelle, She’s leaving home is a masterpiece of empathy. I’ve sung the praises of Dream a little dream (again, “elevated” by Mama Cass’s delivery, by contrast with that of Kate Smith). Am I “allowed” to relish Michel Legrand’s You must believe in spring? “Am I bothered?” Country music is more anguished than saccharine (indeed, the lyrics of the Countess’s aria could be from a Country song!)—I like the tone of this post. In jazz, the ballad was blown away by bebop, but survived despite recastings in a more edgy manner, like Coltrane‘s My favorite things. But while the modern reaction to sentimentality has been quite widespread, I can’t help wondering that it’s a handy slur used by the elite to denigrate popular culture.

While such concepts change over time, they clearly vary by region too. If WAM and popular musics share a considerable affinity in conceptual and musical language, the context broadens out widely with folk musicking around the world, where sentimentality doesn’t seem to be A Thing, confounding our narrow Western concepts. In the Noh drama of Japan, a transcendental message and austere sound-world pervade the common recognition scenes at the scenic site of an ancient tragedy. Conversely, the cante jondo of flamenco, its “brazen, overwrought, tortured, histrionic” style expressing “self-pity, posturing machismo, and hypersensitive adolescent egos”, doesn’t quite fit within the norms of sentimentality; nor does the heartache widely expressed in the anguished nostalgia of saudade and sevda. As in WAM or the sentimental pop song, the performance is exorcistic, cathartic.

So for some reason I seem to be requesting permission to be moved by certain songs—Pah! By contrast with some WAM-lite singers like Katherine Jenkins, Billie Holiday had a unique gift for singing sentimental lyrics without ever sounding remotely sentimental—such as Lover man, or You’re my thrill (“Here’s my heart on a silver platter”):

What knots we tie ourselves up in! In both WAM and popular genres, it’s worth positing all kinds of fine distinctions, and interrogating them; but pace the self-styled arbiters of taste, there’s little consensus on what is “legitimately” moving, and I’m reluctant to exclude any music along the spectrum of mood. Hmm, “I don’t know much about art, but I know what I like”…

Rock it, Mom

Rock it mom 2

In an entirely futile effort to keep my finger on the pulse of Chinese popular culture, I’ve been watching the current TV hit series Rock it, mom (Yaogun kuanghua 摇滚狂花, directed by Li Jun 李骏 and Jing Lipeng 荆丽鹏). It’s well contextualised in a China Project article (cf. this review).

Rock It, Mom tells the story of Peng Lai [played by Yao Chen 姚晨], an over-the-hill, middle-aged rock singer. A run of disappointing relationships caused her to move to the US, where her music career never took off, leading her to return to China. As she tries to put her troubled life back together in her home country, she reconnects with her long-lost teenage daughter Baitian [Zhuang Dafei 庄达菲], whose passion for rock music inspires her to restart her career.

Rock it mom 4

The mother-daughter dynamic, competing in their destructiveness, makes a refreshing study in alienation. Once again I am reminded of Long March veteran Wang Zhen’s classic riposte to Cui Jian’s Nothing to my name:

What do you mean, you’ve got nothing to your name? You’ve got the Communist Party haven’t you?

You can watch all twelve episodes as a YouTube playlist, currently without English subtitles:

To help keep roughly on track, the first two episodes with woefully impressionistic subtitles are here:
https://www.iq.com/play/rock-it-mom-episode-1-l6o2m3oxv8?lang=en_us
https://www.iq.com/play/rock-it-mom-episode-2-m2ta0571zk?lang=en_us

It does make me miss Beijing—skyscrapers, underpasses and all (cf. Beijing yogurt).

Rock it mom 3

See also Platform, New musics in Beijing, and Liu Sola, voice of alternative China.

Roundup for 2022!

Like a suburban Sisyphus doing and undoing a jigsaw, having gone to great lengths to mix up the daily sequence of my diverse topics in a stimulating fashion, it’s that time of year when I try and reassemble them into some kind of thematic order (cf. 2018, 2019, 2020, 2021). In September I essayed a handy roundup of roundups, covering some of this ground; and in November I listed Some recent *MUST READ* posts. As ever, in the sidebar you can consult the tags and categories, and even the monthly archive (scrolling waaay down); the homepage still provides useful orientation.

Disturbingly, the items featured below are just a selection, but do click away on all the links…

Perhaps I can begin with a story that combines several of my interests:

While I can’t quite claim to have won the World Cup for Argentina,

and I’m exceptionally fond of

  • Ogonek and Til, for fans of tennis, fado, and Noh drama—wacky diacritics and nasal vowels, with matching anagram and limericks.

Meanwhile I seem to have recovered from being a Ticking Time-bomb:

* * *

China:

And it’s always worth reminding you of my film on the Li family Daoists, and this roundup of posts on them, as well as my work on Gaoluo village.

Tibet (updated roundup), including

I also update my collected posts on Uyghur culture, including

Turkey features prominently in my Roundup of posts on west-central Asia, as I try to educate myself (and even this is only a selection):

leading on to

and William Dalrymple:

Some posts on Ukraine (Applebaum, Snyder, Sands), also linking to

As to other world music,

An Irish music medley, including recent entries:

North Indian music (collected posts):

Jazz (roundup of another extensive series) (Turkish jazz listed above):

And then:

Western Art Music: among this year’s posts on Bach (updated roundup) are

Mahler: my whole series is now listed here, with recent additions

Also

Society, religion, ritual:

A mélange of other topics:

New entries in A Sporting medley include

Drôlerie:

Well, that’ll keep you busy—as a reward, in future perhaps I’ll try posting every three days, rather than every other day, and I might even reblog earlier posts a tad less avidly—not wishing to try your patience (“You must come over and try mine sometime”—Groucho).

Breakdancing on the eve of Tiananmen

Ziwei 4

In 1950, soon after “Liberation”, the great Yang Yinliu and Cao Anhe invited a wind band from Ziwei village (in what later became Dingxian county, Hebei) to record in Tianjin, coining the term “Songs-for-winds” (chuige 吹歌), which soon became a standard—and misleading—image for wind bands in Hebei (click here). But they never managed to go to Ziwei, and Yang soon began work on the ritual music of the Zhihua temple in Beijing.

By the late 1980s, as fieldwork resumed after the hiatus of the Cultural Revolution, Yang Yinliu’s successors in Beijing were clarifying the “northern” and “southern” styles of wind ensemble serving amateur ritual associations on the Hebei plain. The “northern” music accompanying ritual referred to the solemn classical style of temple ensemble (led by small guanzi oboe), and this was to be our main focus in the villages. The more popular repertoire of the “southern” style (with large guanzi) sounded more secular, and was more readily recruited to political campaigns—but as we later learned, it too served funerals and temple fairs. Both styles had been used in the temples of Beijing, Tianjin, and the Hebei plain (see e.g. A slender but magical clue, and under Festivals) since the early in the 20th century.

Stimulated by the 1986 “discovery” of the Qujiaying village ritual association, I began working with the Music Research Institute in Beijing to document the similar groups all around the Hebei plain just south. Our fieldwork began to develop with a reccy over the New Year period in 1989, before the Tiananmen protests got under way.

Ziwei 3

By the early 1950s Ziwei was a large village with over a thousand households; by the time of our visit it had doubled. The origins of its wind ensemble were in the classical style. Even before Liberation they had been providing wind players for professional troupes in Beijing, Tianjin, and elsewhere in the region, and they kept doing so through the Cultural Revolution.

We accompanied them on a trip to perform for a wedding at a township in nearby Lixian county, and on our return to Ziwei we held a recording session. Whereas the membership of most ritual associations is male, here unmarried women also play the wind instruments. The association’s repertoire included breakdancing (piliwu 霹雳舞), recalling Taiji, and a pop singer—both highly serious in demeanour (cf. rebetiko). After decades of isolation, pop had spread from south China as the commune system disintegrated (see Platform), along with a major restoration of ritual life.

Langfang huahui 1991

We got another glimpse of the secular end of the continuum on a 1991 trip to Langfang city. And during our fieldwork around Xushui county in 1993 and 1995, where the temple connection was evident yet again, we found more material on the “southern” style. Some villages like Gaoluo had both northern and southern ritual associations.

QMZ 1958

The Qianminzhuang association, Xushui 1959.

Still, the southern style was always subsidiary, both in the villages and in our fieldwork—see our reports, county by county, under Local ritual.

Molly Drake

Cate DID

Desert Island Discs constantly reveals the personal meanings of music in our lives. Cate Blanchett’s thoughtful recent selection included Mahler 5, featured in her new movie Tár, in which she plays a conductor—despite rave reviews (see under Endeavour), I look forward to watching it with a certain trepidation, since Western Art Music seldom comes off lightly at the hands of directors (cf. Philharmonia). Anyway, her choice of the second movement (with Abbado, to boot!) was most discerning.

I have to admit that I’ve never warmed to the voice of Kathleen Ferrier, although I’m a devoted fan of Janet Baker. The series generally suggests Christopher Small’s plea to recognise the value of all kinds of musicking, not merely the “prestigious” (cf. What is serious music?!), and guests often include a track of amateur, domestic musicking that evokes intense memories or associations.

Molly Drake

Cate introduces Molly Drake (1915–93; playlist), observing: “So private, she was making music inside her home, for herself really… she gives me quiet courage.” Her choice is The little weaver bird:

Pundits have made a link between Molly’s “melancholy meditations on the fragility of happiness” and those of her son Nick.

Cate Blanchett’s final disc was Count Basie’s mantric, hypnotic rendition of Neil Hefti’s Lil Darlin’ (another gift from Tár):

Right at the end Basie slips in a little quote from In my solitude.

I’m even more infatuated by this version by the wonderful Sant Andreu jazz band (cf. here, and sequel):

Those hieratic wind chords remind me (and probably only me) of Messiaen.

Some Chinese posters and pinups

In 1993, as I plunged deeper into fieldwork on ritual associations in rural Hebei, while staying at a dingy hostel in Laishui county-town I was struck by this graphic public information poster from the local Public Security Bureau:

Poster LaishuiThis detail is particularly fine:

Poster Laishui detail
Caption:
Don’t casually drop cigarette-butts or rubbish, and don’t spit all over the place;
maintain cleanliness inside and outside the dwelling.

More precisely, and indecorously, I may add that tutan 吐痰 encompasses the staggeringly common habit of emptying one’s throat via the nose onto the ground, generally with a loud and dramatic flourish—a sound that accompanies some of my finest recordings of ritual performance. At the time it didn’t look as if campaigns against the tradition would have much effect.

Moving swiftly on, political posters have long been a popular topic, but travelling down to the countryside, some intrepid art historian might care to make a diachronic and regional survey of pinups adorning the otherwise bare homes of poor peasants since the 1980s’ reforms, which cheerfully rub shoulders with family photos, posters of Party leaders, and images of deities like Guanyin. I found this montage on the wall of a home in Gaoluo village around 1993:

Pinups Gaoluo

Pinups often make a drôle backdrop to our portraits of wise old folk musicians, like this 1995 image of vocal liturgist Li Yongshu in Yixian county nearby:

Li Yongshu, Baoquan 1995

Here’s a selection from Shaanbei, heartland of the Chinese revolution, in 1999:

All this by contrast with the god images that adorn the ritual building at New Year—Gaoluo again (see here, part of a series on Ritual paintings of north China):

Gaoluo 1989For more recent Uncle Xi pinups, and incentives to display them, see God images old and new, 2—sequel to an article that features murals adorning kang brick-beds dating from just after the reforms of the late 1970s.

ZQ meinv

Tango for Messi!!!

For Sunday’s World Cup final, a paean to the genius of Lionel Messi. Watch his magical dribbling skills in awe, click here for a compilation of some of his great solo goals (the magnificent finale adorned with suitably ecstatic commentary!), and admire  this longer compilation. Among innumerable tributes, here’s a detailed analysis, and I like this recent article by Anita Asante. See also this BBC documentary.

For comparable artistry, cf. Ronnie: a roundup, and A god retires, under A sporting medley.

* * *      

The vision of Messi dancing his way through flailing defenders reminded me to expand my limited acquaintance with Argentine tango—don’t worry, I’m not going to try and dance. [1]

As with flamenco, fado (here, with sequel), and rebetika, the demi-monde roots of tango in the ports and bordellos were soon co-opted in a typical progression from banning (like the waltz) to bourgeois respectability, as the genre’s sleazy, predatory background gave way to the elegant sensuality of polished cabaret and ballroom performance (for critiques of artistic competition, click here). Please excuse me if I round up some of the Usual Suspects below, and for focusing on music rather than dance.

The early years, and the Golden Age
In the traditional style, the habanera rhythm, with the jagged, staccato syncopation of its 3+3+2 accents (cf. Taco taco taco burrito), is common to other Latin American genres (see this useful wiki page). The tango sound became more distinctive from the late 19th century with the addition of the bandoneón, originally used for church music in Germany (cf. Accordion crimes—including an early Polish tango).

The dance, with its sinuous intertwinings, spread around Europe from 1910. Echoing the “posturing machismo” of flamenco, Ricardo Guïraldes wrote in homage (sic):

Hats tilted over sardonic sneers. The all-absorbing love of a tyrant, jealously guarding his dominion, over women who have surrendered submissively, like obedient beasts…

Naturally, in recent years the sexism of tango dance has been subjected to much critique.

The global fame of tango was spread by the new radio, recording, and film industries. Here’s Rudolph Valentino with a tango-travesty in The four horsemen of the Apocalypse (1921):

Here’s a playlist of early 78s:

And this playlist includes tracks by a host of bandleaders, including Osvaldo Pugliese and Uruguayan violinist Francisco Canaro:

Here’s a remastered album of Julio de Caro’s band in the 1920s:

and the great Aníbal Troilo on bandonéon with singer Edmundo Rivero in Cafetín de Buenos Aires (1948):

Tango is part of a widespread musical family expressing heartache (duende, saudade, sevda, and so on), whose letras lyrics enhance its melodic melancholy; however, in vocal timbre I find none of the harsh anguish of flamenco cante jondo. The quintessential tango singer was Carlos Gardél (1890–1935), heard on playlists like this:

To redress the macho dominance, women singers from the Golden Age—some great tracks here:

“The ultimate tango cliché”
Like other pieces that suffer from over-exposure (such as Bach’s Air, the Mahler Adagietto, Debussy’s Clair de lune, Ravel’s Bolero, Dream a little dream of me…), it would be great if we could hear La cumparsita with original ears, but the kitsch image of Some like it hot (1959) leaves an indelible impression. Slower and more evocative than the first recording by Roberto Firpo (1917) is Eddy Duchin in 1933:

With the lyrics it’s quite transformed—I like Carlos Gardél’s version (#5 in playlist above), reminiscent of fado. Like most performers, he sang the Si supieras version by Pascual Contursi, which is maudlin enough—but the anguish of tango is rarely expressed so extremely as in Matos Rodríguez’s own lyrics, heard in this 1945 recording:

La cumparsa de miserias sin fin desfila                The parade of endless miseries marches
en torno de aquel ser enfermo                               around that sickly being
que pronto ha de morir de pena…                         who will soon die of grief…

Well, that’s the last time I’m inviting him to one of my parties.

The piece must have become a millstone around the necks of tangueros—but its immortality was confirmed by Tom and Jerry:

Piazzolla
Meanwhile, as juntas and Perónism rose and fell, Buenos Aires was in flux; with an ever-swelling immigrant population and changing tastes, “old-guard” tango declined amidst the rise of pop music. And so to the nuevo tango of Astor Piazzolla (1921–92) (Songlines; wiki), “the Boulez of the bandoneón” (an epithet attributed to L’Éxpress, making one worry about its readership figures), who “elevated” the genre to the status of art music in the concert hall (NB What is serious music?!). After his youth working with some of the great bands of Buenos Aires, Piazzolla was drawn to the style of modern WAM composers like Bartók and Stravinsky, studying with Alberto Ginastera and Nadia Boulanger—who, to her credit, insisted that he follow his own path. 

Boulanger with Piazzolla 1955
Studying with Nadia Boulanger in Paris, 1955.

He also recruited jazz musicians to his groups, although by the standards of jazz his arrangements were over-prescribed (cf. Unpacking “improvisation”).

Again, just a selection. Tres minutos con realidad (1957):

Adiós nonino (1959), a requiem for his father:

Balada para un loco (1969), with his second wife Amelita Baltar:

Libertango (1974) (playlist):

Suite Troileana (1975):

 And the gorgeous Oblivion (1982; danced here, and here):

I’m keen on his late Quinteto Tango Nuevo, with Fernando Suarez Paz (violin), Pablo Ziegler (piano), Horacio Malvicino (guitar), and Hector Console (bass)—click here for their 1984 gig in Utrecht (playlist).

As the “world music” scene took wing and boundaries were breaking down, Piazzolla became a legend. A definitive book is María Susan Azzi and Simon Collier, Le Grand Tango: The life and music of Astor Piazzolla (2000). And here’s the documentary Tango maestro (Michael Dibb, 2004):

Joining a long list of London gigs that I kick myself for missing, in 1985 Piazzolla performed for a week at the Almeida Theatre! Awww…

* * *

The scene has continued to develop, with nuevo tango supplemented by neotango. But as Adam Tully observed, 

It’s too easy to think that [Piazzolla] was leaving it all behind or rejecting it; in truth he was completely a part of this music and wanted it to be ever greater, to grow rather than to stagnate. And the dead end is to think that since Piazzolla innovated, then the natural progression of tango is the language that he invented. The danger there is for other composers, arrangers, and performers to get absorbed into Piazzollean language, which is what happened in the 80s and 90s.

Finally, some bonus tracks. Dance, with its complex technique, remains a vital part of tango’s social life, deserving greater attention than I can offer; but here are some staged representations. Carlos Suara’s 1998 movie Tango:

For Last tango in Paris and The conformist, click here. A scene from Frida (2002):

And Rose and Giovanni in Strictly:

I won’t venture into Finnish tango, but here are a couple of playlists for Turkey (cf. Midnight at the Pera Palace, and Jazz in Turkey). Seyyan Hanım (1913–89):

and Şecaattin Tanyerl (1921–94):

Hmm. Like I’d know—I was just admiring Messi weaving his way through yet another helpless defence, and recalling his time at Barcelona, comparable only to Bach at Leipzig [Late entry for 2022 Pseuds’ Corner Award—Ed.].


[1] Useful starting points include the chapter in The Rough Guide to world music, Songlines (including this selection), and wiki:
https://en.wikipedia.org/wiki/Tango
https://en.wikipedia.org/wiki/History_of_the_tango
https://en.wikipedia.org/wiki/Argentine_tango
https://en.wikipedia.org/wiki/Tango_music
https://en.wikipedia.org/wiki/Figures_of_Argentine_tango

For the wider context, see Peter Manuel Popular musics of the non-Western world.

.

Bhairav to Bhairavi at Bhavan!

Bhavan

Hot on the percussive heels of Israel Galván’s flamenco reinvention of The Rite of Spring, I paid another visit to the splendid Bhavan Centre in west London, where resident vocal guru Chandrima Misra led her students in the first of two evenings displaying their progress learning a variety of north Indian ragas—the latest in a series of courses over many years.

Bhavan ragaChandrima Misra directing students, Founders’ Day, March 2022.

Between the opening and closing numbers (with nearly a hundred students seated on stage) we heard a variety of solos and for two, three or more singers—mostly women—in the popular khyal style, discreetly supported by Chandrima Misra on harmonium, with Rajkumar Misra on tabla, whose own students also took turns. Students paid eloquent tributes to the diligence and inspiration of their unassuming guru.

Framed by rāgs Bhairav and Bhairavi (introduced here as part of my extensive series on north Indian raga), the programme illustrated a variety of ragas roughly in their proper sequence prescribed over the course of the day, such as Bhimpalasi, Multani, Puriya, and Bihag. Many used chromatic scales with augmented intervals—none more complex than Lalit (introduced here).

As I observed on a previous trip to the Bhavan, it’s always intriguing to hear how young students learn the building blocks of a raga, memorising increasingly lengthy bandish compositions before going on to develop their own voice. The event had a celebratory family charm that rather conjured up an image of the Tring Amateur Dramatic Society; and it suggested the core of the mehfil aficionados who attend concerts of the great visiting artists—a strong amateur basis for the appreciation of raga in the UK.

* * *

In this concert footage, Chandrima Misra sings rāg Multani (flat 3rd ga, sharp 4th Ma, with re and dha—both flat—only sounded in descent), again with Rajkumar Misra on tabla, and Prabhat Rao on harmonium:

She herself trained with Munawar Ali Khan (1930–89), master of the Patiala Gharana tradition; here he sings rāg Yaman, always entrancing:

Munawar Ali Khan was the son of Bade Ghulam Ali Khan (1902–68)—who, as wiki notes, while agreeing that the beauty of classical music lies in leisurely improvisation, favoured shorter expositions of lighter ragas, reluctant to impose long alaps on his audience. In this brief excerpt he sings Bhairavi in thumri style:

And here he is heard in a selection of clips:

Chandrima Misra’s other main teacher was Vidushi Sanjukta Ghosh—in this radio concert from c1983/84 she sings rāg Lalit:

For more London concerts of raga, see Raga at the Proms and Indian singing at the BM. And do explore the wealth of music under A garland of ragas—notably the intense alap of dhrupad singing and the sitar playing of Nikhil Banerjee!

A flamenco Rite

Galvan

I’ve long been hooked on the gritty art of flamenco (series rounded up here), and The Rite of Spring is utterly compelling in both orchestral and ballet versions, always a rich source of inspiration for new interpretations. It makes perfect sense for them to come together, and the other day I was delighted to attend a solo dance performance of La Consagración de la primavera by the ever-innovative Israel Galván at Sadlers Wells.

It’s hard to unhear the sonorities of the orchestral score, but the pared-down arrangement for two pianos (played by Daria van den Bercken and Gerard Bouwhuis) worked well, and Galván was mesmerising, embodying Stravinsky’s vision with his chthonic percussive energy.

Here are excerpts from a performance last year:

The dance complemented the agonised ethos of flamenco—modifying its ”self-pity, posturing machismo” (Timothy Mitchell) and the “culture of victimage” (William Washabaugh) (see Flamenco, 2). Blurbs for Israel Galván typically remark on how he “challenges gender norms”. While stressing the angular syncopations of Stravinsky, he added his own rhythmic counterpoints. His whole body became a sound-box, with relentless stomps and shimmies (his legs sometimes concealed beneath a huge billowing skirt) and expressive arms. Much as he deserved a nice sit-down, you might not think that the hectic Danse sacrale that concludes the piece would be quite the moment, but he spent most of it on a chair—legs, feet, and arms frantically busy as ever.

The Rite of Spring usually makes a climactic finale, but here it was the centrepiece of a continuous event, amidst two contrasting musical works, Frederic Rzewski’s Winnsboro Cotton Mill Blues and a sonata by Domenico Scarlatti—also making suitable vehicles for Galván’s style. The programme brought out the highly percussive nature of the piano, even if I couldn’t help imagining a version on bandoneón and xylophone.

A short story

Note
I found this handwritten manuscript, apparently the author’s only fictional creation, while sorting through my old family papers. * Except by osmosis, I was never privy to the lasting personal trauma it evokes. For me, that itself adds another layer of sadness; I never overcame my teenage alienation from the older generation, unable and perhaps unwilling to identify with their own human conflicts—and indeed it was many years before I became aware that such introspection was even possible. But aside from all that, I greatly admire the literary merit of the story, which speaks to an experience that extends beyond the
Brief encounter generation.

 

She took the box of chocolates from him and glanced wearily at the contents—why bother to choose, she thought. I’m sure to get it wrong. Turkish delight… orange cream… perhaps ginger or brazil nut. What’s the betting I’ll end up with coffee or nougat—and anyway I don’t really know which one I want, or even if I want one at all. She pushed the box away, and her mind wandered back over the years, taking her from the comfortably furnished room, neat, warm, quiet, with its view onto a carefully tended suburban garden, to the shabby cottage where two little girls waited for their daddy to bring the Saturday treat he always collected for them when he went for his evening sports edition. The pools win had never come, but for her the memory of choosing which sweet to take from the penny packet he triumphantly produced was interwoven with the excited checking of football results.

When did I start to make the wrong choice, she wondered. The choice was my own, people didn’t influence me, did they? Did they? Was it not outside conditions, a sequence of events converging on me, forcing me into a narrowing passage where only one choice became possible, and finally became no choice at all? The war influenced so many people in so many ways, but for me the influence was gentle, tucked away as I was in the country, too young to have to leave home, my father in a reserved occupation, far from the bombs that caused such havoc. Oh no, I can’t blame the war. She thought of her dominant mother, who was outwardly kind, so absorbed in her little family, and whose whole life was lived for them, but who nevertheless expected complete obedience, unquestioning acceptance of her way of life. Was it her rule, her permanent ordering of every detail that had made it so difficult for her daughter to accept the responsibility for her own choice in even the smallest matters?

sisters 1935
Two sisters, 1935.

At school the range of subjects had been limited by shortage of staff and accommodation caused by the need to share with evacuated schools, so by the time she had realised where her interests were it was too late to change, and the professional training she would have liked had been suspended for the duration of hostilities. She had fallen back on her mother’s choice of career, accepted her ambition for her, but chosen for herself the college in London—in spite of the doodlebugs.

She thought suddenly of the relief of being able to go home to the country from college, and then, for no reason at all, of the young farmer’s son who had been her constant companion. They had been friends, real friends, with an easy give and take, a flow of laughter and understanding, and a joy in the beauty of the countryside around them. His parents’ farmhouse had been welcoming, with a cool, clean atmosphere after the strenuous activities of haymaking in summer, and a friendly glow in winter after attending to the animals. His mother was a homemaker by instinct, not in the self-conscious manner of the modern housewife, and her husband made everyone welcome without looking over his shoulder to see if he was creating the right impression. His family had farmed there for generations; this was where he belonged, and he had no need to consider such things as creating the right image. Theirs was a happy life, and yet when Dan had asked her if she would consider giving up the prospects of the job she was training for and marry him, she had not even thought of it as a choice. She wanted to live in a town with all the excitement of constant entertainment, clever, smart friends and all that the best in the world of culture and arts could offer. Foolish girl that she had been, she had thought then that the big cities held everything the world could give. Foolish, self-pitying old woman that I am now, she thought, at least I know that the heart finds its own happiness regardless of material matters.

I did live in a beautiful city when I set out on my career, and I was so lucky with my work and my colleagues. The creative side of the work satisfied me, and the promise of being useful to others as well as enjoying the necessary routine. Why did I give it up, why did I leave the house where I was living as one of the family, but free to go my own way, why did I abandon my hopes of making my own life as I had planned? My choice again, she thought, to leave so much for so little. I was not swept off my feet by the handsome hero of the story books, I had no illusions about him; I expected no treats or surprises. Oh yes, I was flattered by his attentions, the promise of his devotion, and I made my own decision.

“Another chocolate, dear?” “No thankyou”. He didn’t even notice that she hadn’t taken one before—perhaps he no longer cared any more than she did. Was he too, perhaps, thinking back over the choices in his all to predictable life? The limited finance of the early years when he had chosen to buy a house that would be in the “right” area for one in his position, the child he had never wanted although they had decided together that the time had come when they could afford to start a family. Now that had been a wrong choice. Before that, she had been young enough to make a new life of her own without him, without a child to consider, and still able to make use of her training and experience. Did he remember that as a turning point too, one which had kept him in his dull job, paying the bills, gardening, decorating, listening to her nagging, the child’s grizzling—and for what? She remembered the years of shared misery, the endless arguments, the countless times when she had chosen to stay on, but in reality she had not had the guts to stand up to the recriminations of both families, to his concern about what people would think, how it would affect his career.

Perhaps just once she had rejected the choice to return to living in the country. Had it really been a choice? During one of her husband’s business trips she had taken her son back to the countryside of her youth, and seen again through his eyes the beauty of her native county. A picnic on the farm where she had so often ridden home with the harvest was a must, and it seemed natural that Dan would still be there, natural that she should show the boy the ducks, take him to the milling shed, lift him onto the back of the old horse, now out to grass, who had pulled so many hay carts. They had slipped so easily into their old friendly ways, and he had taken her hand gently, sensing her unhappiness, and said, “I’m still here if you want me, my lovely”.

Her husband was dozing now, and she looked across at him, tired, grey, lined, but still with the determination that was his hallmark. They were alone now; their son had done well, with his degree which had led to a successful career. But they rarely saw him, and when he did visit he was always in a hurry. She looked round the room and thought of the house they were in now. She had intended to leave when her son left, go her own way, at last be free to live her own life, independent of parents, husband, child, forget the bad times and make the most of what was left. But he had had a trick up his sleeve. Did he tempt her with that offer of a fresh start, the move to a new house? Did he really want to please her, make her happy, share with her the fruits of his dreary years? She looked at the room now, gleaming in the lamplight, carefully chosen by him, put together with patience, every detail meticulously stage-managed, taken out of her hands, and ending up like the magazine impression of an “Ideal Home”. The kitchen should be the heart of the home, like the farmhouse kitchen of long ago, but how easily hers had become not the heart but the powerhouse, full of all the latest and smartest equipment, an impressive showpiece.

Now she no longer had any real choice in anything that mattered, no choice whatsoever. Here in this lovely house, which could have been a bribe, in the suburbia to which she had never truly belonged, which had rendered her incapable of belonging to the countryside where her roots lay. “It hasn’t all been bad,” she thought, “there have been happy times, and I have much to be thankful for.” She looked at the helpless figure in the wheelchair, caught his glance as he awoke searching for her presence; shared with him the resignation to the crippling illness which two years ago had trapped him but would not give him a swift or easy release. No choice, she thought as she smiled at him and reached for a chocolate.

MM, 23rd March 1980.


* For more family vignettes, see A modest literary pedigree, Wisdom of the elders, and From the archives.

When the iron bird flies

*Another instalment in my education on the history of modern Tibet*

Iron bird cover

The independent scholar Jianglin Li—evidently no longer based in China—has a useful website War on Tibet, working with Matthew Akester. I’ve been reading her book

  • When the iron bird flies: China’s secret war in Tibet
    (Chinese original, Taiwan 2012; English translation by Stacy Mosher of the revised version, 2022, 550 pages).

After her 2010 book Tibet in agony: Lhasa 1959 (English version 2016), When the iron bird flies describes the brutal military conflict in Tibetan regions from 1956 to 1962, which has long remained a closely guarded secret. It supplements chapters in Tsering Shakya, The dragon in the land of snows (1999) (see his review of Li’s book) and vols 3 and 4 of Melvyn Goldstein’s magnum opus A history of modern Tibet (2013, 2019), as well as recent volumes like Conflicting memories.

The main focus of When the iron bird flies is the regions of Kham and Amdo (for some sources on the latter, click here), whose chiefdoms had always been resistant to external political power. Li’s account is based both on Tibetan accounts and classified Chinese documents within the PRC, as well as interviews with Tibetan refugees in India and Nepal.

map
Traditional Tibet, comprised of the three provinces of Kham, Ü-Tsang, and Amdo,
in current Chinese administrative divisions. Source: Marvin Cao.

For several years after occupying minority regions the Communists moved slowly; but the trigger for the convulsions of the late 1950s was “democratic reform”—their euphemism for coercive land reform and expropriations. It was launched over several stages in different provinces: in Yunnan in 1955, Sichuan in 1956, Gansu and Qinghai in 1958, and the Tibetan Autonomous Region (TAR) in 1959. Revolts broke out widely as the reforms were being imposed. Li introduces the system that soon became routine: work teams, struggle sessions, the fixing of class statuses, taxation, confiscation of grain and guns, assaults on monasteries. Even Tibetan activists groomed to the Communist cause were shocked to see the disastrous effects of reform when they returned to their localities.

The “first shot in the Khampa armed rebellion” came at Sertar county in Garzê. In response the Sichuan Party bosses only escalated the situation.

By the end of March 1956, eighteen of Garzê Prefecture’s twenty counties and forty-five of its seventy-seven townships had experienced full-scale or localised insurrections involving a total of 16,000 people and more than 8,000 firearms. During this time, fourteen land reform work teams came under attack, and ten county seats were besieged or encircled. More than 200 land reform cadres were killed, and the PLA suffered more than 300 casualties.

Reform was not invariably met by resistance:

In Middle Village and Lower Village in Ngawa’s Trokyab county, land reform was completed in about three months without conflict. But when the work team proceeded under order to Upper Village to launch land reform, it came under attack, and almost all of the thirty land reform work team members were killed.

But heavy taxation and grain confiscations led to food shortages.

Resistance by the Hor Drango (Shouling) monastery in Drango county was suppressed in March 1956. After Communist troops “annihilated more than 700 people,” “the Shouling temple’s eighty-member council sent representatives to the county’s Work Committee to deliver a written assurance that they would not resist taxation again”. This indicates that taxation was the direct reason for the Drango monks’ resistance.

As both Chinese and Tibetan sources show, with many of the most influential monks and laypeople having been recruited to official positions in the CCP system, resistance came mainly from the lower middle classes, including farmers, herders, monks, and traders. Li studies the class composition of areas, with tralpa (who leased land and cultivated their own crops) and gepa (who cultivated land or worked as servants for landowners, headmen, or monasteries):

The vast majority of peasants in these regions cultivated their own fields. Tralpa were not necessarily poor, and families with surplus labourers could engage in trade or hire themselves out. As a result, when the Tibetan regions were divided into class categories, the landlords, rich peasants, and middle peasants were mainly tralpa, whom the CCP classified as “serfs.”

As in Han Chinese regions, class classification was arbitrary and variable by locality. With land that had previously been communally owned now becoming state property,

a district designating 10 to 20% of its people as “landlords and rich peasants” meant that a relatively large portion of the middle stratum had their assets confiscated; this caused many of them to join in uprisings. [….]

 Every stage of the land reform process in Kham, from its preparations to its implementation, demonstrated the arrogance and high-handedness of the CCP regime, as well as the ignorance and brutality of its cadres.

Numerous problems in the “redistribution” of resources were intractable. Resistance to land reform was inevitable. In response the Party requested military reinforcements while mobilising Tibetans into the army—who, hastily trained, suffered the heaviest casualties. The first battle, over nine days in March 1956, was in Lithang in southwest Garzê (cf. this post).

Lithang 1957.1

Lithang 1957.2

In a series of battles, both sides suffered heavy casualties. Determined to crush all resistance, on 29th March the air force dispatched two Tupolev Tu-4 aircrafts (a gift from Stalin to Mao) to strafe and bomb the monastery. Next day the PLA made their final assault.

This battle being the PLA’s first major military operation in the Tibetan region, its shock wave was felt by both the Chinese and the Tibetans. Tibetans were shocked by the “iron bird,” a powerful modern weapon they had never before seen or heard of, while the Chinese commanders were surprised by the willpower of the Tibetan resistance. In the following years, Tibetan willpower and Chinese modern weaponry would clash over and over again.

Lithang1957.3

Southwest of Lithang, the people of Chatreng were also fiercely independent. Again, the early years of Chinese occupation were relatively mild, but in mid-February 1956,

Chatreng’s two main monasteries received a document from the work team. As Tibetans recall it, the document included seven points:

1) Lamas and monks have to be eliminated; 2) monasteries and their contents have to be eliminated; 3) worship and ritual are prohibited; 4) the wealthy and eminent members of the community have to be eliminated; 5) all land will be appropriated by the state; 6) all property will be appropriated by the state; 7) everyone has to obey the Liberation Army and serve them. If you do not agree to this, we will bomb you from the air and send troops on the ground and wipe you out. […]

The Tibetan leaders of Chatreng secretly held a meeting to discuss the document and then sent a messenger to deliver a strongly worded reply:

You officers, district heads, and soldiers are here in our land without the slightest justification, and have no business imposing these seven points, which are completely unacceptable. You had better leave immediately, otherwise we have also made our war preparations, and there is no doubt that we will fight.

From 20th March county government bases were besieged by the local Tibetans. When the surrounded Chinese finally managed to send word to Zhou Enlai, reinforcements were dispatched. On 2nd April bombers were again deployed, destroying large areas of Sampeling monastery and killing over two hundred monks and laypeople. Three monasteries in the region were bombed over nearly a month. Chatreng was destroyed.

Among the land reform work teams were many Tibetan activists trained by the Chinese. In Nyarong (yet another region long resistant to external power), 185 out of 257 members were Tibetan. The rebellion there began in February 1956, as land reform teams came under attack, with insurrections breaking out in 78% of rural townships. Again, PLA reinforcements were sent. Coercive reforms continued throughout the year.

In Ngawa prefecture, Sichuan province (focus of Barbara Demick’s Eat the Buddha), uprisings broke out from March 1956, again prompting Chinese military intervention. As elsewhere, “goodwill troupes” occasionally sought (vainly and cynically) to mollify a furious population even while persisting in reforms.

The following chapters turn to what became the TAR, where reforms were delayed, with a useful survey of the early years under occupation. But by 1956 news of the violence in Kham was causing great alarm in Lhasa among the Tibetan leadership and public. Li describes the intense diplomatic intrigue in 1956–57 surrounding the Dalai Lama’s visit to India, involving Zhou Enlai, Nehru, and the USA—as Zhou emptily promised the Dalai Lama that there would be no reforms for six years. The Dalai Lama returned to Lhasa on 1st April to find the situation increasingly tense. Meanwhile the CIA-trained Chushi Gangdruk (“Four Rivers and Six Ranges”) volunteer army prepared to resist Chinese occupation.

The “socialist transformation” continued, with forced collectivization around Golok Prefecture in 1958, as the Great Leap Backward (my apt term) caused untold suffering right across China. By August,

resistance among the Qinghai Tibetans had spread to five autonomous prefectures, 24 counties, 240 tribes, and 307 monasteries, involving more than 90,000 people. The Chinese government sent in five army divisions and 30 regiments of various kinds, plus 25 companies of armed police and local militia, for a total armed force of more than 50,000, including air force, artillery, infantry, cavalry, armoured troops, and others. […]

In Chikdril County, 1,050 people, nearly 10% of its total population, were arrested within three years. More than half of these captives died in prison over the next five years, and some were in jail until the early 1980s. Of the hundreds of herdsmen arrested from the Khangsar clan, only about twenty of them ever made it home again.

At least 9,262 people were arrested in Golok Prefecture, the vast majority of them males in the prime of life; in some places the proportion of young men to young women was one to ten.

As the military campaign shifted north from Sichuan and Yunnan to Qinghai and Gansu, Li documents the horrific “Yellow River massacre” at what later became Khosin Township (Yulgen county) on 1st June 1958—as ever, carefully assessing the conflicting sources.

After a Chinese convoy was ambushed in Yulshul, rebellions broke out at monasteries, with bombers again deployed. Over a third of the population of Yulshul died in these years. Many survivors were imprisoned in labour reform camps, where they died or suffered for long years. With food shortages worsening, in May 1958 the PLA murdered monks at the Drakar Drelzong monastery in Tsikorthang, Tsolho Prefecture; in September there was a bloodbath at Drongthil Gulch. A second wave of assaults took place from June to September 1959.

As the Chinese military administration was convulsed by Rectification and Anti-rightist campaigns, Tibetan resistance to reform was widespread—though what Chinese sources portray as rebellion (thus creating a pretext for massacres) was sometimes a mere exodus of herders fleeing collectivization. Refugees were described as “bandits” if they were killed, or “liberated masses” if they were captured. Resistance continued in 1959, met by massive troop deployments, with further major battles.

In 1958 a major arrest and denunciation rally took place at Kumbum monastery in Rusar county, Qinghai. The monastery then has 1,615 monks—remarkable in itself, we might suppose. Tibetan Buddhist life had been relatively unscathed through the early years of occupation; but now the CCP initiated a secret “religious reform movement”, in which Buddhist activity was specifically targeted, notably the monasteries. A document from the period noted the scale of the issue:

more than 5,000 monasteries of various sizes, and 450,000 religious personnel, among which there are more than 3,000 lamaist temples and 250,000 lamas in Tibet; 20,000 lamas in Mongolia and Xinjiang; and a total of 2,000–3,000 lama temples and more than 170,000 lamas in Gansu, Qinghai, Sichuan, Yunnan, and other provinces.

Apart from ideology, the monasteries possessed substantial assets, in land and precious material artefacts—Li gives regional instances of the assets confiscated, metal statues and religious implements. Labrang monastery (in Gansu), with its 4,000 monks, was surrounded in April 1958; after “reform” began in June, over 1,600 people there were arrested, imprisoned, or executed. Many monasteries were now destroyed. In Qinghai province,

223 monasteries in the pastoral areas have been disbanded, 51.98% of the total, and 17,685 religious personnel have returned to secular life, composing 36.56% of the total. Among these, 97.5% of the monasteries in Huangnan prefecture have been disbanded, and 55.1% of religious personnel have returned to secular life; adding in those arrested or sent to group training brings it to around 95% of the total. In Hainan prefecture, 91.8% of the monasteries have been disbanded, and 87.9% of religious personnel have returned to secular life. In Haibei and Haixi prefectures, more than 80% of the monasteries have been disbanded, and more than 70% of the religious personnel have returned to secular life. The emergence of these new scenarios shows that religion is on the brink of total collapse.

The Anti-rightist campaign gave another pretext to denounce religious figures. As a Qinghai document declared:

After a large number of religious monasteries have been destroyed and a large number of religious personnel have returned to secular life, all localities must rapidly launch religious systemic reform work in the monasteries that have been purposely retained. […] The monasteries that remain must be controlled by progressive elements and must be completely controlled under the party’s leadership.

Another Party document explained:

In order to look after the religious beliefs of the masses, block rumours and provocations by counterrevolutionaries inside and outside of China, and facilitate the centralised management of lamas who have not returned to secular life, preserving some temples is essential. As to the appropriate number to retain, this should be according to the influence of the temple and the views of the masses. Rank the temples; in principle it is undesirable to retain too few. […] In terms of retaining temples, it is advantageous at present to retain more rather than less.

By the beginning of 1959, the vast majority of monasteries in Amdo and Kham had been closed down, occupied, or destroyed. I note that whereas in post-reform China the Cultural Revolution makes a scapegoat for a far more protracted range of abuses, in the vast heartland of the Han Chinese, the Communists began destroying temples from the early 1950s—in some areas as soon as they took power, even before the national “Liberation”. I’m also reminded that food shortages there predated the 1959–61 famine by several years, following collectivization. Yet Tibetan religious faith was not extinguished: it went underground.

Sera
Struggle meeting against monk officials in Sera monastery.

Lhasa
Struggle meeting against a Tibetan government official in Lhasa.

Lhasa was “the last hope”, where activists and ordinary people from Kham sought refuge in ever larger numbers. Li surveys the fateful events leading to the Dalai Lama’s escape to India—described in greater detail elsewhere, including her own earlier book. But as resistance continued, fierce battles took place in Lhoka, Namtso, and Mitikha. 1960 saw further campaigns. She looks in more detail at the covert activities of the CIA Tibet Task Force. The extended resistance in Chamdo from 1959 to 1962 was yet again ruthlessly suppressed with annihilation campaigns and aerial bombing.

Finally Li attempts to collate the conflicting statistics over the whole region—deaths in conflict, arrests, Chinese troop numbers, confiscated assets, and so on. Just the figures suggesting population decrease are staggering.

From 1956 to 1962, the iron horse galloped wildly across the plateau. Wherever its iron heels trod, the flames of war were ignited, monasteries collapsed, scriptures were burned, people were killed, and leaders fled into exile. The political system, economy, military, culture, and society of the Tibetan people were completely destroyed.

And again she reminds us of the tragic personal experiences buried beneath such statistics.

In an Afterword, Li considers the “rehabilitation” of the early 1980s, further evidence of the grievous losses of the secret war. She notes the Panchen Lama’s 1962 petition; and she hints at the further wave of destruction that was to follow with the Cultural Revolution, observing the ironic fates of some of the worst central and regional Chinese masterminds of the holocaust, purged and humiliated.

* * *

So much for the “Peaceful Liberation of Tibet”—the succession of atrocities reminds one of the genocide of Native America, or the wartime devastation of the Bloodlands. While we should take into account the grievous wounds inflicted by Maoism in the Han Chinese heartland through the period, this doesn’t diminish the horror of the Tibetan case.

After the individual memoirs that I reviewed recently (here and here), the broader canvas and more dispassionate tone of this volume are no less affecting; Tibetan and Chinese documents are interwoven with personal stories, some recounted by ageing exiles in India. Whereas in the 1950s the Chinese presence in Tibet was novel and tenuous, by the 1970s, following the violence of the Cultural Revolution there, it became a fait accompli, with the suppression of public memory seeking to bury the story of the appalling brutality of the late 1950s. But the imprint of the period clearly remains deep in people’s hearts, making a backdrop to the sporadic unrest that continues to erupt around Amdo, Kham, and the TAR.

For those studying expressive culture, all this makes an important reminder that the much-vaunted “singing and dancing of minority peoples” could hardly be maintained during such a traumatic period of social disruption. Yet, remarkably, after the downfall of Maoism in the 1980s, people pieced together the fragments of cultural life with alacrity, while adapting to new social changes (see e.g. Some folk ritual performers).

Andrea Motis in London!!!

Motis gig

Andrea Motis is one of the most gifted young musicians nurtured under the aegis of Joan Chamorro’s Sant Andreu Jazz Band project in Barcelona (click here, and here). How very wonderful to hear her live last weekend, performing at the London Jazz Festival on vocals and trumpet at Pizza Express Holborn—an intimate venue conducive to attentive listening—in trio with the splendid Josep Traver on guitar (a Sant Andreu veteran) and the Sicilian bass-player Giuseppe Campisi.

Her alternation of vocals and trumpet recalls Chet Baker, but whereas Chet constantly reproduced a mood that he had discovered in his youth, Andrea is constantly developing—creating her own magic of the voice, ever deeper in her personal dream.With her growing superstar status, she’s not becoming a diva: her manner remains unassuming.

Here’s an upbeat number (the colour palette not doing justice to the Mediterranean warmth of her Almodóvar-esque dress!):

Between imaginative reworkings of standards like My favorite things and Someone to watch over me, a highlight of her Latin-tinged set was her entrancing transformation of Majorcan/Catalan band Antònia Font’s song Alegria, with its “gentle shower of stardust”—here she is performing it in 2020, with Josep Traver and Joan Chamorro:

Going back to her London debut in 2014 (also at Pizza Express), here’s her creative cover of Amy’s You know I’m no good:

More on Andrea’s website, and her YouTube topic! Note her recent quintet album Loopholes, borrowing from electric jazz, funk, and neo-soul—here’s Heat, live: *

Click here for her 2010 version of the gorgeous Dream a little dream of me. See also under A jazz medley, including New British jazz and Two women vocalists, as well as a Turkish gig in the London Jazz Festival.

 


* BTL comment (HUH—Discuss):

If Andrea had stayed with her four-piece jazz backup band of Juan and Josep etc., and done original versions of jazz standards, she could have been the European version of Diana Krall and found huge success. With that small jazz band, she was getting hundreds of thousands of views and hundreds of comments on YouTube. With her new band led by her husband and the experimental style, she is fading from view. I find this unfortunate.

Cf. the LA traffic cop’s unwitting put-down of Eric Leinsdorf

Beethoven retorts:

Ich wäre nicht, wo ich heute bin, hätte ich nur gemütliche Lieder geschrieben!

Coltrane too could have stuck to playing cute little ballads…

Some recent *MUST READ* posts

Cetegories

The *MUST READ* category in the sidebar directs you to some of my more worthwhile posts whose topics deserve to be savoured and shared.

Here’s a selection from recent entries, on a variety of themes:

  • The sceptical feminist, Janet Radcliffe Richards’ 1980 masterpiece, argued with dispassionate philosophical clarity, and still highly relevant despite some period features
  • Some Kurdish bards: politics, gender, and heritagification—epic tales of love and war, plangent kilam laments, with some fine recordings, archive and recent
  • Ogonek and Til—for fans of language, tennis, and fado! Wacky diacritics and nasal vowels in Polish and Portuguese—with matching limericks, and a bonus entry for Gran visits York….

  • Bach in an empty forest: a mesmerising mile-long xylophone in a Japanese forest, the wonders of a Bach cantata, Myra Hess’s wartime National Gallery concerts, and Takemitsu’s early alienation from Japanese musical traditions
  • Dream a little dream: interesting as it is to listen to earlier and later renditions, Cass Elliott’s 1968 version is enthralling—with the most radiant modulation ever!

  • The kiosk in Turkey and Europe: late-Ottoman mansions in Istanbul—the ancien régime, a haunted house, women’s changing status under the Republic, and shanty-town migrants; followed by some European kiosks, with cameos from The fast show and The third man
  • Mahler: a roundup!!! The definitive voice of our age—the symphonies, as well as chamber versions, and piano rolls; quintuplets and major 7ths; Alma and Anna
  • Ray Man, pioneer of Chinese musicking in London: social and musical change in the UK, Hong Kong, and mainland China—with homages to the Cantonese music scene and the early days of Ronnie Scott’s in Gerard street.

I’ve grouped these posts in the form 3+2+3, in the hope of encouraging you to revisit my post on aksak additive metres!

For an earlier list, click here.

Cunk on Earth

Cunk 1

I’m delighted to find a new BBC TV series from Philomena Cunk (aka Diane Morgan), the “Landmark Documentary Presenter”, with her distinctive style of forensic investigation:

  • Cunk on Earth (available here for the next year).

Again, among targets that she sends up are the documentary format, her own persona, both elite and popular cultures, and indeed human history itself.

In the beginnings opens by exploring the achievements of early humans:

One thing they did invent was fire, which allowed them to see at night and kept them warm, tragically prolonging their already tedious lives.

Having conquered numbers, humankind moved on to something even more boring, by inventing writing.

The Ancient Greeks invented lots of things we still have today, like medicine and olives, and lots of things that have died out, like democracy and pillars.

And another invention:

Philosophy is basically thinking about thinking—which sounds like a waste of time, because it is.

On Pompeii,

Thanks to the volcano, we know everyday Romans had grey skin, were totally bald, and spent their time lying around inside their shockingly dusty houses. But it also preserved glimpses of how sophisticated Roman life was, with creature comforts like indoor plumbing and cunnilingus.

In Faith/off the intrepid Ms Cunk covers religion.

What’s ironic about Jesus Christ becoming a carpenter was that he was actually named after the two words that you’re most likely to shout after hitting your thumb with a hammer.

She perks up with an entirely gratuitous plug for an all-inclusive five-star resort near the temple of Kukulkan, “the last word in luxury”.

Islam represented a radical break from previous religions, because the buildings it happened inside were a slightly different shape.

And she asks

Why can’t the religions all learn to live together in peace, like they do in Ireland?

In The Renaissance will not be televised Ms Cunk sets the scene:

It’s the year 1440 (not now, but then, in 1440).

The historic present has always Got my Goat too.

Gutenberg’s press was the first of its kind in history—except Chinese history.

This is Florence—the Italians call it Firenze to try and stop tourists from finding it. […] Florence might look like a pointless mess today, but in the 15th century…

On the Mona Lisa:

Just looking at her prompts so many questions. Who is she? What’s she smiling about? Is she holding a balloon between her knees? And if so, what colour is it?

Cunk 2

Turning to the New World,

After arriving in America to forge a life of honest hard work and toil, many of these colonists quickly discovered they couldn’t be arsed, so they stole people from Africa and made them do it instead.

Eventually Washington won, becoming America’s first president, the single most revered role in the world until 2016.

Rise of the machines opens with a succinct recap:

Last time we saw how the Renaissance turned Europe from a load of mud and parsnips into a posh resort full of paintings…

Introducing Manifest Destiny, she helpfully explains:

Americans back then weren’t the humble unassuming people they still aren’t today.
[…]
The North asked the South what kind of America it wanted to live in—one where white people leeched off other races while treating them as inferior, or one where they pretended they didn’t.

Following the Civil War,

Now Lincoln was President, at long last slavery was abolished, and replaced with simple racial prejudice.

Turning to recording,

Thanks to Edison’s pornograph, classical music could now bore an audience of millions.

Cunk 3

She returns to the theme of femininism, on which she has already established her credentials;

Finally, with the vote, women could choose which man would tell them what to do.

Besides her collaboration with Charlie Brooker, in the final episode, War(s) of the World(s)?, “it’s easy to see why” she’s an admirer of the ouevre of Adam Curtis. Turning to Russia, Tsar Nicolas

was allowed to rule the country like a dictator, which I’ve been advised to say isn’t how Russia works today. […]

A world like this, where the masses toil for pennies while a tiny elite grow rich, seems so obviously unfair and unthinkable to us today. We can scarcely imagine what it must have been like.

Cunk 4

As to 1950s’ America,

Adverts were so influential that it made viewers at home want to be the sort of person who bought things too. They’d work hard to get money, to buy a car, so they could drive to the shops and buy more things, which they’d have to pay for by going back to work, which made them miserable, so they’d cheer themselves up by going out and buying more things, which they’d have to work to pay for.

On the birth of popular culture:

Unlike normal culture, which was paintings and Beethoven, this was stuff people actually enjoyed.

For decades, pioneering black artists had steadily built on each other’s work to develop an exciting new musical form for white people to pass off as their own.

Moving on to the technological revolution, the Apple Macintosh was

the world’s first inherently smug computer.

And

smartphones revolutionised the way people interact, by providing a socially acceptable way to ignore everyone around us.

But we’re not lonely—thanks to social media, it’s quicker and easier to bond with millions of others over something as simple as a cat photo or the ritual shaming of a stranger.

* * *

Cunk interview

Dr Shirley Thompson’s musicological expertise somewhat under-used
in fielding fatuous questions like
“Would it be fair to say the Rolling Stones were the Beatles of their day?”.

To help her unlock the mysteries of human civilisation Ms Cunk consults a range of academics, asking penetrating questions like “Why are pyramids that shape—is it to stop homeless people sleeping on them?”, “Has a mummy ever ridden a bicycle?”, and “Is there a Great Roof of China?”. Scholars such as Jim Al-Khalili, Douglas Hedley, and Ashley Jackson manage to keep a straight face, even as she disputes their so-called expert views with stories about “my mate Paul”, recommending them helpful YouTube videos wat ‘e sent ‘er. The Cunk interview is fast becoming the hallmark of the public intellectual; and I now feel that it should be a compulsory ordeal, a rite of passage for any aspiring lecturer. As Rebecca Nicholson’s review observes:

You could spend a lot of time wondering whether the interviewees are in on the joke or not; if they are in on it completely, it ruins the gag, which surely works best if they think Cunk is deadly serious. The same is true for viewers, in a way. If you look closely enough, you can see that there’s a formula: compare old thing to new thing, ask anachronistic question, wait for baffled response. In both cases, though, I don’t think it matters. None of the academics seem to think they are being mocked, nor are they trying to be funny; likewise, it’s so hilarious and well-written that if you can occasionally see the bare bones poking out, it isn’t much of an issue.

The interview in Cunk on Shakespeare, where she quizzes Ben Crystal on a list of words that Shakespeare, er, might or might not have made up, remains a great favourite of mine:

cuckoo?
ukulele?
omnishambles?
mixtape?
sushi?
titwank?

This series has a new, mystifying musical leitmotif, introduced by fine links such as

Descartes inspired an intellectual movement known as the Enlightenment, during which metrosexual elitists published essays that expanded humankind’s horizons in a manner that will go unmatched until the 1989 release of Belgian techno anthem Pump up the jam… [cue music].

Philomena Cunk attains a level of vacuity with which no-one outside the current government could compete. Too bad she’s over-qualified to serve as the next Prime Minister.

The films of Yilmaz Güney

Yol

Kurdish actor and film-maker Yilmaz Güney (1937–84) was prolific, despite being constantly in conflict with the Turkish regime as a result of his leftist sympathies for the subaltern poor and his highlighting of Kurdish issues (see e.g. wiki, and this review of his ouevre, both providing useful references).

Having admired his film Law of the border (1966—see Early Turkish verismo), I’ve been exploring his work a bit further. Hope (1970) was regarded as a Turkish equivalent of Bicycle thieves.

The theme of rural Kurdish blood-feuds continues in The herd (1978), but as Güney extended his sympathies to the plight of the urban poor, I’m struck by Zavallılar (“The fall”, 1974; literally “The poor”), the stories of three men fallen on hard times, driven to destitution by cruel fate. Here it is, alas without subtitles:

But most impressive of all is Yol (The road, 1982) directed by his assistant Şerif Gören while Güney was in prison. Jailed in 1972, soon after his release in 1974 he was sentenced again for shooting a judge to death. He managed to keep working on projects from prison, and after escaping in 1981 he took the negatives of Yol to Switzerland, editing it in Paris. The film was banned in Turkey until 1999.

His periods in captivity partly inspired the screenplay, which portrays the stories of five prisoners given a week’s home leave in the aftermath of the 1980 Turkish coup, travelling back to their troubled lives in rural south Anatolia to perform traumatic family duties. As this NYT review comments, the film portrays Turkey as one large prison, oppressed not only by political tyranny but also by superstition and bigotry. You can watch it without subtitles here, but it’s well worth buying the DVD: *

Güney’s final film Duvar (The wall, 1983)—recreating a Turkish prison in Paris (interview here)—again uses the metaphor of incarceration. It becomes progressively more involving, with a remarkable manifesto for Kurdistan in the riot near the end. This version is again without subtitles:

For more on Kurdish culture, see under my roundup of posts on west/central Asia.


* The effective soundtrack to Yol is by Zülfü Livaneli, who himself spent periods in jail before going into exile in 1984 (see e.g. his novel Serenade). His song Kardeşin Duymaz, pleading for Greek–Turkish coexistence, is heard at the climax of the TV series The Club.

The kiosk in Turkey and Europe

kosk

The other day a further excursion around Kuzguncuk inspired me to reflect on the changing lives of its dwellers and the diffusion of the kiosk.

More grandiose than our humble kiosk, the Turkish köşk (a word itself borrowed from Persian kūshk) may denote a pavilion, gazebo, summer-house, pleasure palace, villa, or indeed belvedere (Chinese guan 觀, as in my own fantasy address “Priory of the Azure Cloud Bottle within the Belvedere of Tenuous Obscurity”).

Among several examples in the Topkapi Palace are the Tiled Kiosk and Baghdad Kiosk; many more köşks can be admired elsewhere in Istanbul; and such structures are dotted around the former Ottoman empire.

On the Asian side of Istanbul near Kuzguncuk are several fine köşks from the late Ottoman era, set in sylvan groves overlooking the Bosphorus. Two of them lead me to stories that encompass the Ottoman ancien régime, a household embodying the changing status of women under the Republic, and post-war Black Sea migrants in shanty settlements.

The Abdülmecid Efendi Mansion (wiki; more detail here) was gifted to the Prince by Sultan Abdülhamid in 1895. Abdülmecid (1868–1944), “the last Ottoman caliph”, was also a student of Western Art Music and a gifted painter—he depicted salon life at his köşk in the painting Beethoven in the harem (1915):

salon 1915

Abdülmecid (right, in pasha uniform) listens to his Circassian wife Şehsuvar Kadınefendi playing violin, Hatça Kadın (Ofelia) on piano, and his son Ömer Faruk on cello.
One of the other two women may be his third wife Mehisti.

Abdülmecid went into exile in 1924, living in France. His mansion is currently open to the public for the Biennale, hosting an imaginative art exhibition.

The Cemil Molla Mansion (see here, and here) lies just above the main coast road towards the bridge and the Beylerbeyi Palace. It was redesigned around 1895 by the Italian–Armenian architect Alberti at the behest of Cemil Molla (1864–1941), minister and cultured confidant of Sultan Abdülhamid. It was even connected to the Beylerbeyi palace by a tunnel.

Cemil Molla mansion

Lavishly furnished, the mansion was equipped with electricity, central heating, and a telephone—at a time when such luxuries were the exclusive preserve of the Yıldız Palace. The new köşk made an elegant retreat for the pastimes of Cemil Molla with his wife and children, and their English and French governesses. The children not only studied the Qur’an (Cemil Molla sometimes served as imam at the Üryanizade Mosque) but also learned solfeggio; dignitaries and philosophers assembled for elegant soirées, as the air filled with piano and oud, Baudelaire and gazals—just the type of gathering that musicians like Tamburi Cemil might have frequented.

Left: Cemil Molla köşk, interior; right, from The shining.

Upon the founding of the Republic in 1923, Cemil Molla went into retirement. After his death in 1941 the mansion was confiscated by the State Security Department. [1] It was soon thought to be haunted, * with his ghost wandering in the gardens—“disconsolately” being the obligatory adverb here. Later buyers have felt unable to occupy the mansion, with the Nakkaştepe cemetery nearby. The story cries out (spookily) for a movie screenplay, like a Turkish version of The shining—with an eery soundtrack of taksim on kanun, and Ravel’s La valse, echoing through gilded salons adorned with sepia family photos… This brief introduction to the mansion has some of the ingredients:

* * *

To augment the story, with the encyclopedic Kadir Filiz we accompanied his neighbour, the sprightly Fatma Hanim (“Lady Fatma”), [2] to revisit the slopes where she had made her home. Her account takes us on to the migrations of the post-war period.

Fatma H and Am for blog
Fatma Hanım with Augusta.

Fatma Hanım, now in her mid-80s, is one of those delightful grannies whom one dreams of meeting—we only had to mention a single keyword and she came out with a whole stream of reminiscences.

She comes from the Black Sea town of Boyabat in the hills south of Sinop, just east of Kastamonu. After her husband Ilyas was sent to Istanbul on military service around 1959, he managed to stay on there; soon after he paid a visit back to Boyabat, they returned to Istanbul with their first baby—the first of four.

Their new home was a gecekondu shanty-settlement just behind the Cemil Molla mansion. The land was owned by a Greek boss, who ran a pig farm and slaughterhouse as well as a gazhane factory producing gas. (His son Emil became a great friend of the popular gay singer Zeki Müren.) Fatma recalls life on the estate, in the heart of nature, as paradise—though she was shocked by the informality of the Greeks, with the men wearing shorts… She pointed out the trees she had planted herself.

Ilyas was a gardener on the estate, while Fatma worked as housekeeper for a lady who lived in a relatively modest yalı house on the coast just along from the Cemil Molla Mansion. In a most intriguing digression from the köşk, Fatma’s employer was none other than Sare Hanım (Sare Mocan, Sara Okçu, 1914–2000). This leads us to a complex family history that I can’t even begin to get my head around…

From a distinguished Ottoman family, Sare had been abducted on horseback at the age of 15 by Sefket Mocan, grandson of Sefket Pasha, and was later married to him. Her (much) older sister Celile (1880–1956), a painter, was the mother of the left-wing poet Nâzım Hikmet (1902–63; see also under Sabiha Sertel), and over his long years in prison Sare often visited her beloved nephew there.

Left: Sare Hanım in the 1930s, “the first woman to wear a bikini and trousers”
under the Republic. Source.
Right: Nâzım Hikmet with fellow inmates, Bursa Prison. Source.

Sare went on to become a modern cosmopolitan belle; she even flirted with the idea of becoming a Hollywood movie star. After divorcing Sefket she moved back into her family’s Bosphorus yalı; she remarried, and divorced again. Cemil Molla’s family also had a yalı below their köşk, so they were near neighbours.

Sharing the house with Sare was her niece Münevver Andaç (1917–97). Münevver had fallen in love with Nâzım Hikmet in 1949 while he was nearing the end of a long imprisonment, giving birth to a son and marrying him after his release in 1951—but he soon had to go into exile in Moscow. Prevented from accompanying him, she moved in with Sare; under surveillance, Münevver left for Warsaw in 1961 with her two children before making her home in Paris. Sare’s niece Leyla had also married, but moved back to the house after separating from her husband.

Left: Sare in old age, surrounded by her mementos
Right: the green yalı on the Bosphorus.

So the female household where our eloquent guide Fatma Hanım worked for over thirty years sounds like a microcosm of women’s changing status under the Republic (for more, see Midnight at the Pera Palace).

Returning to Fatma Hanım’s own story, in 1992, after the notorious campaign of Istanbul mayor Bedrettin Dalan to destroy the gecekondu shantytowns, thanks to Ilyas’s honest reputation he was able to buy an apartment in the Kuzguncuk mahalle itself for a good price, where he and Fatma have lived ever since.

* * *

Turkey being Umlaut Heaven, ** when diacritically-challenged infidels adopted the word köşk they didn’t quite know what to do with the vowel (for my wacky fantasy on diacritics, click here). Somehow our borrowing in English isn’t quite how I’d expect the vowel to behave (says he, sipping coffee in his pyjamas while plucking the lute), although I don’t know how we could have done better—”kosk” wouldn’t have worked, anyway. ***

In 18th-century Britain, Ottoman architecture enjoyed a vogue thanks to Lady Mary Wortley Montagu (see under Hidden heritage).

Fast Show
Another British homage to Ottoman culture.

Our modern kiosk is far less grand. It might serve as a bandstand, or more often a little stall selling newspapers, cigarettes, snacks, and so on. We don’t seem so good at them in Britain—the garden shed, immortalised by Jessy on The fast show (cf. Rowley Birkin QC), is quite a comedown.

But I do enjoy a good French kiosque or Italian (um) edicola, and I recall some fine examples around pre-1990 central and east Europe—where the vogue had begun with King Stanislaus I (1677–1766) of Poland; for me, the kiosks of East Berlin, Prague, and Budapest were part of the Iron Curtain mystique, with the buzz of street life.

Thrd Man kiosk

With All Due Respect to Ottoman architecture, perhaps the most iconic kiosk is the one in the middle of an eerily desolate Viennese square in The third man, accompanied by Anton Karas’s zither.


[1] By 1942, with the grossly discriminatory Wealth Tax (evoked in the Turkish TV series The Club), the brunt of the burden was to fall on Turkey’s non-Muslim minorities. For Istanbul during World War Two, see Midnight at the Pera Palace.

[2] In the more personal honorific style of Turkish relationships, Kadir and Augusta address her as Fatma Abla (“Elder Sister”) or Fatma Teyze (“Auntie”).

* The Cemil Molla Mansion is listed among the Top Five Haunted Buildings of Istanbul!

** Funny how “umlaut” doesn’t have an umlaut, eh. It seems that Turkish hardly needs a term to specify the ubiquitous dots, üzerine çift nokta koymak (“put a double dot on it”) being a tad over-generous. BTW, I’m very fond of the Hibernian umlaut, which I finally mastered on a tour of the States with a Scottish cellist, whose frequent refrain was “Shall we go and get some füd?”

*** This rather reminds me of my sample sentence of English borrowings from the Venetian language:

if you read in the gazette of the imbroglio over an arsenal of contraband artichokes; and if you’ve ever been quarantined after zany scampi and pistachio marzipan in the ghetto, or worn sequinned pantaloons to a regatta…

George Melly owns up

Owning up cover

George Melly (1926–2007) was one of the great characters of the London trad jazz scene.

He described his early escapades frankly in

  • Owning-up (1965),
    a most delightful and perceptive memoir (cf. Lives in jazz).

Forced as he was at prep school to listen to the cricket on the radio,

even now the sentence “and we return to the studio” holds an irrational beauty.

Very often the announcer, in a suitably apologetic voice, would introduce a record by Ambrose and his Orchestra or Roy Fox and his Band. At this, the headmaster, with the hysterical violence which characterised all his movements, would push back his chair and attempt to silence the ancient set before the first note.

If, as usually happened, the switch came off in his hand, he would drown the music, as he fumbled to replace it on its axle, by shouting “Filthy jazz!” at the top of his voice.

Sitting po-faced under a sepia photography of giraffes in the East African bush, I would mentally add jazz to Bolshevism and the lower classes (“Spurni profanum vulgus”) as things I was in favour of.

At Stowe he discovered little cells of jazz lovers, and he heard Bessie Smith’s classic Gimme a pig-foot and a bottle of beer for the first time.

All over wartime Britain the same thing was happening. […] Suddenly, as if by spontaneous combustion, the music exploded in all our heads.

After Stowe he joined the Navy as an ordinary seaman, taking his gramophone and records on board ship, dreaming of New Orleans. In this same period his other interest was Surrealism, and after demob he began working for E.L.T. Mesens in his newly-opened London Gallery. Eventually he got to hear live revivalist jazz, as trad was known then. Hanging out at Humphrey Littleton’s weekly sessions, he began exploring clubs in the suburbs.

I resolved to become an executant. Too lazy to learn an instrument, I had decided to sing. *

He went to Eel Pie Island on the Thames to hear Cy Laurie’s band:

After I had drunk several pints at a bar half painted to look like the window of a Spanish Hacienda, I asked Cy if I could sing. He couldn’t think of any excuse so I did.

He soon found his groove—in John Mortimer’s words, “singing with the raucous charm of an old Negress, so easily attained by those educated at Stowe”.

Melly and Mick
George and Mick.

As he teamed up with Mick Mulligan, his work at the gallery suffered: “what had been vague inefficiency turned into inspired anti-commercial delirium”. He notes the conflicting credos of trad jazzers and beboppers (the latter being the main topic of my series on jazz):

The revivalists began with the old records, and only learned to play because they loved a vanished music, and wished to resurrect it. Depending on their purism, they drew a line at some arbitrary date and claimed that no jazz existed after it. The modernists did this in reverse. Nothing existed pre-Parker. […]

Very slowly things changed, initially on a personal level. The two schools began to meet socially to argue and listen. Eventually some of the traditionalists became modernists or mainstreamers, and others began to realise that Gillespie and Parker, Monk and Davis were not perverse iconoclasts but in the great tradition, and the modern musicians stopped imagining that bebop had sprung fully armed from the bandstand at Mintons, but had its roots in the early history of the music.

The contrasting ethos was also displayed in the two camps’ sartorial tastes, with George soon creating his own distinctive style.

He branched out from his early homosexuality, with no moral decision involved. After years of patient suffering, his landlord served him with a brilliant eviction notice:

… I have endured your drunken and dissolute ways, your wanton waste of light, gas fire, hot bath water, horse radish, beans, lavatory water, your assumption that my library was yours… I never reproached you when you made this house a doss for band boys and barrow spivs, nor when you plastered the walls of a lovely room with obscenities and childish scrawls…

As the band began making a name, they traveled to seedy suburban jazz clubs via second-hand car lots on bomb sites, and set off on tours of the provinces.

After one session George was head-butted by a young thug wielding a bottle.

I was anaesthetised by fear. I subconsciously did the only thing that might work and it did. I took out of my pocket a small book of the sound poems of the dadaist Kurt Schwitters, explained what they were, and began to read. The book was knocked out of my hand, but I bent and picked it up again, and read on:

langerturgle pi pi pi pi pi
langerturgle pi pi pi pi pi
Ookar.
langerturgle pi pi pi pi pi
Ookar.
Rackerterpaybee
Rackerterpaybay
Ookar.
langerturgle pi pi pi pi pi
etc.

Slowly, muttering threats, they moved off. I can’t explain why it worked, but I suspect that it was because they needed a conventional response in order to give me a going over. If I’d pleaded or attempted to defend myself, or backed against the wall with my arm over my face, I think I’d have had it.

Leading lights on the scene included Ken Colyer, purist stalwart of the trad jazz church, and Humph, who George recalls listening to a modern jazz record and then turning away with the remark, “Back to sanity and 1926!”.  In later years on I’m sorry I haven’t a clue Humph would introduce his deadpan put-downs of the show’s long-suffering pianist Colin Sell by intoning languidly, “Listeners may be interested to know that…” 

The Mulligan band performed for the 1951 Festival of Britain (cf. Stella Gibbons), “that gay and imaginative flyleaf dividing the grey tight-lipped puritanism of the years of austerity from the greedy affluence which was to come”.

Mick had a “pathological hatred of rehearsal”. This story of a banjo player, a “kind-hearted formidable pissartist”, takes me back to our ordeal playing Handel in Göttingen:

The replacement of a broken string was a comic performance in itself. He would hold the banjo about two inches from his nose and with slow glassy-eyed deliberation fail time and time again to thread the new string onto the key. Eventually by the law of averages he succeeded, tuned his instrument with conscientious precision and then, often only a bar or two later, another one would snap.

As George lost his job at the gallery, his sexual education continued in a world of scrubbers (see below), knee-tremblers, and bunk-ups. The band turned professional (using the word loosely), playing all over Britain in dance halls, whose décor he evokes poetically. It was a relief to play in jazz clubs. He pays homage to the transport caff; while some were disgusting, “with congealed sauce around the necks of the bottles and pools of tea on the table with crusts of bread floating in them”, others had gleaming juke-boxes and pin-tables and fruit machines, clean tables, and hot, edible food. Such caffs provided

a few minutes of light and warmth in the dark cold hours between leaving the dance hall where the old caretaker and his one-eyed dog snooze over a tiny electric fire, and climbing into bed in the London dawn, grey and shivering from lack of sleep.

He evokes the cellar clubs of Soho, frequented by taxi-drivers, clip-joint hostesses, waiters, small-time criminals, and jazz musicians. In 1952 at their basement club in Gerard street, Mick and George organised all-night raves—a term which Mick apparently coined with his manager Jim Godbolt. George traces the ebb and flow of the revivalist scene, with vignettes on the motley crew of aficionados who kept the flame burning.

Soon after their coach crashed in the Lincolnshire night, Mick dismantled the band, offering to manage George as a solo singer. Changes were afoot in their corner of the jazz world. Ken Colyer came back from New Orleans “like Moses coming down from Mount Sinai with the tablets of the Law”. Humph “was in full revolt against his revivalist past”, eventually settling for mainstream, the small-band jazz of the late 30s–early 40s. Cy Laurie’s cellar club in Windmill street did well, his all-night raves more financially viable than those of Mick and George, before he went off to India on a Quest for a different kind of Truth.

George was ecstatic to hear Big Bill Broonzy at the Conway Hall, the first American jazzman to appear in England after the war (cf. Ronnie Scott and my Chinese-music mentor Ray Man getting to hang out with their American idols in the early 60s), though he found Alan Lomax’s lengthy introduction paternalistic. The visit featured memorable all-night sessions, and on Big Bill’s trip to Liverpool he stayed with George’s parents.

By 1955 Mick couldn’t resist returning to the fray, and George couldn’t resist singing with his re-formed band, staying with him for the next seven years despite other tempting offers. He relays a story from clarinettist Ian Christie:

Mick was very drunk and playing a solo. His control was minimal, his head entirely empty of any constructive ideas. His timing gone. All he could do was blow unbearably loudly, his neck swollen, his eyeballs popping with effort. Ian listened with irritation. When somebody is playing as badly as that it reflects on everybody in the band. Finally Mick finished his thirty-two bars of nothing, and waved his bell in the direction of the trombonist to tell him to take the next chorus. He turned to Ian, his face running with sweat:

“All the noise and vulgarity of Freddy Randall,” he said, “with none of the technique.”

Although jazz and WAM may seem far apart, such hooliganism, like the antics of the band on the road, reminds me of the orchestral scene in the 70s, complete with intemperate excess and practical jokes (see Deviating from behavioural norms!). With the personnel of Mick’s band constantly fluctuating, George gives affectionate portraits of its miscreants’ foibles.

By 1954 Chris Barber was taking over the mantle of Ken Colyer on the trad scene. But just then

a whole new world was in the process of being born, and we were entirely unaware of it. I can’t remember the first time I heard the word “teenager”. I don’t know at what point I began to take in the teenage thing. I doubt many other people can either.

They decided Rock around the clock was a drag, and were underwhelmed by Elvis. But what was changing was the new group identity of young fans. George became aware of the trend through meeting Tommy Steele on a transmission for the embryonic medium of television. Later, sharing a bill with him, he realised what a huge youth following Tommy had, their “orgiastic cries of worship” foretelling the death of jazz. Still, they managed to ride the storm, playing for loyal jazz club audiences. George also notes the rise of skiffle, revived yet again by Ken Colyer, making a star of Lonnie Donegan.

On a Scottish tour in 1955 George got married. He had just done a lecture at the ICA in London on the subject of “Erotic imagery in the blues” to a mixed audience of earnest ICA regulars and his own unruly mates. Generously fortified by gin, and diverging from his well-prepared script, he delivered a rather incoherent attack on the ICA itself, referring to it “with a certain lack of originality” as “Institute of Contemporary Farts” or, to relieve the tedium, “Institute of Contemporary Arseholes”. Finally, as the staff stacked up the chairs, with George insensible, his supporters unstacked them (which could surely have been billed as a work of performance art in itself). In response to outraged coverage of the event in the Melody maker, George

wrote in defence citing Dada and Rimbaud, but leaving out Messrs Gordon and Booth, which was perhaps rather unfair.

After a sympathetic account of the early breakup of his marriage, George describes the exhilaration of hearing Louis Armstrong on his first visit to London in 1956. As American jazzers began touring England more often, George found a particular affinity with bluesman Jimmy Rushing. With Mick’s band they toured with Big Bill Broonzy, as well as Sister Rosetta Tharp, who to their relief turned to be quite a raver.

As to George’s own showmanship on stage,

The general feeling in the band was that my poncing about had become a bit much.

On the road they made “an increasingly dull noise”; but his old jazzmate Wally Fawkes (whose sketch of George adorns the book cover) now asked him to write the dialogue for his popular Flook cartoon in The Daily Mail. This regular income boosted his unpredictable earnings.

Ever alert to language, he notes the transition from “mouse” to “chick” to “bird”, terms whose sexism is hardly redeemed by being well-meant (cf. Words and women). He gives an expansive sociological definition of the term “scrubber”. Whereas in the later Beat world it came to mean a prostitute, in his early days on the road it denoted a girl who slept with a jazzman for her own satisfaction as much as his. Each had their own catchment area, and they tended to specialise in men who played a particular instrument. **

Around 1960 trad jazz enjoyed another vogue, with Mr Acker Bilk rising to fame, prompting George to further unpack the changing scene and deplore the turgid banjo (cf. the rise of the bouzouki in rebetika). He recorded LPs and EPs, and appeared solo on TV as compère and performer, “looking camp as Chloe”.

In Liverpool, doing gigs at the Cavern, they find Beat groups beginning to appear—including one called the Beatles.

By 1962 Mick’s band had agreed to disband again. George, no longer dependent on singing for his supper, found a long-term partner in his wife Diana.

At the time of writing rhythm and blues is taking over from Beat.

His benign conspiratorial chuckle translating onto the page, Melly’s sensibility is so contemporary and his style so candid that it’s hard to believe the book was published as early as 1965. He pursued the musical upheavals of the time with Revolt into style (1972). In Rum, bum, and concertina (1978) he recounted his earlier days in the Navy. 

Of course, even in later years he could never resist camping it up for an audience. Here he is live with John Chilton’s Feetwarmers in 1983:

And he stars in the evocative documentary Smokey dives: jazz faces and places (2001):


* George’s speciality in singing, unsullied by instrumental skills, reminds me of my time at meetings of the Gaoluo village ritual association, with trusty liturgist Shan Yude’s constant self-deprecating lament, “I can’t play wind instruments, I can’t play percussion…” (wo you buhui chui, you buhui da 我又不会吹,又不会打), which I used to impersonate rather effectively to the amusement of his colleagues. They would have enjoyed George’s company too.

** This calls to mind an American groupie friend from my days in the opera pit in Verona, who had a fetish not just for trombonists but for bass trombonists—which one might suppose to be setting rather a high bar. Having already got nine under her belt (the mot juste), I used to tease her whether she could succeed where Beethoven and Bruckner had failed. A couple of years later, back in London I received a triumphant postcard inscribed with the single word “TEN!”

Memphis 68

Memphis cover

The meshing of social history and musical detail is a cornerstone of ethnomusicology (see Society and Soundscape, and cf. What is serious music?!). To follow my paeans to Stuart Cosgrove’s Detroit 67 and Young soul rebels, every bit as enthralling is his

  • Memphis 68: the tragedy of southern soul (2018),

by turns passionate and dispassionate. Working month by month through 1968, the short chapters, with their snappy titles, unveil a wealth of insightful vignettes, showing a real feel for the streets and for the dazzling cast of troubled musicians in search of stardom, social justice, or just struggling to survive. Cosgrove’s vivid descriptions make one reach for YouTube—so below I complement my introduction with some of the many tracks he evokes so well.

The story hinges on Stax Records, the civil rights movement, the assassination of Martin Luther King on 4th April 1968, and increasingly violent protests. Vietnam, and the obdurate Memphis city mayor Henry Loeb, also loom large. Stax has already been the subject of several studies, such as Rob Bowman, Soulsville U.S.A. (1997) and Robert Gordon, Respect yourself (2013), as well as several documentaries.

Cosgrove’s opening chapter, “Roosevelt Jamison’s blood bank”, segues seamlessly from the segregationist rules for blood donation to Jamison’s thriving sideline nurturing soul bands.

  • James Carr, The dark end of the street (1967):

In Hank Cherry’s words, Carr “dove into his own embattled soul and pulled from the painful reaches of his psyche”. Another star discovered by Jamison was O.V. Wright, who had a series of hits, including

  • A nickel and a nail (1971):

The brilliant Otis Redding was only 26 when he was killed in a plane crash late in 1967, along with the Bar-Kays. Sittin’ on the dock of the bay was posthumously released on 8th January 1968:

Unlike the more controlled Motown system, or, more famously, the Hollywood studio system, Stax was informal, haphazard, and collegiate.

The company, “an oasis of racial sanity”, smashed through segregationist rules. Its (white) owners were Jim Stewart and his sister Estelle Axton; the school system produced a wealth of black talent. The Bar-Kays were educated at the Booker T. Washington High School in South Memphis, still almost entirely black, “informal academy of southern soul”. Stax prodigies Booker T. Jones (no relation!) and the M.G.’s had a hit with the instrumental Green onions as early as 1962:

Another senior mentor was sax player, bandleader, and studio boss Willie Mitchell. At first Stax had a mutually beneficial relationship with Atlantic Records in New York and its “emperor” Jerry Wexler. Among the performers Atlantic sent to Memphis were Wilson Pickett and Don Covay, as well as Sam and Dave—all of whom were volatile and hard to work with.

  • Mustang Sally (1965):

  • Hold on, I’m coming (1966):

But then came the break with Atlantic, as they came under the wing of Warner Brothers—which soon ensnared Stax in knotty legal disputes with a soulless conglomerate.

As young black musicians returned from Vietnam—such as John Gary Williams, a member of the Mad Lads—a group of activists called the Memphis Invaders led student unrest, closely watched by the FBI.

  • James Brown, Say it loud I’m black and proud:

A lengthy garbage workers’ strike—publicised by WDIA, the voice of black Memphis, and supported by charismatic ministers—came to the attention of Martin Luther King. He arrived in Memphis on 28th March as another violent protest march was under way. In successive chapters Cosgrove tells the story of the murky chain of events surrounding King’s assassination on 4th April.

MLKDr King’s supporters point in the direction of the shooting.

King had checked into the Lorraine Motel, where Stax regularly put up visiting black singers. Sax player Ben Branch was due to give a fundraising concert that night, and just before the shooting King addressed his last words to him from the balcony:

“I want you to play Take my hand Precious Lord, Ben—play it real pretty, sweeter than you’ve ever played it before.”

The inner cities now erupted.

King was among those religious men torn by a “civil war inside”, captivated by sex and love, revealed in the tension between sacred and profane, gospel and blues. Bettye Crutcher was a gifted composer of candid songs about betrayal and infidelity, including

  • Johnnie Taylor, Who’s making love:

Stax, hitherto a model of racial harmony, was polarised by King’s death, with black activists increasingly concerned to claim equal rights.

Like Miles Davis, Booker T. Jones had chosen popular music over the orchestral world. He made his name on the Hammond B-3 organ, taking it beyond gospel towards rock and soul. Ironically, while working on the soundtrack for Jules Dassin’s political movie Uptight (watch here), he escaped the turmoil of Memphis to fly to Paris for a round of post-production, only to witness the May riots there.

Cosgrove gives an aside on “black bohemian” Melvin Peebles and his Sweet Sweetback’s Baadassss song, whose soundtrack was also taken up by Stax. Isaac Hayes, who had assumed the persona of Black Moses after his album Hot buttered soul, went on to win an Oscar for Shaft (playlist here), his extravagant stardom playing a major role in Stax’s later travails.

More socially engaged than the “bubblegum soul” of Motown, Stax was rebuilt by Al Bell after the fall-out with Atlantic, aiming at the new market for albums. Another hit single of this period was

  • William Bell and Judy Clay, Private number:

The 1972 Wattstax festival, “the Black Woodstock”, with Isaac Hayes heading the bill, was immortalised in a film—here’s a trailer:

Young mother Juanita Miller led a Poor People’s March by mule train on Washington DC, which turned out less to be far less successful than Martin Luther King’s vision, ending in disarray.

  • The Staple Singers, Long Walk to DC:

As black power became more militant, Cosgrove introduces Dino Woodard, a “devout brute” who served as security guard and enforcer for Stax. With his fellow hardman Johnny Baylor he propelled Luther Ingram to stardom:

  • (If loving you is wrong) I don’t want to be right (1972):

After Vietnam and some time in prison, John Gary Williams went on to reflect the changing times with The whole damn world is going crazy (1973):

Olympics 68

The Black Power movement spread to the 1968 Olympics. Athlete Bill Hurd, from Memphis, narrowly missed selection. He was also a sax player brought up in the jazz and the marching band tradition of Manassas High School, where he was trained by Emerson Able—as was jazz pianist Phineas Newborn Jr, “the greatest soul musician that never was”. Newborn also passed through the Plantation Inn, another cradle for soul, whose house band were Ben Branch and the Largos. * Meanwhile Bill Hurd retired from athletics and became a successful opthalmologist, travelling internationally; later he reconnected with his fellow students at Manassas High to record soul albums.

Also visiting Memphis in 1968 was Mahalia Jackson, who remained faithful to her gospel roots at a time when many singers were crossing over to pop and soul. Of course, like the church, the gospel scene was far from pure, with “religious parasites, false preachers, and furious commercialism”. The battle between sacred and profane was again in evidence. Jackson’s Glori-fied Chicken franchise, part of the move towards black-owned businesses, had a branch at Stax corner. Here she is singing Take my hand precious Lord at King’s Atlanta memorial service:

This leads Cosgrove to feature the songs of Ann Peebles, such as I can’t stand the rain:

and Margie Joseph, whose reworking of Stop! In the name of love, with its introductory rap, was influential:

By December, Memphis “had been battered by a divisive rage that few cities in the world could survive, yet it not only survived, it thrived and expanded”.

Meanwhile, FWIW, white stars were making the pilgrimage too. Dusty Springfield (white only reluctantly) came to record an album—although she ended up recording the vocals in New York. Elvis showed up, recording a comeback TV show with a strong Memphis element. Janis Joplin, who also idolised the Memphis sound, did a misconceived gig there with the local regulars. She turned up for Jim Stewart’s Christmas party, “one of the most bizarre events in the history of soul music”. The following November, strung out on heroin, she joined the tragic 27 Club. (The lure of Memphis has persisted—among later pilgrims, on a quest for blues rather than soul, was alternative Chinese singer/novelist Liu Sola).

The Bar-Kays re-formed, reinventing themselves as pioneers of street funk. On stage with Isaac Hayes at the Tiki Club they broke new ground in an innovative cover of By the time I get to Phoenix, with a rap intro—“a mesmerising piece of soul alchemy that took classic Nashville and reimagined it as Memphis soul”. Here they are in the version on the visionary Hot buttered soul album, all 19 minutes of it:

With the obvious exception of jazz, most forms of popular black music had been constrained by the needs of commercialism and the demands of radio stations. Motown had perfected telling stories of teenage love in under three minutes, and not until Hayes broke the mould had any soul artist ever dared to extend songs or disrupt the rules of the marketplace.

In an Epilogue Cosgrove ponders reasons for the “banal and ignominious” demise of Stax records in the 70s: expanding too far from the centre (“like many a dying empire”), bruised by rash financial dealings, and over-indulgence.

Amongst all the creativity of the 60s (Coltrane, Hendrix, Beatles …), the story of Stax Records, beset by social trauma, is remarkable.


* Like Charlie Parker, Newborn spent periods in Camarillo State Mental Hospital—cf. Bellevue in New York, among whose inmates were artists such as Leadbelly, Mingus, and Dusty.

Alevi ritual in Istanbul, 2: Karacaahmet

Kahmet cem for blog

Following my initial explorations of Alevi ritual in Turkey (Istanbul; Anatolia), it was good last week to visit another Alevi place of worship, this one near my home base of Kuzguncuk on the Asian side of the Bosphorus.

I tend to feel more comfortable with the atmosphere of smaller “places of gathering”; some are inconspicuous, resembling house churches. But even the larger centres, like that of Şahkulu, have a modestly-sized cemevi where rituals are held.

In Üsküdar the Karacaahmet Sultan dervish lodge (Karacaahmet Sultan dergahi) occupies a prominent position on the main road. It’s the site of a major türbesi mausoleum, with a large Janissary and Bektashi cemetery. Despite the enigmatic heading

Karacaahmet is a great saint an insane came to him starts behaving sensibly,

the English-language brochure is rather useful.

The 13th-14th century dervish * Karaca Ahmed, a contemporary of Hacı Bektâş Velî, came to Anatolia from Khorasan. He is linked to healing, in particular for issues of mental health.

The centre was busy with followers gathered to pay homage to the tomb and to receive the midday distribution of lokma food in a large canteen. The hospitable dede gave us a blessing over the lokma offering that we had ourselves brought; and he reminded us of the spiritual symbolism of the components of the bağlama plucked lute (cf. the Chinese qin zither, as described e.g. by Robert van Gulik).

Kahmet sheep for blog

We observed the ritual blessings for the sheep about to be slaughtered—it’s also a considerable commercial enterprise serving clients elsewhere in the city. The centre also organises study courses, and has an impressive bookshop.

When we visited the upstairs cemevi, though, the simple ritual was sparsely attended; rather few of the hizmet duties were filled, and the final sema dance was slow and somewhat perfunctory. Later the dede confirmed to us the triple dilution of Alevi ritual, from rural Anatolia to migrant communities in Istanbul and thence to the diaspora.

I pondered the use of amplification, which has become standard around the world despite the poor quality of most sound systems (cf. Chinese shawm bands, who need it like bankers need lower rates of tax).

Several videos from Karacaahmet appear on YouTube, such as this far more impressive cem ritual in honour of the saint Abdal Musa in 2018:

The state still hinders Alevi culture rather than supporting it. Like other cemevis, Karacaahmet is funded by private donations; we were reminded of the Alevis’ frustration at being caught in a Catch-22 whereby their buildings can’t be registered as sites of religious worship and are thus liable to exorbitant utility bills. Moreover, recent assaults on Alevis in the provinces (e.g. here, here) and in Istanbul are disturbing. For all that, the atmosphere at such centres is most welcoming and supportive.

See also Querying the notion of gender equality in Alevism. For much more on the cultures of west and central Asia, click here.


* On the plane out to Istanbul I absent-mindedly watched a kitsch Turkish movie about a young dervish, with the usual picturesque timeless landscapes, gorgeous protagonists, blah blah. We needn’t worry about the plot—apart from gnomic utterances about dough and fire (the kinda thing that sounds just great coming from Rumi), it was full of Pythonesque remarks like this, when the dervish’s wife, abandoned while he goes on a lengthy Quest for Truth, is consoled by her mother (surely a part for Terry Jones):

“That’s how dervishes are—they lose themselves when it comes to Divine Love…”

cf. “He’s not the Messiah, he’s a very Naughty Boy”:

This might (but only might) lead us to the different Quests of Gurdjeff and Dalrymple.

For another lesson from the Turkish Airlines in-flight menu, click here.

 

Echoes of Dharamsala

*Part of my extensive series on Tibet*

Diehl cover

  • Keila Diehl, Echoes from Dharamsala: music in the life of a Tibetan refugee community (2002)

is the fruit of ten months that the author spent from 1994 to 1995 in the hillside capital of the Tibetan government-in-exile in northwest India, “perched in the middle of one of the world’s political hotspots”. Despite the presence of the revered Dalai Lama, Dharamsala is no mystical paradise.

Diehl 37

As Diehl explains in the Introduction, Dharamsala felt somewhat over-subscribed as a topic, and she had hoped to study Tibetan refugee communities elsewhere in India; but she was drawn back there by circumstance, and soon became a participant observer playing keyboards with The Yak Band. This informs her thesis on the performance and reception of popular music and song by Tibetan refugees—including traditional folk genres, Tibetan songs perceived as “Chinese”, Hindi film songs, Western rock, reggae, and blues, new Tibetan music, and Nepali folk and pop.

In the Introduction she notes a contradiction between scholarship on displacement and the people whose experiences generated it. Whereas anthropological theory tends to celebrate “transgression, displacement, innovation, resistance, and hybridity”,

it became clear that many of the displaced people I had chosen to live among and work with were, in fact, striving heartily for emplacement, cultural preservation, and ethnic purity, even though keeping these dreams alive also meant consciously keeping alive the pain and loss inherent in the exile experience rather than letting or helping these wounds heal.

Further, much of the scholarship that does include ethnographic case studies tends to emphasise

the richness, multivocality, dialogism, and creativity of their subjects rather than their deep conservatism, xenophobia, and dreams of emplacement.

Diehl gives cogent answers, in turn, to “Why study refugees?”, “Why refugee music?”, “Why refugee youth?”, and “Why Tibetans?”. Exploring “zones of invisibility” (and inaudibility), she seeks to

fill in some of the gaps left by the many idealised accounts of Tibetans. Through its generally uncomplicated celebration of political solidarity and cultural preservation in exile, much of the available information on Tibetan refugees exhibits a troubling collusion with the community’s own idealised self-image. […]

After four decades in exile, many Tibetans realise not only that the utopian dream is still an important source of hope but also that it can be a source of disappointment and frustration that has very real effects on individuals and communities who are raised to feel responsible for its actual, though unlikely, realisation.

She introduces the “Shangri-La trope”, analysed by Bishop, Lopez, and Schell, and notes the “disciplinary bias within Tibetan Studies towards the monastic culture of pre-1950 Tibet”—a bias that applied also to Tibetan music, largely interpreted as “Buddhist ritual music” until the mid-1970s (cf. Labrang 1). Since Diehl wrote the book, the whole field has been transformed by new generations of scholars at last able to document Tibetan culture within the PRC.

She notes Dharamsala’s position at the “literal yet liminal intersection” of a “geographical and conceptual mandala”:

Diehl 27.1

Diehl 27.2

What complicates this apparently cut-and-dry native point of view is the fact that […] sounds and musical boundaries are, ultimately, immaterial and are therefore felt and experienced in personal and varied ways.

Chapter 1, “Dharamsala: a resting place to pass through”, depicts the town as both a centre and a limen, a destination for pilgrimage which refugees hope eventually to leave. Besides them, the ever-shifting population also includes civil servants, nomads, traders, aid workers, dharma students, and tourists.

Members of the oldest generation in exile came to India from Nepal, Bhutan, or India’s North East Frontier Area (now Arunachal Pradesh) after escaping from Tibet in 1959 on foot over the Himalayas, travelling in family groups under the cover of darkness, following their leader into exile. Since then, for forty years, Tibetans have continued to escape from their homeland in a procession whose flow varies with the seasonal weather, the attentiveness of Nepali border patrols, the effects of specific Chinese policies in Tibet, and the varying intensity with which these policies are implemented in different regions of the country and different times.

Diehl identifies three general waves of migration:

The first escapees (between 1959 and the mid-1960s) came from Lhasa, Tingri, or other southern border areas of the country. Few Tibetans escaped during the worst years of the Cultural Revolution (1966–1976), but in the 1980s a second wave of refugees, a number of whom had been imprisoned during the first decades of Tibet’s occupation, fled Tibet. Since the early 1990s, a third wave of refugees from Amdo in the northeast, known as sar jorpa (“new arrivals”), have arrived in exile, putting the greatest demands on the government-in-exile’s resources and institutions since the first months spent establishing tent camps, clinics, and schools in 1959.

Besides regional aspects, I note that there are political and class considerations here too, as the old generation that included aristocrats and former monks from the Lhasa region was replaced by commoners (and former monks) from a wider area, brought up under the routine degradations of de facto Chinese occupation. At first the shared plight of exile tended to homogenise interactions:

It was irrelevant, even laughable, to insist on special privileges or respect because one’s father had been a regional chieftain in Tibet, when you had no more power to set foot in Tibet than your neighbour, the son of a petty trader from Lhasa.

But social, regional, and sectarian divisions later re-emerged.

Some refugees in the diaspora avoid Dharamsala altogether, specifically because of the ambition, materialism, self-consciousness, and conservatism engendered by its status as an international hub of activism, tourism, and bureaucracy and because of its overcrowdedness and uncleanliness.

Refugees (and the Indian population) depend to a large extent on the influx of tourists, including the transient “dharma bums” and those on more committed spiritual or welfare missions. The new refugees find themselves

outside the rigid structures of Tibetan society, perched at the margins of Indian society, and inferior to all around them owing to their utter dependence.

Chapter 2 explores the notions of “tradition” and the “rich cultural heritage of Tibet”, which “authenticate the past and largely discredit the present”. The chapter opens at a Tibetan wedding, with a group of older chang-ma women singing songs of blessing and offering barley beer in toasts to the couple and the guests.

Diehl 58

Groups like this had been common in Tibet before 1959, but only became popular in Dharamsala in the 1980s. The women performing for the wedding had all fled from the Tingri region of Tibet, working in Nepal as day labourers, petty traders, or wool spinners before reaching Dharamsala. They had recently pooled their memories of weddings in old Tibet to create a suitable repertoire.

At some remove from such non-institutional groups, Diehl examines the role of government-sponsored community and school events in “cultural preservation”, headed by the Tibetan Institute of Performing Arts (TIPA).

In exile the official drive was inspired both by the dilution of Tibetan culture after exposure to Indian society and by fears over the destruction of traditional culture inside Tibet after 1959 (this mantra, still repeated by rote, probably needs refining in view of research on the state of performing traditions in Tibet since the 1980s). The reified cause of “preservation” required perpetuating a sense of “loss and victimisation” among the second and third generations, who had no experience of the homeland.

But the nostalgic canonisation of certain genres

does little to account for (or respect) the complex mosaic of cultural practices that are continually being constructed in exile through the choices and circumstances of even the most “traditional” Tibetan refugees and that constitute their day-to-day realities.

Nor does it reflect the diversity of culture inside Tibet before the 1950s, and since the 1980s.

Diehl scrutinises the annual ache-lhamo festival of the TIPA Tibetan opera troupe (see here, a post enriched by wonderful videos), as well as TIPA’s international touring activities. But locals note that the school appears demoralised, its performances lacking vitality—the emphasis on preservation apparently leading to “cultural death”, just as in China.

Diehl notes the uncomfortable position of the sar-jorpa “new arrivals” from Tibet:

Rather than being valued as fresh connections to the increasingly remote homeland, as might be expected, these Tibetans more frequently cause disappointment by failing to validate the hopeful dreams of those living in exile. Instead, their apparent foreignness only confirms dire thirdhand news of cultural change (namely, sinicization) in Tibet.

Still, educated Tibetans in Dharamsala told Diehl that

the children escaping nowadays from Tibet (rather than those carefully schooled in exile) are the most likely to maintain a strong commitment to the “Tibetan Cause”, since they have personally experienced the consequences of living under Chinese occupation.

She illustrates the conflict with a telling scene at the Losar New Year’s gatherings. Besides the chang ma singing songs of praise and dancing, a group of new arrivals from Tibet were also taking turns to sing namthar arias from ache-lhamo opera, with loud amplification—a performance shunned by the locals.

It seemed a perfect illustration of the separate worlds refugee Tibetans and Tibetans raised in the homeland inhabit, even when living and dreaming in the same close physical proximity. No Tibetan in the temple that morning wanted to be celebrating another new year where they were, and all knew exactly where they preferred to be, but the differences between their relationships to those reviled and desired places [were] being expressed in ways that exaggerated the temporal, spatial, and cultural experiences that had been their karmic destiny, seemingly muting their commonality.

Diehl goes on to ponder the competing claims to cultural authority in Tibet and in exile. The singers visiting from Tibet were not making explicit claims to “tradition”, but, rather,

employing the range of their musical knowledge […] to express conservative and religious sentiments. Because they had recently come from the physical homeland, their potential space-based authenticity was actually a liability in the context of Dharamsala rather than a resource for claims to cultural propriety. […]

Young Tibetans in Tibet and in exile are not faced with a simple either-or choice between traditional or modern “styles”. […] It is difficult to assess most traditions as simply “preserved” or “lost”. *

Still, cultural pundits in Dharamsala see the risk of Chinese influence as more pernicious than that of other kinds of foreign music such as rock-and-roll. Exiles have criticised the vocal timbre of Dadon, a Tibetan pop singer who escaped Tibet in 1992, as sounding “too Chinese”; even more strident was the controversy over Sister drum.

Chapter 3, “Taking refuge in (and from) India: film songs, angry mobs, and other exilic pleasures and fears”, discusses refugee life in the here and now of contemporary India, when

few voices in the conversation grapple with, or even acknowledge, the Indian context in which the exile experience is actually taking place for the great majority of Tibetan refugees.

The shared disdain of many Westerners and Tibetan refugees for the day-to-day realities of India—hardship, corruption, poverty, and filth—is an important ingredient in the often-romantic collusion between these groups.

The Indians’ resentment of the refugees is “restrained by considerations of economic self-interest”, but ethnic conflicts sometimes arise, as in April 1994, when a fight between a Tibetan and a local gaddi led to a rampage against the refugees. The Dalai Lama’s offer to move out from Dharamsala was clearly in no-one’s interest, and so peace-making gestures were made.

Living in India, Tibetan refugees are no more immune than the rest of the subcontinent to the ubiquitous Hindi film music, with all its “fantastic dreams of sin and modernity”, in Das Gupta’s words. Commenting on the wider consumption and production of such songs among Tibetan refugees, Diehl reflects in a well-theorised section on the similarities and differences between the original and the mime.

Although Hindi film songs had long been adopted by Tibetan refugees as “spice” (or “salt-and-pepper”) at weddings and other events, they were to make a more conflicted choice for Tibetan rock groups. Diehl takes part in the Yak Band as they perform concerts that include some such songs, featuring the demure young schoolteacher Tenzin Dolma, who imitates the voice of Lata Mangeshkar, “the Nightingale of India”. Tibetans’ enjoyment of this repertoire is a guilty pleasure. The Yak band were aware of the risk that the “salt-and-pepper” might become “bread and butter”.

Having added India into the mix, Diehl reflects further on her time with the Yak Band in Chapter 4, “The West as surrogate Shangri-La: rock and roll and rangzen as style and ideology”, exploring the often-idealised romance with the West, and the quest for independence.

Paul McCartney and Eric Clapton have been part of the lives of Tibetans born in exile since childhood. Western rock brings as much cultural baggage as the soundscapes of traditional Tibet, modern India, and socialist China. Diehl notes the scholarly tendency to interpret youth culture in terms of “resistance” or “deviance”, downplaying cases where it may be conservative or centripetal. Referring to Bishop and Lopez, she surveys the Western fascination with first the “spirituality” of Tibet and then the high profile of the Tibetan political cause.

Social divisions in Dharamsala are further amplified when Tibetans who have gained residency in the USA return for a visit; those still left behind in India, not realising the hardships their fellow Tibetans have had to endure in the States to gain a foothold there, envy their apparently affluent lifestyle. But as refugees continue to arrive from Chinese-occupied Tibet, opportunities for those still in India remain limited; the lure of the West is strong.

Still, plenty of Tibetans of all ages in Dharamsala (including “new arrivals”) felt that Western pop and rock “have no place in a community engaged in an intense battle for cultural survival”.

On the one hand, there are very strong, politically informed reactions against any Tibetan music that sounds too Chinese, too Hindi, or too Western. On the other, many Tibetan youth respect traditional Tibetan music but find it boring.

In Chapter 5, “The nail that sticks up gets hammered down: making modern Tibetan music”, Diehl ponders the challenges of creating a modern Tibetan music. She provides a history of the genre from its origins around 1970, introducing the TIPA-affiliated Ah-Ka-Ma Band before focusing on the Yak Band.

Paljor was brought up in Darjeeling, trained by Irish Christian missionaries. His late father was a Khampa chieftain who had been trained by the CIA in the late 1950s to fight Chinese incursion. Thubten, grandson of a ngagpa shaman, had escaped as a small child from Shigatse to Kalimpong in 1957, going on to spend seventeen years in the Tibetan regiment of the Indian army. Phuntsok was born in Dharamsala; Ngodup was an orphan schooled in Darjeeling.

In a community wary of innovation, even traditional musicians have a lowly status. Whatever people’s private tastes within the family, public musicking is subject to scrutiny.

Chapter 6 turns from sound to the crafting of song lyrics, with their narrowly solemn themes such as solidarity for independence, and nostalgia for the loss of a beautiful homeland—themes which demand expression in a language that is largely beyond the literary skills of the younger generation. Diehl talks with the official astrologer for the government–in-exile, who provided poetic lyrics for the local bands, and introduces the early work of Ngawang Jinpa, Paljor’s teacher in Darjeeling. Diehl cites a rather successful lyric by Jamyang Norbu (former director of TIPA, editor of the 1986 Zlos-gar, an important resource at the time; see e.g. The Lhasa ripper, Women in TIbet, 2, and The mandala of Sherlock Holmes), “poetic yet accessible, evocative rather than boring”.

She gives a theoretically nuanced account of what song lyrics communicate, and how; and she explains the refugees’ rather low level of literacy, official efforts to create a standard language among a variety of regional dialects, and the link with sacred sound. Love songs are also composed, but hardly performed in public. It is considered more acceptable to write lyrics in bad English than in bad Tibetan, but such songs are rarely aired in public.

Chapter 7 unpacks public concerts that “rupture and bond”. In January 1995, the Yak Band made a major trek to the Mundgod refugee settlement in south India to coincide with the Kalachakra initiation ceremony there, with the Dalai Lama presiding. Their choice of repertoire over fifteen nightly performances revealed “a comfort with cultural ambiguity and a passion for foreign culture that is disturbing to some in the community”.

Diehl 243

Over the course of the concerts the band agonised over their set list. While their inspiration was to share their songs of praise for the Dalai Lama, their longing for a homeland they had never seen, and compassion for their compatriots left behind in Tibet (exemplified in their opening song Rangzen), they varied the proportion of modern Tibetan songs, “English” rock songs, and Hindi and Nepali songs in response (and sometimes resistance) to the reactions of the multi-generational audiences—which included, at first, young monks, before their abbot imposed a strict curfew on them. While hurt that the audiences preferred “silly Indian love songs” to their core Tibetan offerings, the Yaks reluctantly succumbed to popular demand.

One of the Yaks’ reasons for their visit to Mundgod was to get their tenuous finances on their feet by selling their cassettes, but they returned to Dharamsala having made a loss. Moreover, they now suffered from hostile public opinion about their repertoire.

Diehl 259Disillusioned by the lack of support in Dharamsala, the band drifted apart, but they were able to put on a reunion gig for the Dalai Lama’s 60th birthday—when their preferred Tibetan set list was eminently suitable.

In the Conclusion, Diehl reminds us of the importance of musicking

as a crucial site where official and personal, old and new, representations of Tibetan culture meet and where different notions of “Tibetan-ness” are being confronted and imagined.

In a brief coda she updates the stories of the Yak Band.

* * *

For all the book’s excellent ethnographic vignettes, some sections bear the hallmarks of a PhD, with little adaptation to a more reader-friendly style—which is a shame, since the topic is so fascinating. I’ve already confessed my low tolerance threshold for heavily theorised writing (see e.g. my attempts to grapple with Catherine Bell’s outstanding work on ritual).

From within the goldfish bowl of Dharamsala, Diehl only touches in passing on the changing picture inside Chinese-occupied Tibet. While repression there has been ever more severe since 2008, research on regional cultures there had already become a major theme, with a particular focus on Amdo (see e.g. here, including the work of Charlene Makley, Gerald Roche, and others, as well as chapters in Conflicting memories). For the pop scene, useful sources are §10 of the important bibliography by Isabelle Henrion-Dourcy (including work by Anna Morcom), and the High Peaks Pure Earth website (see also Sister drum, and Women in TIbetan expressive culture). Within occupied Tibet, performers of popular protest songs have been imprisoned, such as Tashi Dhondup; in another thoughtful article, Woeser explores the shifting sands of prohibited “reactionary songs” and the challenge of keeping track of subtle allusions.

Diehl refers to a variety of publications such as those of Marcia Calkowski and Frank Korom, and I cite some more recent sources in n.1 here—among which perhaps the most useful introduction to the topic is

  • Isabelle Henrion-Dourcy, “Easier in exile? Comparative observations on doing research among Tibetans in Lhasa and Dharamsala”, in Sarah Turner (ed.), Red stars and gold stamps: fieldwork dilemmas in upland socialist Asia (2013).

For contrasting lessons from occupation and exile, see also Eat the Buddha. Despite the presence of the Dalai Lama, Dharamsala has begun to occupy a less iconic position in our images of Tibetan culture. For all the growing disillusion with the political promises of Western countries, refugees continue to move on, while “new arrivals” have come to make up a significant component of the town’s Tibetan population—see e.g. Pauline MacDonald, Dharamsala days, Dharamsala nights: the unexpected world of the refugees from Tibet (2013), critically reviewed here. The growing popularity of satellite TV from the PRC, and the issue of Tibetan culture in the growing Western diaspora, further complicate the story.

Ethnographies, however definitive they may seem at the time, are always overtaken by more recent change. While soundscape is always an instructive lens on society, more general studies of Dharamsala lead us to a wealth of research on Tibetan refugees in south Asia by scholars such as Jessica Falcone, Trine Brox, Rebecca Frilund, and Shelly Boihl.

See also Lhasa: streets with memories, and The Cup. For the perils of “heritage”, see this roundup, and for a broad discussion of “authenticity”, note Playing with history.


* One of my own more disconcerting moments came while hanging out with young performers from TIPA on their tour of England in May 2004. Several of them were refugees from Chinese-occupied Tibet, but they were quite happy to speak Chinese with me. Much as I am attracted to Tibetan culture, apart from lacking the language skills, my whole background in Chinese culture has always made me wary of doing fieldwork in Tibetan areas. Whenever I meet Tibetans I am at pains to point out that my Chinese peasant mentors have also suffered grievously at the hands of the state, but I’m still anxious that they might consider me tarred with the brush of the invaders. Still, incongruously, several of the TIPA performers who had fled the PRC were now keen that I should sing them some Chinese pop songs to remind them of their old home, and were somewhat disappointed when I couldn’t oblige.

Godard and the Nouvelle Vague

with a further note on Last tango in Paris

Godard Karina

In 1970s’ England, while my musical tastes were already imbued with Ravel, Messiaen, and Boulez [Weirdo—Ed.], continental cinema offered an exotic escape from the drab insularity of our lives. French and Italian movies made a particularly important education for us.

The films of Jean-Luc Godard, who died last week (obits e.g. here and here), were iconic. It’s of no great consequence that his ouevre never quite appealed to me, but I’m just trying to work out why. It’s not that I balk at abstraction—I love Rivette’s Céline and Julie go boating, for instance (although you may say that its surreal fantasy is underpinned by the plot of a conventional mystery thriller).

Godard’s images and framing are strikingly original:

But for all the visual attraction of such posing, I suppose I was wary of poseurs. In Bertolucci’s Last tango in Paris (whose main theme is not sex but pain; see under The conformist) the character of Tom is a parody—perhaps more of Truffaut than of Godard, but anyway a satire on the whole pretentiousness of the Nouvelle Vague. To cite this review,

Léaud plays a devoted cineaste much like his New Wave directors, a man obsessed with getting everything on film, capturing something authentic through the most artificial means possible. He’s a punchline, with a camera crew following him everywhere, concocting scenarios that are intended to examine race relations and his girlfriend’s past as the daughter of a French colonialist officer, but it’s all phony, a game. He screams at his camera crew for halting filming in a sudden rainstorm—it’s so romantic and photogenic—and then he runs off into the rain, screaming his love’s name, still acting out the big romantic moment even though the cameras have stopped rolling. In another scene, the background music seems to be non-diegetic until Tom abruptly switches off the tape recorder hanging around his neck, which had apparently been playing the music as an accompaniment to a confrontation with Jeanne. This is a guy who carries around his own soundtrack.

Tom is a walking, talking critique of the contrivances and artificiality of filmmaking, and I think also a critique, if perhaps an unwitting one, of Brando’s self-conscious performance style. Tom is obsessed with authenticity, trying to rearrange reality to fit within his frame. He’s always walking around with his hands held up to form a frame around what he sees, an obvious caricature of a pretentious film director, and all his attempts to capture the essence of reality only come out artificial and silly. Though superficially quite different from Paul—who claims to want to avoid the truth, not discover it—Tom winds up being very much like his counterpart, another character who’s hiding from reality, even while claiming to seek it. In his case, he hides in the cinema…

Similarly, this article comments:

Tom, of course, is a parody of the Godardian New Wave filmmaker, running around putting up his fingers to make camera shots out of everything, and apparently not knowing or caring what Jeanne is doing. He is fittingly played by Jean-Pierre Léaud, who was discovered by Truffaut as a child and has since played in many New Wave movies, looking increasingly like Truffaut himself. Tom is characteristically in the New Wave ethos in trying to make a film about the progress of his love affair leading up to his marriage. His crew creep around after Jeanne, filming her meetings with Tom and then filming her childhood mansion complete with relics from the past. Real life and the world of their film become so entangled that it is hard to say anymore what their reality is. Jeanne’s life becomes the film; the film becomes their reality together; they live the film rather than making a film imitating their lives.

Bertolucci shows clearly the superficiality, irresponsibility, and triviality of Jeanne and Tom’s world together. It is a shrewd comment on contemporary, fashionably “hip” worlds where people are so sophisticated and blasé about everything that they have ceased to be human beings living in the realities of our society and historical moment. It is an entirely escapist world with all the inevitable consequences of shallowness that follow escapism.

The Nouvelle Vague was based on an aloof, impersonal ethos—for which I blame the alienated male auteurs, who were in charge, with women making decorative pawns. Call Me Old-Fashioned, but I still want a bit of plot, personality, communication. In many (perhaps all?!) films, such as La strada or The conformist, it’s the women who provide humanity while the men are swanning around being pompous and fucked-up. The women may be fucked-up too, but largely through being abused by all the fucked-up men. Revealingly, Godard showed his contempt for The conformist—as Bertolucci commented, recalling their meeting 37 years after the event:

He doesn’t say anything to me. He just gives me a note and then he leaves. I take the note and there was a Chairman Mao portrait on it and with Jean-Luc’s writing that we know from the handwriting on his films. The note says: “You have to fight against individualism and capitalism.” That was his reaction to my movie. I was so enraged that I crumpled it up and threw it under my feet. I’m so sorry I did that because I would love to have it now, to keep it as a relic. […]

Here are some trailers for Godard’s early films:

  • À bout de souffle (Breathless, 1960) starred Jean-Paul Belmondo and Jean Seberg:

  • Disprezzo coverLe mépris (Contempt, 1963), with Brigitte Bardot and Michel Piccoli, is so overladen by Godard’s already signature style that it hardly seeks to do justice to the “humiliation and sexual frustration” of Alberto Moravia’s novel Il disprezzo (English translation titled A ghost at noon):

Of Godard’s successive muses, Anna Karina (wiki; obituary) was the most captivating. Their first movie together was Le petit soldat (filmed in 1960, released in 1963), followed by

  • Une femme est une femme (A woman is a woman, 1961):

  • Vivre sa vie (My life to live, 1962):

as well as Bande à part (1964), and Alphaville (1965). Their last film before they broke up was

  • Pierrot le fou (1965):

—which reminds me rather of Betty blue (Jean-Jacques Beineix, 1986) (in the words of Peep show, “great sex-and-suicide flick—turned a whole generation of men onto girls with mental illness”).

Godard’s originality emerged not only through his visual sense, but in musicMichel Legrand, known for working on less avant-garde movies, provided the soundtrack for Vivre sa vie:

Legrand also composed the soundtrack for Bande à part—this dance scene is actually endearing:

It’s as if all a male film director had to do was find a gamine muse (see under Moon river, and Ute Lemper), and success was guaranteed, no matter how minimal and inscrutable the plot-line.

I don’t mean to react merely with a surly Gallic shrug—each of Godard’s films was a tour de force (“too, er, deaf ‘orse”: Cheval trop sourd, unreleased?), and I quite see how epoch-making they were. Perhaps I should say not that his ouevre never appealed to me, but that it didn’t move me. But I guess that’s just the kind of bourgeois conceit that he was exposing; as Bertolucci continued in his recollection,

I had finished the period in which to be able to communicate would be considered a mortal sin. He had not.

Still, Godard’s stance against communication seems to dilute his radical political mission.

To end with an affectionate British parody, here’s a 1997 vignette from the Fast show:

An Irish music medley

Irish session 2

Adding to my handy roundup of roundups, as the Irish tag has become unwieldy, here’s a selection of my dabblings in Irish music, which feature some exhilarating tracks that will brighten your days.

lnfCiaran Carson’s exquisite Last night’s fun has inspired several posts, including

And this charming recollection, told to me at a session in an Armagh pub, has a Carsonesque lilt to it.

i got further into the swing with

To whet your appetite, here’s an irresistible playlist:

See also under Indian and world fiddles. And while I’m here, may I remind you of the great Flann O’Brian (more under Myles tag), and various fine Irish jokes such as these.

A roundup of roundups!

Apart from my annual surveys (2021 here), I’ve added a tag in the sidebar for roundups, where I group together posts on a particular theme. Whether or not you share my fetish for taxonomy (see e.g. here) and the joys of Indexing, as long as you start clicking away on the links (and the links within them…) then this could be a really useful navigational aid!

I could have sworn I published this roundup of such roundups before, but it seems to have disappeared. Note especially

China:

and surveys of my series on

I essayed an inventory of Chinese jokes under

Further global surveys:

Some other themes:

Western Art Music:

—a theme that also makes appearances under World musicking and ethnography:

Popular culture:

Drôlerie:

and

Ogonek and Til

For Nick

Allow me to introduce Ogonek and Til, feisty yet (you guessed it) flawed protagonists of my forthcoming crime drama series, as they embark on the hazardous trail of a dastardly ring of international diacritic smugglers…

ogonek

As an avid tennis fan, without being too perfectionist I’m not alone in musing gingerly over how to pronounce the surname of the magnificent Iga Świątek, currently sailing serenely (Serena-ly?) towards the final of the US Open. She gives us a handy lesson:

So the lowly diacritic squiggle indicates that the a sound is both closed and nasal. It’s an ogonek (“little tail”)—which leads us to the mystical realms of Elfdalian, Kashubian, Lithuanian, and Navajo (see here, and here)! To think that I still rather resent having to go to all the faff of inputting grave and acute accents in French, and such non-national fripperies…

Readers with a penchant for Igor Stravinsky anagrams will note that while the cast of the brilliant Gran visits York includes such redoubtable characters as Sir K.Y. Groins-Vat and Kirsty Garvison, one absentee from the urtext is the arcane exhortation

V.S.—or try sink, Iga!

It belongs with those weird dreams common to musos and sportspeople (“unqualified, ill-prepared, running out of time, wrong uniform, lost”). On the eve of yet another crucial Grand Slam match, the Polish star finds herself on stage (quite likely in her tennis outfit) playing percussion in the The Rite of Spring, only to see a prophetic instruction from the composer (revealing a rare aptitude for self-parody): either whip the page over, or just create a noisy diversion with all the pots and pans that surround you!

* * *

ao

Which reminds me, in Portuguese (cf. my paltry dabblings here), I do feel we Brits might make a little more effort in adding a nasal quality at the end of the ão sound in São Paulo (the diacritic on ã being a til, for which English has adopted the Spanish word tilde)—as in

  • não (no)
  • mão (hand)
  • pão (bread)
  • cão (dog)
  • limão (lime, for that caipirinha party)
  • canção (song)
  • Japão (Japan)
  • João (“John”).

Plenty of material there for a couple of niche limericks, to join Myles’s tribute to Ezra £; Alan Watts on Salisbury/Sarum; The young man from Calcutta; The young man from Japan, and The old man from Peru [typical bias against the middle-aged woman—Ed.]. Something like this, perhaps:

There was a young man from Japão
Who fed his cão pão with limão
Waving a mão, he burst into canção
Until João came up and said “Não“.

Estêvão, Çisiq 2022.

Note (cf. Mots d’heures: gousses, rames):
The scene is a dingy immigrant enclave in Coimbra. Despite his eccentric choice of dog-food, the enterprising oriental subject of this ditty seems to have been sufficiently au fait with Iberian folk idioms to experiment in combining the Noh-tinged (Não-tinged?) saudade of fado with the palmas of flamenco; perhaps it was the casual co-option of such percussive accompaniment that so offended the purist killjoy João.

Noh drum
Source.

Recently another interpretation of “Waving a mão, he burst into canção” has been proposed (Acta Musicologica Asiatica-Iberica, LXXIII.2, 2021), which would bypass both fado and flamenco: it may rather depict the haunting kakegoe cries of the Noh drummer as he slowly lifts his hand to bring it down resoundingly on the tense skin of the ōtsuzumi. Although “raising” might have been a more precise verb than “waving”, the burghers of Coimbra might well be alarmed to hear such an alien sound echoing through the cobbled alleys of their hallowed university town.

* * *

Composing a limerick for Iga is more of a challenge:

There was a young star named Świątek
Whose talents spread way beyąd tech
When it comes to the tennis, she sure is a menace—
To play her it’s all hands ą deck.

Sure, the stress-patterning doesn’t quite work: in line 2, it would be helped by an accent on beyond, though that requires knowledge of some spurious back-story whereby Iga has already been spotted as a promising software programmer; and there’s nothing to be done about the final line. But hey… I am proud to announce that my effort was runner-up in the prestigious 2022 Świątek Limerick Contest—in which I was the only entrant… But go on, why not join in too? Hours of harmless fun for all the family!

Iga
“YAYY!!! I’ve got a limerick!!!”

And now I’m already honing my entry for next year’s contest:

To Iga’s fine surname Świątek
I once tried adding a “zee”, ą spec
But that wouldn’t work—I felt such a berk
And now her name’s in neą—Heck!

Again, this falls down on stress-patterning. In line 2 (please excuse my unusual lapse into American English), my misguided spelling was of course Śzwiątek.

* * *

For some Turkish diacritics, click here; and for Nicolas Robertson’s outstanding Oulipean anagram series, here. See also Language learning: a roundup. For more practice with Polish names, and some amazing music, see Folk traditions of Poland; Polish jazz, then and now; Madonna pilgrimage in Communist Poland; and Polish migrants to the USA are among the cast of Annie Proulx’s splendid ethnomusicological novel Accordion crimes. For the Portuguese footballer Jesus, click here. For more ą, sorry I mean on, both football and tennis, see under A sporting medley—including this tribute to the multicultural musical heritage of Emma and Leylah. See also Oh Noh!, featuring Brian and Stewie; and for the clichés of blurb-writing, click here.

Everyday life in a Syrian village

 

Syrian village 1

I’ve been watching

  • Everyday life in a Syrian village (Omar Amiralay, 1974, with Saadallah Wannus),

“the first documentary to present an unabashed critique of the impact of the Syrian government’s agricultural and land reforms” (source), in the wake of the Ba’ath party coup of 8th March 1963.

Omar Amiralay (1944–2011) studied in Paris from 1966 before returning to Syria in 1970 (see also this interview). Following his short and uncritical Film essay on the Euphrates dam (1970), Everyday life in a Syrian village is set in al-Muwaylih, a “stronghold of tribal power” near the city of Deir ez-Zor in east Syria.

Syrian village 3The film revolves around the harsh life of peasants working the land. Interviews with villagers, teachers, health workers, officials, and policemen, lamenting the peasants’ “lack of awareness”, reveal the problems of introducing modern education and healthcare to the poor countryside—issues that remind me of rural China (see e.g. Guo Yuhua). Indeed, the brief IMDb summary proclaims that Muwaylih is “a place plagued with tribalism, ignorance, and evil”.

The filming is brilliant, with haunting images. On the soundtrack, besides the howling wind, traditional flute music is used to accompany scenes of manual labour, contrasting with the noises of basic mechanisation.

From 47.18, the villagers gather for ritual chanting with frame-drums—in his 1973 film about Kurdish dervishes on the Iran–Iraq border, André Singer suggests that one role of such rituals is to inculcate subservience to the sheikh’s feudal power. From 51.40, in a startling juxtaposition favoured by film-makers (again underlined by the soundtrack), the bemused villagers are assembled by the visiting town Cultural Unit to gawp at an utterly alien documentary on the blessings of progress.

By contrast, Everyday life in a Syrian village remains banned in Syria—here it is:

Amiralay’s third film The chickens (1978), also beautifully filmed (watch here), is a critique of the declining livelihoods of farmers and artisans in the Orthodox village of Sadad to the west—and is also banned in Syria. Having played a leading role in the Damascus Spring of 2000, he revisited the Euphrates region in 2003 to make A flood in Ba’ath country (working title Fifteen reasons why I hate the Ba’ath Party).

Besides R. Shaleah Taleghani’s chapter “Docu-ironies and visions of dissent in the films of Omar Amiralay” in a collection that she edited with Alexa Firat, Generations of dissent: intellectuals, cultural production, and the state in the Middle East and North Africa (2020), all this makes me keen to read studies such as Sulyman Khalaf, Social change in Syria: family, village, and political party (PhD, 1981, published 2021; foreword), and the work of scholars who pay tribute to the book here.

Further up the Euphrates to the northwest lies Raqqa, capital of the Islamic State from 2014 to 2017; for tribal manoeuvring in Deir ez-Zor since 2011 under Assad and IS regimes, see this report. The recent devastation of Aleppo is shown in the outstanding documentary For Sama; see also Aleppo: music and trauma. See also the early Turkish feature films Law of the border and Dry summer.

With thanks as always to Kadir.

Hidden heritage

Hidden Heritage cover

  • Fatima Manji, Hidden heritage: rediscovering Britain’s relationship with the Orient (2021).

This engaging book is part of an important discussion that is deeply unwelcome in conservative circles. It’s in the same vein as the recent challenges (from both historians and ordinary people) to the representation of the legacy of the British empire—BLM, the attacks on statues (Rhodes in Oxford, Colston in Bristol)—in tandem with similar protests in the USA and elsewhere. [1] Sadly, the PC-gone-mad brigade and opponents of “woke” (a term that may be defined as “an awareness of injustice and the determination to do something about it”—see e.g. here and here) will either attack or ignore such work.

Fatima Manji, a worthy member of the brilliant team at Channel 4 News, attracted the fatuous ire of Kelvin MacKenzie in 2016 when she presented the bulletin featuring the terror attacks in Nice. You can read her reaction to the ruling here. She has recently filmed a fine report on honour killings in Pakistan.

In Hidden heritage, to complement her historical and political insights (besides her refined aesthetic sensibilities), Ms Manji turns out to have a real narrative gift. In the Introduction she notes the rhythm of visiting a stately home:

Walk through the hallways to see portraits of a lionised landed family with their porcelain skins and a compulsory display of European art, collected by a son on the Grand Tour. Admire the architecture, allow yourself to be amused by the story of a rogue uncle or a scorned lover, and end your trip with tea and a scone. If you are interested in interior design, there is inspiration enough in the coving and sconces, the gardens often prove delightful, and lovers of art will find enough to impress them. But beyond the twee trappings, Britain’s heritage sites are home to a hidden history.

It did not seem malicious or deliberate that it was hard to find more information about the occasional “swirl of Arabic, Persian, or Urdu letters, or the brown hue of a sitter’s skin in a portrait” that appeared amongst all the imperial opulence.

Some of the objects described in this book are only ever presented as the rewards of brave colonial conquest, and others are ignored altogether.

Britain’s apparent historical amnesia has lessons for our current debates about immigration and the nature of “Britishness”. Deliberately using the historical term “the Orient” for West and South Asia (notably the Ottoman empire and British India), she observes:

A whitewashed presentation of history directly affects how Britons today perceive the people, buildings, and languages of the Orient. All are regarded as alien threats and new arrivals to be defended against.

Manji colour 1

Chapter 1 opens in Chiswick House, probing the story behind the portrait of Muhammed bin Haddu al-Attar, ambassador of Morocco, who visited London in 1682 on a diplomatic and trade mission to the court of Charles II. His travels are described in fascinating detail. The ambassador was much admired. He dined with the scholar Elias Ashmole, observed the building of the new St Paul’s Cathedral, and attended performances of Shakespeare. He visited Cambridge, and at Oxford he met Edward Pococke, first chair of Arabic Studies there, as well as the linguist Edward Hyde. Manji follows the Ambassador back to Morocco, where he encountered political difficulties.

The era

is more nuanced than popular history would have us believe. The enthusiasm expressed by people in England, rich and poor alike, to see the Ambassador in person, even when diplomatic relations between the two polities may have been fraught, demonstrates that many showed the maturity of inquiring minds, and not the small island mentality that we may attribute to them retrospectively.

Just as absorbingly, Manji then traces the story back to Elizabethan England. The Queen sought alliances with the Ottomans, the Mughals, the Safavids, and the Moroccans. Among her companions was the Central Asian slave girl Aura Sultana, perhaps the first Muslim woman documented in England. The Shirley brothers courted the Safavids; Robert’s wife was Circassian. The East India Company and Levant Company were founded. Elizabeth established links with the Ottoman Sultan Murad III, and corresponded with his consort Sultana Safiye; the delivery (and repair) of a 16-foot-high clockwork organ for their son Mehmed (who became Sultan in 1595) turned out to be a serious challenge. Elizabeth also received at least three ambassadors from Morocco—the London visit of Abul Wahid bin Messoud in 1600 caused as much curiosity as that of Muhammad bin Haddu some eighty years later.

Manji 41

Such influences were evident in English food, dress, and expressive culture, with Oriental carpets and the beginnings of the craze for coffee (“the Mahometan berry”) in 1652, soon criticised. “The Turk” or “The Moor” became a common character in ballads and theatre.

Manji ends the chapter by considering the persistence of such tropes and fears in Britain today. But as she reminds us, an alternative history of the Tudor and Stuart period exists:

Too often our depictions of this era are inward-looking and forgetful of interactions with the world beyond Britain’s shores or Europe’s borders. They are not merely fascinating stories, but a tradition to draw on.

The book is well worth reading for this chapter alone; but the quality is maintained throughout. Chapter 2 takes us to Kew Gardens and the story of its “lost mosque”—the first built on British soil.

Kew
The Alhambra arch, the Chinese pagoda, and the Turkish mosque, 1763.
Source.

The Chinese pagoda originally had two companions, a Turkish mosque and an Alhambra arch. Much of the design for Kew Gardens, including the plan for an Alhambra building, was brought to fruition by Augusta, mother of George III. The mosque, completed in 1761, was designed by Sir William Chambers. Though not used for worship, it suggests respect for Islam.

It is as if the patron or the designer wished to send out a message about the place of these buildings in Britain, and, through them, the place of Britain in the world: that these ornate Oriental buildings are not alien to this landscape but, rather, that they belong.

While such a message soon met with both praise and detraction, Augusta certainly appears more open and cosmopolitan than our very own Minister for the 18th century. Visiting Kensington Palace, Manji tells the story of Muhammad and Mustafa, taken as prisoners after the Battle of Vienna in 1683, ending up in the retinue of George I (then Prince Elector of Hanover). Muhammad’s close relationship with the King was a source of resentment at court. But both died nearly four decades before the building of the mosque, and indeed they had converted to Christianity, so their influence on the Kew project is tenuous. So Manji finds a clearer proponent of the style in Lady Mary Wortley Montagu, who was closely connected to the Dowager Princess Augusta. She had become immersed in Ottoman culture (including mosque architecture) while living in Constantinople from 1716, and went on to become the first to introduce inoculation against smallpox to Britain.

Oriental structures like the mosque at Kew seemed to denote not only expanding imperial ambitions but also an enquiring world-view. However, the mosque soon fell into disrepair, and by 1785 it had been dismantled.

Again, Manji pursues the story into the 20th century, with the Japanese Gate built in 1910 on the site of the mosque. And she reflects on the modern profusion of mosques in Britain—“no mere ornaments, being active spaces for collective worship, socialisation, and charitable activities”. She describes the struggle of the Lincoln Muslims to construct a mosque there since 2008 in the face of Islamophobic threats, and ongoing anti-Muslim violence.

There is something to be learned from that first mosque-like structure in Britain. It denies those flaunting flags while spewing hatred a monopoly on history and demonstrates that mosques are neither new nor alien in Britain.

More recently, the director of Kew Gardens has had to rebuff accusations of succumbing to wokeness.

Chapter 3 tells the story of Tipu Sultan, ruler of the kingdom of Mysore in the late 18th century, through artefacts now housed in Apsley House, Belmont House, and Powis Castle. A thorn in the side of the British, they vilified him while portraying the East India Company as benevolent.

Manji tells the story of the Wellesley brothers (the younger of whom became the Duke of Wellington) and “Clive of India”, whose daughter-in-law Henrietta did at least make a genuine effort to engage with the culture of the subcontinent.

The mass looting of Mysore after Tipu’s defeat resulted in many acquisitions for British stately homes and museums. Part of the haul from Tipu’s palace was the famous toy tiger which has lived at the V&A since 1897. Its scary mechanical sounds were only muted after World War Two.

In the early 1990s Channel 4 screened the Indian historical drama The sword of Tipu Sultan, in which the Sultan is the hero and the British the villains. This was during the enterprising period of commissioner Farukh Dhondy, when black and Asian tastes were being catered to. Later he reflected that such programming would now be seen as too radical for the channel, with diversity having become a “game of statistics”. Manji too takes a dim view of the images of “the Orient” now being presented by the media.

The treasures of Tipu’s rule found around our country remind us that the power Britain amassed as an empire was wrested from others who also have proud stories to tell. Like Tipu Sultan’s belongings, many children and grandchildren of Empire find themselves scattered around Britain. Perhaps it is time we deployed the tiger’s roar—to demand better depictions and more honest histories, and to shape our own narratives.

In Chapter 4, “Portraits of the forgotten”, she travels to Osborne House on the Isle of Wight, summer retreat of Queen Victoria, now run by English Heritage. An entire corridor there is filled with portrait paintings of Indians of various classes. They show prison inmates from Agra, who had been chosen to stay for six months at the Indian and Colonial Exhibition at the Royal Albert Hall in 1886 to demonstrate the artisan crafts (weaving, carving, engraving, dyeing) that they had learned while in prison. They were housed in a specially-built “native compound” nearby, and escorted by Dr Tyler, superintendent of Agra prison. This was a propaganda exercise, illustrating an idealised picture of India as traditional and primitive in contrast to modern, industrialised Britain.

At the Albert Hall, Victoria’s entourage was greeted by a choir singing the national anthem in English followed by a verse in Sanskrit. Tennyson’s poem for the occasion seems worthy of E.J. Thribb: *

… be welded each and all
Into one imperial whole,
One with Britain, heart and soul!
One life, one flag, one fleet, one throne!
Britons, hold your own!

Manji comments on the fashion for grand exhibitions around Europe at the time. She notes the Jaipur Gateway from the Kensington exhibition, now on show at Hove Museum (“standing in a small front garden, facing a dentist’s surgery and a concrete block of 1960s-style flats”), and is impressed by the Durbar Hall and wooden screens on display at the Hastings Museum. She visits Glasgow to view the remains of a similar exhibition in 1888.

Victoria had a genuine taste for the Orient. She ordered the portraits of the craftspeople from the young Austrian artist Rudolf Swoboda, and even commissioned him to travel around India to paint further portraits. She was so impressed by Abdul Karim, a former clerk at Agra prison, that he became her close confidant. He gave her lessons in the “Hindustani” language and the Urdu writing system. Again, courtiers viewed their relationship with suspicion.

Manji 146
We learn of Ram Singh, whose gifts were cultivated by the artist and curator John Lockwood Kipling (father of Rudyard), an advocate of India’s traditional arts. Victoria commissioned Singh to design and construct an Indian room for Osborne House, “a noble chamber of rare beauty and elegance”.

The depth of Britain’s relationship with the Orient is on display, carved into the walls surrounding us, a reminder of how this history is woven into the very fabric of Britain itself.

Yet, that fabric has been embroidered with the misery of millions, then and now. Those who seek to indulge the twin myths of the British Empire—its virtue and its emergence out of an innate British superiority—are often the most resistant to understanding what empire is in material terms. […]

Of course, the idea that Britain’s transport infrastructure, grandest architecture, art, and wealth could only be built on the massacre and subjugation of millions of people around the world must be maintained by a constant stream of propaganda directed at Britons.

As historians concur, it is here that our heritage sites have a particular responsibility. When they

fail to adequately explain the political contexts in which estates or objects come into the possession of landed families, traders, or imperial officers, they simply serve as vessels to perpetuate the twin myths of the Empire.

Reflecting on Victoria’s distress at her courtiers’ treatment of Abdul Karim, she ends the chapter on a topical note:

It is significant that even Victoria’s mild and purely personal interventions in her court on questions of race would be still be regarded in contemporary Britain as inappropriately “radical” by sections of the commentariat keen to stake out a position as more conservative than parts of the monarchy itself.

As to Abdul Karim,

could he ascend to a position of seniority and influence today? To an extent, his racial identity would be less of a problem. A political, economic, and cultural system that outwardly eschews its reliance on racial hierarchies depends to some extent on well-placed people of colour to provide legitimacy, validation, and a model of how non-threatening minorities ought to behave.

But the proliferation of a vast industry since 2001 aiming to demonise Muslims

means that a contemporary Abdul Karim would be at risk of finding himself on a no-fly list long before his arrival to the UK and, even with well-placed patronage, would be identified as a source of potential “radicalisation” and surveilled. However, if he were willing to serve as a loyal handmaiden to stale, preordained ideas of Britishness that are largely ahistorical, he would be enthusiastically embraced and rise quickly through the ranks, serving as corporeal proof of the supremacy and openness of a society that is in fact deeply insecure about its history and its prevailing ideology.

Chapter 5 begins at the court of the Foreign and Commonwealth Office in Westminster, which hosted its first event in 1867 for the visit of another Ottoman Sultan. Manji gives a vivid account of the pageantry surrounding the Sultan’s tour of England, and explains the diplomatic agendas of the day.

Manji 176

By 1903 the chamber, now named Durbar Court, hosted the rulers of the Indian princely states under the new British King Edward VII, in whose coronation India played a prominent role. On a trip to Liverpool the Indian soldiers were keen to pay homage to the solicitor Abdullah William Quilliam, founder of the city’s Muslim Association. The Maharajah of Jaipur paid a visit to Lord Curzon’s ancestral home of Kedleston Hall in Derbyshire, now run by the National Trust and housing a wealth of Asian objets d’art.

Manji ends this chapter by lamenting Britain’s current loss of interest in learning the languages of the Orient. SOAS, founded in 1917, is now offering specialist teaching in fewer languages. That English is the world’s lingua franca is an paltry excuse.

If more of us were multilingual, it would become increasingly ridiculous to demonise those speaking in another tongue.

While the former interest in language learning was substantially related to “national interest”, the current apathy seems to imply that Britain is struggling to come to terms with its waning global importance. On the right,

the bunting-and-borders brand of nationalism leads to the particularly short-sighted assumption that jingoism […] will restore Britain’s pride and prominence.

And she finds that the left too has failed to provide a compelling rebuff.

We should resist attempts to turn Britain into an insular ideological state that demands loyalty to one particular set of beliefs. We can and should be a multilingual society that recognises its own cultural inheritance as complex.

In Chapter 6 Manji visits Brighton, where the “astonishing, surreal, and fantastical” Royal Pavilion (1823) is the most visible sign of Britain’s historical admiration for the Orient. She focuses on the Great War, when the palace was converted into a hospital for wounded Indian soldiers.

More than a million Indians fought for the British in the war, suffering grievously. As hospitals in south England began to overflow, Sir Walter Lawrence, commissioner for the wounded Indian troops, adapted the Brighton Pavilion to accommodate them. This brief introduction has some film footage:

The local population were excited to receive these “warriors from the East”. Many of the nursing staff were of Indian origin. As donations came in, a philosophy society even gave a lecture on “The welding of Western and Eastern thought”.

Manji gains clues to the patients’ own experiences from the letters they attempted to send to their friends and family, often censored but later preserved in the British Library. Despite the weather, many were most appreciative. There was music in the form of Indian records (I wonder what!), and, um, organ recitals. For those “sufficiently convalescent” there was a matinee on the pier to hear music from a Sufi order (again, more please!) and an adaptation of a poem from the Mahabharata.

Still, many were deeply traumatised. And they (as well as Indian student volunteers) were frustrated by restrictions on movement outside the hospital. With the authorities concerned to avoid scandal, local women, though keen to serve as nurses, were not allowed to do so.

Manji colour 2Manji again returns to an earlier story, that of Deen Mohammed (1759–1851), who led a most creative life. Born in Patna, he worked for the East India Company army. At the age of 26, helped by a patron, he moved to colonial Ireland, where, moving in “somewhat elite circles”, he married a Protestant woman. Twenty years later he moved with his family to London. He was the first Indian to publish a book in English; and he opened an Oriental coffee-house—which in 1810 became the first curry house in Britain, which even provided a delivery service! ** The restaurant was short-lived, so he now made his home in Brighton, where he set up a Turkish bath-house with his wife, popularising “shampoo”—actually a medicinal Indian vapour massage bath. The establishment became “the epitome of fashion in Brighton for nearly two decades”.

Manji 204
Manji colour 3

Back with the Indian patients in the Great War, they were also disturbed that on recovery they were repeatedly being sent back to the trenches. A personal request to George V to end the practice made by Mir Dast, who had received the Victoria Cross for bravery, seems to have gone unheeded. And they often felt like prisoners. After a compromise had been reached on allowing female nurses, in June 1915 they were again removed, amidst protest.

Manji 205

Manji investigates mortuary procedures—cremation for Hindus and Sikhs, burial for Muslims. By early 1916 Indian soldiers were largely deployed away from Europe, and the casualties were no longer sent to Britain, so the Brighton hospitals were closed.

But the politics over how they should be recognised—or indeed acknowledging that recognition was due at all—continued in Britain, and does to this day.

She visits memorials, maintained sporadically until a recent revival in remembrance, with the Muslim burial ground at Woking particularly well restored since 2013—“a place Britain can be proud of”.

The Indian gate at the Brighton Pavilion was not added until 1921, and only since 2010 has it had an attic room dedicated to the memory of the patients.

Despite the best efforts of historical institutions and campaigners, across Britain the memory of these men still feels forgotten. […] The story of the Indian men who fought for Britain and those who came to the country wounded are somehow still not seen as an integral part of Britain’s national memory of war.

This feeds into the “myths of Britain standing alone or of the war only being fought by Europeans”. But a “poppy hijab” designed by a young Muslim student almost became a test of patriotism;

sadly the clothing choices of Muslim women once again became tokens in a political and cultural battle. The conversation turned to extremism and integration, rather than true remembrance.

After this poignant closing chapter, in the Epilogue Fatima Manji reflects on the moral panics that have been manufactured through history. She cautions against regarding the embracing of Oriental culture in the past as merely an elite pursuit. And she reflects on the raging debate (over statues, museums, and so on) since she began researching the book:

The myth of British Empire as a civilising mission is a fairytale enthusiastically endorsed by many British adults who otherwise perceive themselves as unrelenting sceptics. This peculiar delusion is the result of a system of schooling, cultural production, and political discourse which reinforces the fantasy at the expense of a collective national reckoning…

At the moment, our heritage sites are not performing the task of reframing the national story and placing “Britain’s relationship with the cultures and peoples of the Orient in its proper context”. She cites promising initiatives from the National Trust.

Of course, it is important to ensure those people who would not ordinarily visit heritage sites do so—that is part of the purpose of this book too. But visitors or potential visitors to heritage sites who have their own Oriental heritage should not be seen as grateful guests who need to be taught the ways and myths of “native” Britons. By choice and by bondage, we made these islands too.

Historians have been working on such stories for some time within their academic niches, and the book has an extensive section of references grouped by chapter; well illustrated with both colour and black-and-white images, the thoughtful, accessible survey of Hidden heritage, argued with both grace and passion, is most valuable.

See also Heritage: a roundup, including posts on China and early music; and my collected posts on west and Central Asia.


* Even-handed in my poetry criticism, I have suggested a similar connection in the ouevre of the Tang poet Bai Juyi.

** This was even before Berlioz composed his March to the Scaffold, immortalised with Indian-menu lyrics by London orchestral musicians in the 1960s when it seemed like a novel concept. Little did we know…


[1] Further to Ottoman historian Caroline Finkel’s article on the British suppression of history, the recent links below (compiled with her help) suggest what a major issue this has already become—and this is a mere selection.
The National Trust:
https://nt.global.ssl.fastly.net/documents/colionialism-and-historic-slavery-report.pdf
https://www.newyorker.com/magazine/2021/08/23/britains-idyllic-country-houses-reveal-a-darker-history
https://lbsatucl.wordpress.com/2021/02/17/culture-wars-in-country-houses-what-the-national-trust-controversy-tells-us-about-british-history-today/
https://www.theguardian.com/uk-news/2021/oct/13/national-trust-warns-of-threat-from-ideological-campaign-waged-against-it
https://www.theguardian.com/commentisfree/2021/oct/13/national-anti-woke-campaign-slavery-churchill-culture-war
https://www.theguardian.com/uk-news/2021/oct/16/cream-teas-at-dawn-inside-the-war-for-the-national-trust
English Heritage:
https://www.english-heritage.org.uk/learn/histories/contested-history/
https://www.english-heritage.org.uk/learn/research/slavery/
https://www.theguardian.com/culture/2021/oct/16/racist-attack-on-english-heritage-exhibition-celebrating-black-lives
Museums and galleries:
https://www.britishmuseum.org/about-us/british-museum-story/contested-objects-collection
https://www.theguardian.com/culture/2019/jun/21/british-museum-head-in-sand-return-artefacts-colonial
https://www.theguardian.com/artanddesign/2021/nov/08/national-gallery-publishes-research-into-slave-trade-links
https://www.theguardian.com/artanddesign/2021/nov/28/tate-exhibition-to-explore-gallerys-links-to-caribbean-slave-trade
https://www.theartnewspaper.com/2021/11/24/tate-britain-director-defends-museum-against-accusations-of-cancelling-hogarth
https://www.theguardian.com/culture/2019/jun/29/should-museums-return-their-colonial-artefacts
Legacies of British Slavery:
https://www.ucl.ac.uk/lbs/
The Church of England:
https://www.theguardian.com/world/2021/may/09/remove-or-alter-your-slavery-monuments-churches-are-told
and the Rijksmuseum:
https://www.theartnewspaper.com/2021/07/09/the-big-review-slavery-at-the-rijksmuseum
More on anti-woke:
https://inews.co.uk/news/politics/charities-woke-agenda-nadine-dorries-1232415
https://www.theguardian.com/society/2022/feb/20/attack-on-woke-charities-has-backfired-campaigners-say
David Olusoga on statues, BLM, and so on:
https://www.theguardian.com/culture/2021/jun/07/david-olusoga-race-reality-historian-black-britishness
https://www.nytimes.com/2022/02/07/arts/television/david-olusoga-black-history.html
https://www.theguardian.com/commentisfree/2021/dec/26/culture-warriors-sallied-forth-only-to-be-defeated-by-their-own-ineptitude
(and I haven’t attempted to cover Confederate statues in the USA).
Other:
https://www.theguardian.com/uk-news/2021/apr/21/uk-inquiry-blames-pervasive-racism-for-unequal-commemoration-of-black-and-asian-troops
https://historyjournal.org.uk/2020/07/21/historians-call-for-a-review-of-home-office-citizenship-and-settlement-test/
Perhaps we can give the last word to Stewart Lee (again, cf. his riposte to Amanda Platell’s complaint about Bake Off):
https://www.theguardian.com/commentisfree/2022/aug/21/national-trust-members-get-ready-to-choke-on-your-carrot-cake

The body politic

Sanna

As you may imagine, I know even less about Finnish politics than some of the other topics that I write about. But after Prime Minister Sanna Marin‘s praiseworthy handling of Covid and the Ukraine crisis, the recent furore over her dancing at a private house party reminded me of Susan McClary’s critique of the denial of the body, the puritanical relegation of sensuous enjoyment, on which Western Art Music has long prided itself.

AOCRather than rejoicing in Sanna Marin’s humanity, some people have queried her “lapse of judgment”. Apparently what disturbs them is that she is seriously cool. Oh well, good to know that even in Scandinavia there are some puritanical fuckwits. It also reminds me strongly of the faux outrage over the video of the wise AOC dancing, to which she gave such a brilliant riposte.

But Sanna Marin also has a lot of support, and YAY!!!, Scandi women have retorted, posting their own videos of them dancing and drinking in solidarity.

With a very few other honourable exceptions, the spectacle of politicians dancing generally ends in tears. Just imagine how fortunate we would be to have such a PM in Britain, rather than the lying, self-serving, xenophobic bunch of crooks that currently holds us to ransom (see also my fantasy Jacob Tree-Frog Ribena scandal). Sure, being “entitled to relax” has been the default mode of our own “Prime Minister”, only in a bumbling, inept, and corrupt fashion (“roving briefs”, perhaps).

Surely it’s a blessed relief to know that politicians can still be Real Human Beings. FFS, Get a Life, Ye Olde Puritans.

Early Turkish verismo

Some depictions of rural life in Turkish cinema of the 1950s and 60s.

Law of the border poster

In my post on the Zaza Kurds I mentioned Yilmaz Güney. One of his first movies in a substantial ouevre (more here) was

which he wrote, also taking the leading role of Hidir. It’s set around a village near Urfa in the Kurdish region on the border of Turkey and Syria, “where lack of education, joblessness and general hopelessness have left the population little choice but to become outlaws in order to survive”.

The forces that push Hidir and his fellow villagers to smuggle and a telling of the plight of the poor and alienated group of people struggling to survive the only way they ever knew, from father to son.

Law of the border

It’s a constant contention between risk and reward —for the smugglers, the herders and the landowners—and the conjoined result is a provincial portrait of constricted desperation on all sides.

Amidst a violent patriarchal society, the film hints at the importance of education, as the teacher Ayşe (the film’s only female character) attempts to persuade Hidir to allow his son Yusuf to attend school.

Yet in the end reality crashes in while duty, survival, and emotions take over nobility, and people revert to what they know, be it teacher, commander, smuggler, or profiteer.

The only copy that survived the 1980 Turkish coup was rescued and restored in 2011 by Martin Scorsese’s World Cinema Project. It’s been described as “a Turkish Western”. Here it is:

* * *

  • Susuz yaz (Dry summer) (Metin Erksan, 1964; reviewed e.g. here) had already enjoyed huge international success, although it was banned in Turkey for fear of broadcasting negative images of society.

Dry summer poster

Showing power struggles over access to water in a poor village, as peasants resist the brutish agha Osman’s determination to deprive them of the “blood of the earth”. Jealous of his brother Hasan’s relationship with his young bride Bahar, Osman contrives to have him sent to prison for a crime that he himself committed, leaving him free to molest Bahar. In scenes of rare sexual voyeurism, the story exposes the subordination of women (for Erksan’s feminism, see here). It was filmed in Urla district of Izmir on the Aegean coast—and at a time when Turkish film used the standard language, most of the actors speak in Aegean accents. * The soundtrack effectively uses both traditional bağlama and remarkably avant-garde styles.

Watch here.

Dry summer

For a review of these two films, click here

* * *

Over a decade earlier, in 1952 Metin Erksan had made the biopic

about the renowned blind Alevi bard Aşik Veysel (see here; cf. Kurdish bards, and blind bards of Ukraine and China; see also here).

Asik film poster

Shot in Aşik Veysel’s native village in Sivas, again the film was censored for depicting the harshness of rural life.

Asik Veysel still

Sorry, no subtitles, and with some breaks in sound:

With the Turkish film scene already dominated by urbane commercialism, such films controversially depicted rural deprivation and conflict. Cf. Omar Amiralay’s 1974 documentary Everyday life in a Syrian village.


Hulya* Dry Summer was the debut role of Hülya Koçyiğit (b.1947)—click here for her experience of making the film. I note with typical superfluity that she was brought up in Kuzguncuk—as she recalls in this interview for the Turkish Agricultural and Forestry Magazine, that indispensable cultural organ (cf. The Milk Producers’ Weekly Bulletin and Cowkeepers’ Guide).

The sceptical feminist

Sceptical cover

In between the second and third waves of feminism came a remarkable book:

Regrettably, it’s out of print, but you can—and must—read it here. I first read the book soon after it was first published, and it remains an inspiring analysis, addressing the topic with dispassionate philosophical clarity.

In the Introduction she explains:

This book is a battle on two fronts. On the one hand, it takes issue with the many people who think that there is no justification for the existence of the feminist movement: the ones who think that women’s demand for equality with men was misguided in the first place, or that they have now got it, or that women are better off than men. On the other hand, it is equally against a good deal of feminist dogma and practice. For all the strength of the fundamental feminist case, feminists often weaken it by missing the strongest arguments in its support, or allowing themselves to get entangled in non-essential issues, or insisting on making integral to the feminist cause ideas which are either irrelevant, probably false, or actually against the interests of feminists and often everybody else as well. If the arguments which are to be presented here succeed in their intention, feminism will emerge from the enquiry as necessarily radical, but with firmer foundations, less vulnerability to attack, and at the same time more general acceptability than it has at present.

Her basic definition of the issue is broad:

Women suffer from systematic social injustice because of their sex.

Although people do usually think of feminists as being committed to particular ideologies and activities, rather than a very general belief that society is unjust to women, what is also undoubtedly true is that feminism is regarded by nearly everyone as the movement which represents the interests of women.

She notes the “apparently ineradicable human tendency to take sides”:

While it would be ideal if everyone could just assess each controversial problem on its own merits as it arose, what actually happens is that people usually start by deciding whose side they are on, and from then onwards tend to see everything that is said or done in the light of that alliance. The effects of this on the struggle for sexual justice have been very serious. The conflation of the idea of feminism as a particular ideology with that of feminism as a concern with women’s problems means that people who do not like what they see of the ideology (perhaps because they are keen on family life, or can’t imagine a world without hierarchies, or just don’t like unfeminine women) may also tend to brush aside, explain away, sneer at, or simply ignore all suggestions that women are seriously badly treated. Resistance to the feminist movement easily turns into a resistance to seeing that women have any problems at all.

Since there is no doubt that feminism is commonly thought of as having a monopoly on the representation of women’s interests, therefore, and since all feminists, however firm their ideological commitments, must want as many people as possible to be willing to listen to their arguments about the position of women rather than reacting with hostility whenever the subject of feminism comes up, it is in the interests of everyone who cares about justice to have as many people as possible thinking of themselves as feminists. That is the main reason why the wider definition is needed.

There is also another reason. If feminists themselves think of feminism as the movement which defends women’s interests and also as being ideologically committed in a particular direction, the effect will be to fossilise current feminist views. Any feminist who has the idea that giving up her current views is equivalent to giving up feminism may be very unwilling to look at her views critically and abandon them if they are implausible. But however committed any feminist may be to her ideology, she must allow that there is a difference between maintaining the ideology and accepting more generally that women are unjustly treated, and since human fallibility means that she may turn out to be wrong about the first, it seems better that feminism should be thought of as the wider of the two.

Thus she defines feminism as a movement for the elimination of sex-based injustice—which also allows men to count as feminists.

Admittedly, men claiming to be feminists have to be viewed with a certain amount of caution, since many have already discovered (sometimes without realising it) that pretensions to feminism are new and valuable weapons in the cause of male supremacy. […]

Some men are quite as capable of useful logical thinking and scientific investigation as women.

So it’s neither a movement of women nor a movement for women.

It obviously cannot be one which supports the interests of women under all circumstances, because there must be many situations where, even now, women treat men unjustly, and a movement concerned with justice cannot automatically take the side of any woman against any man. However, more subtly, feminism should not even regard itself as a movement to support women who suffer from injustice. This is because many injustices suffered by individual women have nothing to do with their sex, and could equally well be suffered by men. If, for instance, there are men and women in slavery, it is not the business of feminists to start freeing the women. Feminism is not concerned with a group of people it wants to benefit, but with a type of injustice it wants to eliminate. The distinction is important, even though on the whole the elimination of that injustice will benefit more women than men. Once again, this consequence of the new definition does no harm: on the contrary, it is far more reasonable to ask people to support a movement against injustice than a movement for women.

She makes a case for the philosophical approach, beyond debates about practical matters:

Feminism often suffers from staying too close to women, and not looking enough at the general principles which have to be worked out and then applied to women’s problems.

So the broader topics of the early chapters (“The fruits of unreason”, “The proper place of nature”, “Enquiries for liberators”, “Sexual justice”, all cogently argued) set the scene for her discussion of practical issues of specific concern in society. Here I’ll give a few instances of the latter.

Progress has since been made in some circles on some of the issues discussed in Chapter 5, “The feminist and the feminine”.

The fear that an emancipated woman must necessarily be an unfeminine one has always been the basis of one of the opposition’s main objections to feminism.

Femininity and masculinity are obviously not the same as maleness and femaleness. […] We must therefore be concerned with attributes which are in some way supposed to accompany these fundamentally sexual ones, and the question is of what kind of accompaniment is at issue.

As she notes, these attributes are the subject of much anxiety. The “desirable” quality of “femininity” “is obviously thought a very fragile thing, since so much trouble is gone to on its behalf”. Feminists are not concerned about any inherent characteristics differentiating the sexes; rather, they ponder the fact that

men and women are under different social pressures, encouraged to do different kinds of work, behave differently, and develop different characteristics.

She ably refutes Ruskin’s “sugary gloss of ‘equal but different’ “, and analyses direct and indirect social pressures. But the problem of eradicating the evils of culturally imposed femininity needs to be approached with some circumspection; she is wary of direct attacks on all forms of “femininity”. Among her arguments is people’s general appreciation of cultural differences;

While feminists must be committed to attacking all cultural distinctions which actually degrade women, the indiscriminate pursuit of an androgynous culture must involve the elimination of innocuous cultural differences as well, and with them the sources of a great deal of pleasure to many people.

In Chapter 6, “Woman’s work”, she first addresses the issue of “whether the work is of a kind which ought to be highly valued, or whether it is possible for it to be highly valued”. Then she considers the age-old dichotomy of public (male) and private (female) activity, and their different statuses:

If women’s work is private it is necessarily without status, and any promise to give it higher status must be vacuous.

She cites Betty Friedan’s story of a successful female journalist interviewing a housewife in 1949, who “has done nothing of what she planned to do in her youth, she has wasted her education, and she feels a general failure”.

“Then the author of the paean, who somehow never is a housewife, … roars with laughter. The trouble with you, she scolds, is you don’t realise you are expert in a dozen careers, simultaneously. ‘You might write: Business manager, cook, nurse, chauffeur, dressmaker, interior decorator, accountant, caterer, teacher, private secretary… you are one of the most successful women I know.’ “

As Betty Friedan rightly implies, this sort of thing is the purest rubbish, so entirely beside the point that it is hard to know where to begin criticising it. Its technique consists in totally ignoring the real complaint, pretending it is something else, and arguing that that something else is quite unjustified.

JRR does indeed go on to criticise the “patronising rubbish” of the “paean” with both care and passion. Yet such flapdoodle still went on when The sceptical feminist was written; and while progress has been made, it can still be heard today.

It is no part of feminism to insist that a woman should work at other things even though her children suffer as a consequence, but it is part of feminism to insist that there is something radically wrong with a system which forces so many women to choose between caring properly for their children and using their abilities fully. […]

It is not in the least obvious how this is to be done, but that is a reason for devoting the full energy and imagination of everyone who has any of either to trying to find a way. […]

To hold up home and family as the highest vocation of all is to try to cheat women into doing less than they might, and wasting their abilities.

She always puts the counter-argument—and then refutes it. She continues by considering goodness and altruism;

Women above all people are the ones who must resist the idea that the greatest good a woman can do is get on quietly with her limited work, because it is so transparently the result of men’s subjugation of women. […]

As long as the people who excel in the most important work are without status, it means that society undervalues their work, and as long as that happens society has the wrong values. […]

… What this suggests is that when women are indeed allowed to excel, even if they do it in slightly different areas from men’s, there is at least the possibility that things which are associated with women may become as highly regarded as the ones associated with men.

Since it may well be true that women will tend of their own volition to do different things (though of course we do not yet know), it is essential that we should try to make that equal respect come about.

Parts of Chapter 7, “The unadorned feminist”, may again appear somewhat dated, but while courting controversy she makes some most stimulating points.

There is no doubt at all that many feminists regard the rejection of “woman garbage” as a substantial issue, a thing which feminism ought to be committed to, rather than just a gesture. […]

Many feminists regard women who persist in clinging to their traditional trappings as traitors to the cause, while on the other hand to many non-feminists this austerity in the movement is one of its most unattractive aspects.

She explores the issues, starting with the obvious causes for feminist concern. First,

the amount of time, effort, and money which women are by convention expected to devote to their appearance, when no comparable demands are made of men. […]

If women are to succeed in the important things of life, it must be possible for them to be more negligent about dress, if they want to, without sacrificing social presentability in the process.

Further, the standards to be reached are impossibly high; mass culture allows for insufficient room for diversity; and the demands of the fashion industry are constricting. Of course, progress in such issues has been ongoing, and new generations of feminists have continued to probe them.

People have, after all, to choose their clothes whatever they are, and a feminist whose main motivation was to put as little time and money into them as possible should presumably go around in the first and cheapest thing she could find in a jumble sale, even if it happened to be a shapeless turquoise Crimplene dress with a pink cardigan. No feminist would be seen dead in any such thing. […] Style is important.

(Now I’m no fashion guru, but I rather think the outfit she parodies there would today be considered rather chic; still, it’s a good point.)

This is even clearer in the case of the great majority of feminists who do go to some little trouble to be clean and neat and pleasant. They too tend to go for the unfeminine feminist uniform, but this has obviously nothing to do with effort. With just as little effort, if they wanted to, they could wear all the time a single comfortable, pretty, simple, easily-washed, drip-dry dress, so avoiding all the problems of fashion, variety, time, money, and effort without giving up being pretty and feminine at the same time. […]

She ponders the issue further:

It is supposed to be bad to want people as objects of pleasure, but it cannot possibly be bad to want them because they give pleasure; there is no other possible basis for love than what is in some way pleasing to the lover.

She disputes the romantic tradition that love should be a purely altruistic passion, and the testing game of “Would you still love me if I were (poor, ugly, crippled…)?”

We love people for qualities they have which are pleasing to us. […]

It is not intrinsically degrading for women to want men; it has been degrading only because in the past men have not had to bother much about how pleasing they were to women, while women have had to go all out to please men even to survive. In a position of equal dependence and independence between men and women it would not be in the least degrading for either to want, and try to please, the other.

Discussing sensual pleasure, she explores the notion of women as sex objects.

If the aim of the deliberately unadorned feminist is to make sure that men who have the wrong attitude to women have no interest in her, she is likely to succeed.

The best-judging man alive, confronted with two women identical in all matters of the soul but not equal in beauty, could hardly help choosing the beautiful one. Whatever anyone’s set of priorities, the pleasing in all respects must be preferable to the pleasing in only some, and this means that any feminist who makes herself unattractive must deter not only the men who would have valued her only for her less important aspects, but many of the others too.

She argues against the notion that “if you do not care at all about people’s beauty you are morally superior to someone who does”. Those holding such a view

must also think it is bad to care about beauty at all, since beauty is the same sort of thing whether it is in paintings, sunsets, or people, and someone who does not care about beauty in people is someone who simply does not care about beauty.

(I suspect this needs elaborating. People often have blind spots about particular areas of aesthetics: not all of those who admire sunsets appreciate painting, a film buff may not have a taste for interior design, and so on. I’m sure she can clarify my doubt here!)

Now of course beauty is often a low priority, and it is morally good to care relatively little about it when people are hungry, or unjustly treated, or unhappy in other ways. [….] It is not actually wicked to be aesthetically insensitive, but neither is it a virtue, any more than being tone deaf, or not feeling the cold, or having no interest in philosophy or football.

As to sex,

If sensual pleasing is a good thing, why not wear pretty clothes? Why not, in suitable circumstances, dress in ways that are deliberately sexy? […] To refuse to do that may show that you are not interested in men who are interested in sex, but that is a personal preference, and nothing to do with feminist ideals.

Although it may be morally good to give up sensual pleasure to achieve some other end, there is nothing to be said for giving it up unless there is some other end to achieve.

Discussing packaging and degradation, she takes issue with “natural beauty”.

The question of how much effort is worth putting into beauty has nothing to do with feminism. It tends to look like a feminist matter, of course, because it is generally accepted that women make themselves beautiful for men while men go to no such trouble for women, but the idea that this has anything to do with women’s not caring about beauty in men is a most extraordinary myth. They have not, of course, generally been able to demand it. […]

It is the asymmetry of power that is the feminist question.

Anyone who wants a puritanical movement should call it that, and not cause trouble for feminism by trying to suggest that the two are the same.

The chapter moves on to issues relating to sex work—and incidentally suggests a novel way of regarding pianists:

It is quite clear that we do not in general think that there is anything intrinsically wrong with being interested only in certain aspects of people, pleasing people by means of particular skills, entering competitions against other people of similar skill, or earning an income by the use of particular abilities. For instance, suppose a singer heard a splendid pianist at a concert; he might fantasise about giving concerts with her, with no thought about her which went beyond her musical ability. [She explains “they are implied to be of opposite sex only because of the analogy to be drawn with sexual relationships, and for no other reason.”] He might try to meet her, in the hope that she would be willing to enter into a limited musical relationship, and she might agree. She might also happily play the piano to please people who were not in the least interested in other aspects of her. She might enter competitions. And certainly she would try to earn her living by playing the piano for the entertainment of people who enjoyed listening to music. […]

Why should it be acceptable to be paid for charming people’s ears with beautiful sounds, but not for delighting men’s fancies with strip shows and prostitution?

It is said that these things degrade women, and at present they certainly do. However, there is quite enough degradation in the surrounding circumstances to account for women’s being degraded, without having to resort to the idea that there is something bad about unsanctioned or commercially motivated sex. Women are degraded by these things because of the public contempt they suffer, because of the fact that they have to take these activities up whether they want to or not when there is no other way to make a living, and worst of all because once they have sunk to this level they must suffer endless degradations which result from their weak position. […] However, other things, like teaching and manual work, have been made degrading by social attitudes, and in cases like that we have tried to remove the degradation rather than persuade people not to do the work. […]

Sex is said to be cheapened by money. Why should it be, however? Nursing care is a thing which is often given for love, but we don’t think nurses cheapen themselves or the profession when they earn their living by it; we think it is an excellent thing that these people should be able to use their skills all the time, and care for more than just their families and friends.

She struggles to adduce reasons why sex is inherently so different.

The real feminist problem is the unfairness of the present bargaining situation, and the fact that women are in a position to be exploited, and degraded in that way. That certainly has to be attacked with full feminist force.

At the heart of the problem is that “many men do not treat women properly”. And she considers the issue of women’s culture;

the fact that interests and cultures grew under conditions of confinement does not make them less the real culture of that group.

Doubtless women making themselves “deliberately unattractive” was an issue at the time. But she also broaches the important question, “why does everyone presume that the beautification of women is all for men?”, and indeed, later generations have worked this one out. I imagine some younger feminists would wish to further unpack her arguments here about the nature of beauty and attractiveness, and their basis in the male gaze.

Chapter 8, “Society and the fertile woman”, discusses the issues of whether contraception and abortion should be allowed, and whether they should be free. The lengthy section on abortion is all the more relevant today with the shameful reversal of Roe vs. Wade. Chapter 9, “Society and the mother”, explores arrangements for childcare, and whether the state or parents should pay for it.

Chapter 10, “The unpersuaded”, returns to the problem that, despite the strength of the feminist case, the movement was still broadly unpopular. Pondering remedies for this situation, she discusses three issues in turn: that there is no reasonable feminist case at all; that it is exaggerated; and that the image of the movement is unattractive. She responds cogently to a series of objections.

The greatest possible care must be taken not to make the uphill grind even worse than it need be, through the careless presentation of a feminist image and feminist policies which drive the movement’s natural supports back into the traditional camp. If a more careful formulation of radical feminist policies will lead not only to a better plan for the future, but also to a kind of radical feminism which is attractive and understandable to the people who are at present its opponents, then no feminists—least of all the ones who feel that reason has no place in political achievement—can afford to be careless in argument. The very impossibility of reaching most of the unpersuaded by the force of reason becomes the final demonstration of the indispensability of care in argument amongst feminists themselves.

* * *

The 1994 edition has two further Appendices clarifying and augmenting her arguments. And in her new Introduction she reflects on reactions to the book, and acknowledges that the book displays “period features”; but while many once-controversial campaigns had been won (and other issues were becoming prominent, such as LGBT rights and pornography), most of the questions she confronts remained apposite. In the public forum, she notes, a change of rhetoric need not always imply a change of substance.

Today, as feminists deplore “the return of sexism” (Natasha Walter, Living dolls), many arguments revolve around mundane issues for women such as merely staying alive, let alone retaining control over their own bodies or achieving equal pay.

But after all these years, with so many feminist authors building on the work of previous generations (in Britain, an outstanding instance is Laura Barton’s Everyday Sexism campaign; and cf. the succinct, accessible manifestos of Chimamanda Ngozi Adiche), these issues remain highly apposite—not least the reluctance of some women (and indeed men) to identify as feminists.

Sadly, Janet Radcliffe Richards’ philosophical pursuits haven’t resulted in further publications on feminism—but her three lectures from 2017 on “Sex in a shifting landscape” start here. I’d also love to see her sinking her philosophical teeth into PC gone mad, and Brexit.

See also Gender: a roundup, including Words and women, Sexual politics, The handmaid’s tale, and for a suitable playlist, You don’t own me. For an introduction to gender and music, see under Flamenco 2: gender, politics, wine, deviance.

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In search of the sacred in modern India

Nine lives

Moving on from the early travels of William Dalrymple, I’ve been re-reading his splendid seventh book,

  • Nine lives: in search of the sacred in modern India (2009)
    (reviewed e.g. by Colin Thubron, and here).

By now Dalrymple had long been based in India. In the Introduction (click here for a variant) he traces the book’s origins back to the summer of 1993, when on a trek in the Himalayas he met an ash-smeared, naked itinerant sadhu of about his own age—who turned out to be a dropout from the world of commerce.

Living in India over the last few years, I have seen the country change at a rate that was impossible to imagine when I first moved there in the late 80s.

So extraordinary was the pace of development that

It was easy to overlook the fragility and unevenness of the boom. […]

Within twenty minutes of leaving the headquarters of Microsoft or Google Asia, cars and trucks are beginning to give way to camel and bullock carts, suits, denim, and baseball hats to dusty cotton dhotis and turbans. This is a very different India indeed, and it is here, in the spaces suspended between modernity and tradition, that most of the stories in this book are set. […]

While the West often likes to imagine the religions of the East as deep wells of ancient, unchanging wisdom, in reality much of India’s religious identity is closely tied to specific social groups, caste practices, and father-to-son lineages, all of which are changing very rapidly as Indian society transforms itself at speed.

So

I set out to write an Indian equivalent of my book on the monks and monasteries of the Middle East, From the holy mountain. But the people I met were so extraordinary, and their own stories and voices so strong, that in the end I decided to write Nine lives in a quite different form. Twenty years ago, when my first book, In Xanadu, was published at the height of the 80s, travel writing tended to highlight the narrator; his [sic] adventures were the subject, the people he [sic] met were sometimes reduced to objects in the background. With Nine lives I have tried to invert this, and keep the narrator firmly in the shadows, so bringing the lives of the people I have met to the fore and placing their stories firmly centre stage.

Indeed, this has been a growing tendency in anthropology and ethnomusicology; see e.g. Helen Rees’s introduction to Lives in Chinese