Searching for Dragon Bones

Recently our Book-Reading Group in Schio (Italy) decided to read Tracy Chevalier's book "Remarkable Creatures". It is the story of 2 women in early 19th century England and their love for fossils and old bones.

Reading this book reminded me of a visit to a museum in Bologna some years ago, as well as, of discussions about dinosaur bones in the Gobi desert in Mongolia. Friends had told me that in Mongolia and China, people used to believe that the dinosaur bones were dragon-bones, and were used as medicines by traditional healers.

This post is about Tracy Chevalier's book, as well as about discovery of fossils in medieval Bologna. It is a kind of a rambling post about how scientific discoveries are inter-connected and can change the way we see the world around us. Let me start with Chevalier's book.

Remarkable Creatures

Chevalier is a British author of American origins who writes historical novels. She became famous with her book "The girl with the pearl earring" in 1999 while "Remarkable Creatures" came out in 2009.

The book is set in the coastal town of Lyme Regis in south England. The tiny town of Lyme has been the backdrop of many books, including "Persuasion" by Jane Austen and "French Lieutenant's Woman" by John Fowles. It is a fiction-book based on real persons, who lived there in the 19th century. On her website, Chevalier provides the following background to her decision to write this book:

A few years ago I went with my son to a small dinosaur museum in Dorchester, on the south coast of England. Among the usual displays, there was a wall devoted to Mary Anning, who lived in the early 19th century in the nearby town of Lyme Regis, where fossils are abundant. The display showed a sketch of Mary on the beach, holding a hammer and wearing a top hat to protect her from falling rocks. At age 12 she discovered the first complete specimen of an ichthyosaur, a marine reptile about 200 million years old

The book starts with the friendship between the two women - the 12 years old Mary Anning from a working class family and a resigned-to-spinsterhood, Elisabeth Philpot. Mary searches for the fossils on the coast to sell them to the tourists. Elisabeth has been sent to live in Lyme, as her brother has decided to get married and his wife does not wish to share the house with his sisters. In Lyme, Elisabeth discovers her love for the fossils and old bones, and in the process, recognises the genius of Mary in finding them.

A dinosaur skeleton, now displayed in the Natural History museum in London, discovered by Mary Anning, plays a key role in the story. I love that museum and have been there a few times (2 of the images used in this post are from that museum). However, before reading this book, I had no idea about Mary Anning and the role she had played in discoveries of the dinosaur skeletons in England.

Book's Themes

The story is set in the early 19th century England, a period when class distinctions were still strong and the society did not accept friendships between persons of different classes. It was also a period when women were much lower in the hierarchy compared to the men - they did not have any independent rights and were dependent upon the men of their families for all decisions. It was a period when religious orthodoxy dominated and was hard to challenge.

It was a period of transition, where the finding of fossils was problematic as it raised issues for which the answers inevitably led to a questioning of religious dogmas. The Bible said that God had made the creation over a period of 6 days and all creatures made by God were perfect. The fossils and dinosaurs did not fit into this narrative because they implied that some creatures had existed in the past and had become extinct. The church negated these suppositions which did not fit the theory of creationism.

In that period, only men were supposed to be discoverers and scientists while women like Mary or Elisabeth were not supposed to be one. Thus, men interested in the fossils and old bones of giant animals (the word dinosaur had not yet been coined), took the knowledge and specimens from Mary and showed them off as their own finds. The book concludes as the first fissures apear in this male-dominated construction of the scientific world and Mary becomes known as the person who understands fossils much better than anyone else.

It is a gentle book, focusing on the social milieu as well as, on the inner lives of its female protagonists, and is very easy to read. There are parts of the story, like the man who had duped Mary suddenly discovers his noble side, which are a little unconvincing but overall the book is informative and enjoyable. Even Jane Austen makes a fleeting appearance in the story. For me, the most interesting parts of this book are those where the process of finding the fossils and the beginning of slow understanding about their origins are described.

Aldrovandi & Geology

Reading about fossils reminded me of a naturalist from medieval Bologna in Italy. In a recent article by Lawrence Wright in the New Yorker, Bologna is described as "the giant churches, the red-tiled roofs, the marble walkways under arched porticoes; a stately city, low-slung, amber hued, full of students and indomitable old couples. During the Middle Ages, Bologna was home to more than a hundred towers, the skyscrapers of their era, which served as show-places of wealth and ambition for powerful oligarchs. Two of the remaining ones have become symbols of Bologna: one slightly out of plumb, the other as cockeyed as its cousin in Pisa."

This article touches on the social transformations brought about by the pandemic of black death (plague) in the 14th century and proposes that the pandemic had led to the period of Italian Renaissance and to a new way of understanding the world. It asks what kind of the transformations will be stimulated by the present Covid-19 pandemic and in which ways those will shape our future world.

One of the key figures of 16th century Bologna who had contributed to the scientific transformation of Renaissance was the naturalist Ulisse Aldrovandi. He was born in Bologna in 1522. Leonardo da Vinci had died a couple of years earlier while Michelangelo had yet to start painting the Sistine chapel. Thus, we were in the middle of Italian Renaissance period. It was also the time when the Spanish inquisition had already started and it was easy to be accused of being a heretic. In fact, Aldrovandi himself was imprisoned for about a year and a couple of decades after his death, in 1633 Galileo was sentenced to life-imprisonment for suggesting that the earth was not the centre of the universe and it revolved around the sun.

Aldrovandi had suggested that nature had to be looked at as "juxta propria principia", that is without religious or metaphysical conditioning. Among the objects collected by Aldrovandi were some seashells found in the mountain expeditions. This raised questions in his mind about how those sea creatures had reached the mountains? The Biblical justification to these findings was in the story of universal floods and Noah's ark. These made him think critically about the study of different layers of earth and how it was composed of different kinds of rocks and minerals. In his testament written in 1604, he used the word "geology" for the first time to indicate "the study of earth".

Some diaries of Leonardo da Vinci have also been found, where he had written about the finding of seashells and fish-fossils in the mountains. One of his hypothesis was that at some point in the earth's history, the mountains had been at the bottom of some sea. Thus, while Bible imposed certain beliefs regarding the creation of the world, and inquisition awaited persons who questioned those beliefs, persons already had other ideas, which contradicted Bible's idea of creationism.

Poggi museum of Bologna holds the Aldrovandi collection and includes the collection of "Diluvianum Museum" created in early 1700 by another local naturalist, Giuseppe Monti. It presented the fossils as part of the objects created by the Biblical floods (Diluvianum). The wall paintings of this room show those floods as imagined by the artists (an example in the image below).

Thus, it was not only Mary Anning and Elisabeth Philpot, but countless others including Androvandi and Monti, who had started to explore the world with new eyes and to question it, which had created the foundations which had led to Darwin's theory of evolution and forced the church to change its position on creationism. In "Strange Creatures", Elisabeth tentatively proposes that the "6 days of creation" of the Bible could have been 6 eras of creation.

Conclusions

Often, specific scientific ideas are associated with names of specific persons. For example, the theory of evolution is linked with the name of Charles Darwin. However, as this post shows, scientific advances do not come out of a vacuum, basic knowledge which contributes to them is the work of countless others who are not remembered by the history books.

So much of history and society is taken for granted. Like the discoveries of fossils, dinosaurs and the Darwin's theory of evolution - we accept all of these almost uncritically.

Art and literature can play an important role by reminding us how and in which conditions those discoveries took place and their human costs. That understanding helps us to look at the past in a more realistic way, so that we can understand better where we have reached and where we are going.

*****

#dinosaurs #tracychevalier #bookreview #remarkable_creatures

A Liberian Story of Dung Beetles

The moment I read the title of the book "The Dung Beetles of Liberia", I knew that I wanted to read it. My links with Liberia go back to almost 25 years though I visited it for the first time only in 2018.

When I visit any country, I like to know its people and to understand their history and culture. However, though I have been to Liberia a few times, I have found it difficult to find a connection to the country's spirit, and in understanding its culture and history. Thus, the title of the book "The Dung Beetles of Liberia" immediately attracted me.

Dung Beetles

Dung beetles are found in the savanna regions in different countries of Africa and are not specific to Liberia. In my visits to Liberia, I have yet to come across these insects.

The tropical grasslands of Africa known as "Savanna" play a crucial role in ensuring the continent's bio-diversity. They are characterised by tall grass with a few scattered trees. According to National Geographic, the African savanna is the site of complex and inter-linked life-cycles:

"Healthy, well-balanced ecosystems are made up of multiple, interacting food chains, called food webs. Carnivores (lions, hyenas, leopards) feed on herbivores (impalas, warthogs, cattle) that consume producers (grasses, plant matter). Scavengers (hyenas, vultures) and decomposers/detritivores (bacteria, fungi, termites) break down organic matter, making it available to producers and completing the food cycle (web). Humans are part of the savanna community and often compete with other organisms for food and space."
According to Dr Frank Krell of the Natural History Museum in London, there are different varieties of dung beetles in Africa which play a fundamental role in ensuring the sustainability and survival of savanna by spreading the dung on the ground and by depositing it underneath hard soil so that it serves as fertiliser and nutrient for the savanna grass:

Dung is more than just waste, explains Krell; it is often full of seeds and burial by dung beetles may be crucial in the germination success of several plant species found on the savannah. Tunnelling and rolling species together not only distribute nutrients over the surface of the savannah but also dig it in for good measure, providing fertiliser at all levels of the soil profile to ensure a lush growth of vegetation during the rains. Around one tonne of nutrient-rich dung is deposited per hectare of the savannah each year, so there is more than enough to go round, especially once dug in by the enterprising insects.

Thus, though the dung beetles may be vital for the African biosphere, they are seen as dirty and the word "dung beetle" is used to denigrate. Therefore, it is important to specify that dung beetles are not "Liberian", they are present in different parts of Africa. In Meier's book, we are introduced to them in the first chapter, when Ken, a young American pilot flying an Africa Air Service (AAS) plane, has to make an emergency landing in a field near a nuns' mission because he has diarrhoea. Hidden from the nuns among the tall grass, he is busy shitting when he finds the dung beetles trying to crawl on his legs.

"Leaving the engine idling with the prop turning over slowly, I bailed out of the cabin. I ran to the bush, which was mostly grass and weeds about chest high, and, with only moments to spare, relieved myself. While this relief was occurring, I heard the distinctive wuush, wuush, wuush of dung beetles crawling through the grass. I had been told that they could hear a mouse break wind from five miles away and could follow the scent. With my pants around my ankles and the sun beating down on my head, I started a little hippy hop, hippy hop movement to keep away from them."
Apart from the first chapter, the dung beetles do not make further appearances in the book, at least not in the insect form. The dung beetles in the title of the book, make one think that it is an entomology book. When I started reading it, I thought that it was a light-hearted story of an expatriate in Africa and his struggles with local fauna and flora. Instead, the book refers to his encounters with other kinds of dung beetles, many of whom are also expatriates.

Other Dung Beetles in Liberia

Some dung beetles eat the shit, others live in it. Meier's Liberia is about 7 years in the life of Ken Verrier starting from 1961, while he is trying to escape from his guilt at his brother's death. The country seems to be full of bipedal kind of dung beetles - from a corrupt system oiled by "dash" and ex-slave Americo-Liberians living in the replicas of American plantation houses where they were slaves; from the Nazi pilots refugees from Germany on their way to South America to the Israeli spies. As the next excerpt shows, it seems that in the 1960s, Liberia was one of the richest economies in Africa and had different groups of expats.

A lot of wealth was pouring into the country, mostly from international corporations. The national transportation system was still largely underdeveloped. Most of the roads had been built by international mining, timber, and rubber companies. These roads served the companies as well as the people of Liberia and were not paved. During the wet season they often became impassable. There was one national airline, Liberian National Airways, but it flew only to a few nearby destinations outside of Liberia.

I was surprised to read about the Nazi pilots hiding in Liberia, I had never heard of it before. The description of their adoration for Hitler's ideology, makes for a disgusting and yet fascinating reading, in some ways reminding me of the Tarantino film "Inglorius Bastards". For example, check the description below of an evening at a place called Heinz & Maria in Monrovia:

I noticed that the volume of voices had gotten much louder. Beer was flowing more freely and the pilots started singing old beer hall songs, then Luftwaffe fight songs. One of the pilots stood up, swayed several times, took a couple of gulps of beer, and started singing the German national anthem. Everyone joined in, including Ana. When that was finished a pilot, whose name was Willy, climbed onto the bar, rolled up his right shirt sleeve to reveal a tattoo of a red swastika on his upper arm with “Deutschland Für Immer” inscribed beneath it. He started goose-stepping up and down the bar giving the Nazi stiff-arm salute and shouting, “Leben sie Langa, Liebe sie Langa, Fur Gott, Fuehrer und Vaterland, Machen Deutchland Wieder Groß!”The pilots cheered and toasted Willy with mugs of beer and then began a rhythmic pounding of their feet on the floor while shouting, “Ein Reich! Ein volk! Ein Füehrer! Deutschland für immer! Ja, ja!”

Liberia Today

Meier's book is about Liberia and Africa of 1960s and it looks at the country from a white American expatriate's eyes. Apart from the Germans and persons from international corporations involved in diamond mines, it touches on two other groups of expatriates - missionaries and Lebanese businessmen.

The Liberia that I have known over the past couple of years is very different and yet similar to the one described in the book. It has been devastated by decades of an incredibly brutal and prolonged civil war, followed by the deadly Ebola epidemic. During my visits in the areas affected by the civil war, I have heard nightmarish stories of violence by persons who were children at that time and saw their families raped and hacked to death in front of them. I have also talked to some who were forced to become child soldiers and who still carry the scars of their experiences on their souls.

I have heard that after the end of the civil war in 2003, for a decade Liberia was full of European NGOs and U.N. forces who had come here following the scent of reconstruction money and emergency aid programmes. They are all mostly gone now after the Ebola scare in 2014, when the GDP growth had plunged from more than 8% to less than zero. Though the Ebola epidemic was controlled in 2016, its shadow still seems to dog the country. The corruption mentioned in Meier's book still seems omnipresent while the violence seems to be hidden just below the surface of ordinary daily life, threatening to erupt now and then in the protests and witch-hunts, just like it does in the book during the part about President Tubman:

Tubman decided to make an example of them, so he announced there would be a Justice Day. And when that day came, justice was to be held in the football stadium. It was done at night for full effect. You know, like the Nazis used to do at Nuremburg with their torches and vertical lights. Herr Speer called it the ice palace.“It was like a sports affair. Vendors were selling cotton candy, beer, shit like that. And just at the right moment, he got up into the speaker’s stand and called for the criminals to be brought out. The same white Mercedes was driven out onto center field and two policemen got out. They opened the rear door and dragged out three guys who were handcuffed and chained together. Then Tubman made this long speech in the style of der Fuehrer about how he was going to put an end to crime and, after a timed pause, he extended both arms and said, ‘Now let justice be done,’ and the crowd went wild.”The cops dragged the three guys around to the rear of the car, opened the trunk and threw them in, and slammed the trunk lid down. A pickup truck drove out to the scene and the cops started offloading five-gallon cans of petrol. They must have dumped fifty gallons of the stuff in and on the car. Tubman gave the signal by suddenly lowering his arms, and the cops lit the car off. At that point the crowd let out a scream that made what’s left of my hair stand on end. I’ve never heard anything like it. It was like ten thousand people at the height of supreme ecstasy.

The book ends with a cliché image of Africa, a Guinea worm - Ken takes out a male worm from his knee, wrapping it around a match-stick and he realises that the demons chasing his soul are gone and it is time for him to go back to his home in the USA.

Looking for the Real Liberia

While visiting Liberia, I have felt as if I am visiting a country without a history. Which may be true in a way because it was created in 17th century by the freed slaves coming back from America. Their cultures and histories had been snatched away from them when they or their fathers had been captured and taken away in the slave-ships. They were brought back and had been implanted in the midst of local tribes. They had become the Americo-Liberians, subjugating the local tribes exactly as they themselves had been subjugated.

Given this history as the seed of their nation, it is no wonder that Liberians had to struggle to find a unity in their nationhood. It is quite likely that the process of assimilation is not yet complete and continues to erupt every now and then, in the lack of trust between its people.

Over the past five hundred years, the empire-builders and exploiters from north Africa and Europe have crushed and cancelled any sense of value the different African people had regarding their own cultures and beliefs. Religious proselytisation by Islamic and Christian preachers have brought new cultural values to replace the old beliefs. Except may be for Yoruba people in Nigeria, none of the civilisational cultures of Africa have survived this onslaught. Compared to the rest of Africa, the cultural challenges which Liberia faced were probably even worse and thus their transition to the modern nation state has had its ups and downs.

Conclusions

Today's Liberia is changing. There are no longer any big groups of German expats here. The Lebanese are still there but over the past couple of years, many of them have left the country. Instead there are groups of Indians, Chinese, Ghanaians and Nigerians who dominate the country's commerce. Thanks to the Chinese, there is a nice road from Monrovia to Ganta, though travel to rest of the country continues to be back-breakingly difficult, especially in the rainy season.

For me Meier's book was an opportunity to take a look at Liberia's recent history. I enjoyed it but in the end I feel that it is only a very superficial glimpse and has left me craving for more. I wish a writer like James Michner could have written a book about Liberia (like his books on Alaska, Hawa'i and Caribbean)!

Probably most African nations would also need such writers, who can combine the mythical with historical and civilizational ethos and with an ambitious vision to unearth their people's histories. Probably Nigerians and Ghanians have had more success in this, but I may be biased in the favour of anglophone world while similar voices exist in other areas of the continent,about which I am not aware.

*****

Our Black Gods

Some of the most popular deities of Hinduism are dark-skinned. Considering the Indian obsession with fair skins, I had often wondered, how did that come about and why did ancient Hindus imagined their Gods to be dark-skinned? I have thought a lot about it and I have not yet found any convincing explanation about it.

Over the past couple of centuries, it seems that we have started a whitening process of our dark-skinned Gods, much like our craze for the whitening creams. If not fair, they are shown as light blue or green coloured figures, as the figure of lord Ram in the picture above. In plays and films, light-skinned actors are taken to play their roles.

For the past 10 days we are closed in our homes because of the Corona virus epidemic. Schio, the tiny town at the foothills of Alps mountains in the north-east of Italy where we live, has been largely spared from this epidemic so far. Thus, I have a lot of time to think and write for my blog! This was how I started to think about the popular Gods of Hinduism and ask myself, why are they shown as dark-skinned?

Dominant Narratives

For the past couple of centuries, the dominant narrative about ancient Indians and Hindus in India has been that of lighter-skinned Aryans, who had come from central or west Asia, and who pushed the darker skinned original inhabitants of India to the south or in the forests. Some believe that they were invaders, who had destroyed the Indus Valley civilisation. However, that invasion theory is not considered now because no evidence had been found of widespread violence and war in the archaeological explorations in the Indus Valley. 

It sounds like a linear and clear explanation, and seems quite plausible. However, I find it difficult to place the black-skinned Gods of Hinduism in this narrative.

Why Did Aryans Choose Black Gods?

The question which I ask is this - if Vedic Hinduism was brought by light-skinned Aryans, who had come to dominate India and had pushed many indigenous groups to the margins of the societies, why did they choose so many dark-skinned Gods as their principle deities?

Two of the most popular deities of Hinduism - Ram and Krishna, both known as incarnations of Vishnu, are described as dark-skinned. Krishna's name, itself means black/dark. On the other hand, most of their consorts, the female deities, are described as fair skinned, except for Kali, one of the female deities associated with Shiva.

Possible Explanations

According to a Hindi article I found on the internet, the black colour of Hindu deities was a philosophical choice because the black colour is formed by mixing of all the colours and thus it has all shades of the Prakriti (nature) in itself. However, I find it difficult to accept this explanation, because it seems like a more cerebral answer and does not say anything about the ideas and attitudes of the common persons, who needed to pray to those deities.

Vedic culture has been characterised as a Patriarchal Society - why did a Patriarchal Society choose low-in-hierarchy black-skinned figures as their male deities? One explanation can be that ancient Indians who believed in Vedic culture were themselves dark-skinned persons (or were a mixed group, somewhat like today's Indians, and dark-skinned persons among them had high-prestige roles) and that is why they preferred dark-skinned deities. If we accept this idea, what does that mean for the Aryan-Dravidian theories, as well as, for the caste theories?

Another explanation can be that the ancient Vedic Indians believed in the mother-goddess and female deities, while the dark-skinned male deities belonged to Indus Valley people and indigenous people of the forests. When Aryans arrived and gradually assimilated with pre-existing Indian groups, they took over the pre-existing male deities. Thus, the dark-skinned deities came to Hinduism from the indigenous people of India, as the two groups assimilated and inter-mixed their deities.

Yet, another explanation can be that the principle deities of Hinduism arose as representations of the natural forces, and thus deities representing dark forces such as clouds and thunder, took on dark colours. But this logic does not seem to apply to the figures of Ram and Krishna.

Or, perhaps, there are different explanations for each of them and it is by coincidence that we ended up with many dark-skinned deities? It is also possible that when Aryans imagined their Gods in anthropomorphic forms, they did not imagine them to be similar to themselves, but as dark-skinned "others"? Or, can it be that the Aryan-Dravidian narrative is not so linear as has been implied?

Can you think of any other explanation about the dark-skinned deities of Hinduism?

Whitening of the Dark Gods

I am not sure when exactly did we start whitening our deities. One way can be to look at the Hindu deities in countries like Indonesia and Vietnam. Hinduism is supposed to have travelled to places like Bali in Indonesia and Champa in Vietnam in first-second century CE. Do they have any dark-skinned Hindu deities in these countries discovered in the archaeological excavations? If yes, that will help us in dating the choice of dark-skinned deities.

We can also look at the probable dates when our epics like Ramayan were written, because Ramayan describes Ram and his youngest brother Shatrughan as dark-skinned, while the two other brothers, Laxman and Bharat, are described as fair-skinned. However, the claims about probable dating of Ramayan are very variable.

According to David Kinsley, "The Vamana Purana has a different version of Kali's relationship with Parvati. When Shiva addresses Parvati as Kali, "the dark blue one," she is greatly offended. Parvati performs austerities to lose her dark complexion and becomes Gauri, the golden one. Her dark sheath becomes Kausiki, who while enraged, creates Kali."

Vamana Purana is a late text, it has been dated to 9-11th century. Thus, this could mean that by 9-11th centuries, Hindus had started whitening its deities or at least to make them seem less dark? Or perhaps the Kali-Parvati story has other origins and looking for explanations based on a predilection for fair skins is misplaced and over-simplification of this issue.

In the second half of 19th century, Raja Ravi Varma popularised the Indian deities through his calendar art, where all the dark-skinned deities were shown either in light blue or fair-skinned. Those calendars had a huge influence and continue to affect how we imagine our Gods even today.

Devdutt Pattnaik in his article - Black Gods and White Gods, had written about this Indian fascination for the fair skins, with the following words:

And so we had gods who were always pink, demons who were always brown and dark gods who were always blue. Indra, Brahma and Durga were pink, Asuras and Rakshasas were brown. Vishnu, Ram and Krishna were blue. Somehow, an unnaturally blue Krishna was preferred over a naturally dark Krishna. ‘Because blue is the color of the sky, of ether, of divinity,’ we were told. No one dared point out that Krishna and Shyam were both proper nouns and common nouns which referred to gods as well as the color black. We forgot to refer to traditional Patta chitras in Orissa where Krishna and Vishnu are always shown using black paint while Balarama and Shiva are always shown using white. When making Krishna blue, we forgot all folk songs, even Hindi film songs, where there is constant reference to Krishna’s dark complexion.

Shiva is the only one, who is described as Neelkanth, the one with the blue throat, because he had drunk the poison threatening to destroy the humanity. Thus, he has been imagined as a blue coloured God. In the past few years, while thinking of increasing pollution and the climate crisis, I have often thought of the blue-throated Shiva as a metaphor and the need for finding a way of "collecting" all the pollution-poison and saving the earth. At the same time, I have wondered, what kind of poisons could have been there in the environment in the antiquity which had necessitated Shiva's intervention, and the origins of this story? Can this mythological story be linked to a big volcano eruption or a meteorite impact which had covered the skies with dust or ash for months or years?

In the 20th century, the process of whitening of the dark skins of our Gods became even more prevalent. Now, Krishna and Ram are usually shown as light blue or green coloured, or sometimes even fair-skinned. In films and TV serials, often light-skinned persons are chosen to play the role of these deities. This has been coupled with an obsessive search for lightening the skin colour through different skin creams among the general population. India is one of the biggest markets in the world for such creams and its TV and magazines are full of advertisements for selling such products.

In 2017-18, Bhardwaj Sundar and Naresh Nil had launched a campaign to create awareness about this change by using dark skinned models to portray Indian gods and goddesses to recreate the paintings of Raja Ravi Roy. The series of images was named ‘Dark Is Divine’ and they had created 7 portraits, each featuring a different deity. The image above shows a dark-skinned Laxmi from this campaign. I don't know if this image makes you feel strange like it does to me - I think that it forces us to reflect on our colour-biases.

Conclusions

For a long time, I have wondered about the origin of dark-skinned deities of Hinduism, because they do not seem to fit in with the Indian fascination for the fair-skins. In fact, black-skin is seen almost as a synonym of ugly and inferior by many persons.

The dark-skinned deities also seem illogical in the context of dominant narratives of fair-skinned Aryans who came to India and brought the seeds of Vedic Hinduism with them. They also seem illogical in the context of caste sub-divisions, which were supposed to place dark-skinned persons in the lowest groups of the hierarchy.

Perhaps, the understanding of logic and rationale is not good for understanding Hinduism - because the roots of ancient Indian philosophy and its ways of understanding and interpreting the world are very different from the Western systems of logic. Thus, perhaps my questions about the dark-skinned Gods of Hinduism are wrong and need to be rephrased?

If you have some other ideas about this theme, do let me know!

*****

The City of 47 Ronin

The tiny town of Ako in south-west Japan is known for the story of 47 Ronin. The city has a beautiful Shinto shrine with the statues of those 47 warriors who had chosen to become outlaws to avenge the death of their lord.

I had watched the film "47 Ronin" starring Keanu Reaves, which was based on this story. A couple of years ago when I was in Okayama for a meeting organised by Sasakawa Health Foundation, I had discovered that it was not very far from Ako. Thus, I took that opportunity to go and visit this city and to become familiar with its famous legend. This post is about my visit.

Samurai and Ronin Traditions in Japan

The Samurai (Bushi) warriors became an important group in Japan in the 12th century when they worked for feudal lords. Those lords along with their samurai were the real rulers of Japan.

The samurai followed a code of conduct called Bushido. According to the Bushido, when a Samurai became master-less, for example by the death of his master, he was expected lay down his arms and to commit suicide by Seppaku (by plunging a knife in the stomach). Any samurai who did not kill himself was known as ronin, a warrior without honour.

The ronin were looked down upon by their fellow samurai and by the society. They were ridiculed and faced public humiliation.

In 1868, with the Meiji reforms, the military control of country was replaced by a centralised bureaucratic governance. This ended the role of samurai.

I feel that the idea of warriors without a lord committing suicide according to an ethical code sounds similar to the ideas in medieval India about widows letting themselves be immolated along with their husbands' bodies under the "Sati" rituals. Such ideas may seem acceptable while one is wrapped inside and isolated in those ritualistic beliefs. Perhaps some can argue that the suicide bombs by radicalised Islamists are similar rituals, though those are fundamentally different since they also involve additional killing of unsuspecting persons. However, an unwrapping of self and a contact with wider world makes such ideas of ritualised suicides seem like aberrations and a kind of mental illness (though the traditionalists won't agree with this view).

Looking at the figures of Ronin through modern eyes, I feel that seeking revenge for their lord's death was a better option for the warriors, than killing themselves through ritual suicide, though in the Ako story, they did kill themselves after taking their revenge.

The Ronin of Ako - Historical Background

"Ako vendetta", was a historical event in which a group of ronin avenged the death of their master Lord Naganori Asano.

In 1701, Lord Asano, the Daimyo of Ako, was forced to commit ritual suicide by Kira Yoshinaka, a scheming official of the imperial court. However, Asano's samurai did not commit seppaku as foreseen by the Bushido and instead became ronin. Their initial attempts to avenge the death of Lord Asano were unsuccessful. Finally, those 47 ronin managed to kill Kira at Sangakuji in Edo (now known as Tokyo).

Even though by taking up the arms after the death of their lord, they had violated the samurai code of conduct, their honourable action in avenging Lord Asano was recognized. Thus after their revenge, those 47 ronin were allowed an honourable death by committing seppuku.

During the Meijo era (1868-1912), the story of 47 ronin became very popular all over Japan through songs and traditional plays such as kabuki. It was a tale of persistence, honour and sacrifice. The Hollywood film "47 Ronin" (2013) was inspired from this story.

The City of Ako

Ako is located in the Hyogo prefecture in south-west Japan, between Osaka and Okayama. Its railway station is called Banshu-Ako. It is a small coastal town facing the inland sea. It has a population of around 50,000.

Ako is located on the banks of Chikusa river and has a good network of canals. On 14 December each year, Ako celebrates the Gishisai festival to remember the 47 ronin, with a parade of the warriors dressed in old costumes and illuminations with lanterns.

Reaching Ako

When I told my Japanese friends that I wanted to visit Ako, they were a little surprised. The city's name was not so familiar to them. I had to explain the story of 47 Ronin to them. Even at the tourist office in Okayama where I went to ask for information, they were surprised that I wanted to go to Ako. They were not sure if there was much to see in Ako. However, as you can see from the images, it is a beautiful city and is worth visiting.

To reach Banshu-Ako, I took the Ako line local train from Okayama. The journey took around an hour. Passing through small towns and villages (including Bizen and Osafune, two famous small towns in this region) along with verdant mountains, it was a beautiful journey.

The local train network also connects Banshu-Ako station to Himeji and Kobe on the east.

Places to visit in Ako

The city centre is small. The places to visit include the ruins of the castle of Ako and some shrines and temples. Among the shrines, the most important is the Shinto shrine linked with the 47 ronin located near the castle.

Among the temples, the most important is Kagaku temple. The Kagaku temple, the Ako castle and the Shinto shrine of the 47 ronin, are all at a walking distance from the railway station. The main street in front of the railway station leads to the castle. A map of the city in the square facing the railway station will show you all these landmarks. The city, including the railway station, is full of banners, posters and tiles with images of the different Ronin warriors.

In Kagaku temple, I met a group of Japanese artists, who were visiting the city and making drawings of its different buildings. They were curious about me but we had to communicate with gestures as they could not understand English.

The Kagakuji (or Sengakuji) was the family temple of the Asano family. It is a beautiful Buddhist temple with a giant bell and with different shrines. I was told that Kagaku temple has the tombs of the 47 Ronin, each marked by the number "7" to denote death by seppuku. However, I had also read that the tombs of the 47 ronin are in the cemetery of the Sengakuji temple in Tokyo, so I am not sure if the tombs in the Kagaku temple of Ako were real or not. I tried asking about them but was unable to make myself understand and thus, did not see them. In the temple, there were no sign boards indicating the tombs.

Ako Castle and Oisho Shrine of the 47 Ronin

When I reached the castle, some of the persons from the group of Japanese artists had also reached there and they smiled at me. There was no ticket to enter the castle, which does not have many things to see. Imposing walls surrounded the castle ruins. This castle was destroyed by the bombings during the second World War, and its walls have been recently rebuilt to recreate the old ambiance.

Inside the walls, most of the ruins were just empty spaces marked on the floor explaining the different building of the old castle. The castle was built by Naganao Asano Ako, the third lord of Ako domain and the grandfather of Naganori Asano. It had taken them 13 years to built this castle. I was told that the rooms of the Lord and his wife were marked on the floor, but since it was only in Japanese, I could not identify them.

On one side inside the castle, there is a short and squat tower (Tenshudai), where you can go up and have a panoramic view of the area.

A winding path passing near the Ako Museum of History and the Gardens of Ako castle took me to the shrine behind the castle. It is marked by a row of statues of the 47 ronin on both the sides of the path. This shrine is also called Oisho shrine to remember Oisho, the leader of those Ronin.

Each statue of the ronin was different - showing men of different age groups, each with his favourite weapon, some of them standing while others were sitting. Against the background of the castle ruins, the two rows of statues lining the path leading to the shrine made a powerful visual impact.

Inside the shrine gate (Torii), on the two sides were two giant wooden statues of pot-bellied old men. The one on the left was Daikoku Sama, symbolising luck and matrimonial happiness. The one on the right was Ebisu Sama, symbolising success in business and trade.

Inside the shrine, there were different memorials for persons to express their admiration for the warriors - for example, through the streamers of paper-cranes usually placed in cemeteries. The courtyard also has a statue of Oishi Kuranosuke, the leader of the Ronin.

One of the shrine buildings was Homotsu-Kan or the treasure hall, entry to which has a ticket. Inside you can see the Oishi "Glass of Rules" for the Ako samurai. The rules included the following - do not fight, do not spill drink from your mouth and do not force a non-drinker to drink.

A path from the Shinto shrine led to castle garden - a beautiful garden just outside the castle ruins. When I visited it in April 2017, it was not yet completely done and some parts were closed. Still it seemed to be landscaped beautifully with a canal, some gently bubbling fountains and a quaint bridge.

The garden ruins also include two ponds, both beautifully designed to evoke feelings of peace and harmony.

Conclusions

I could visit Ako only for a few hours. It was a rainy day. I knew that there would not be enough time to visit the historical museum or to go to the sea coast in Ako. On the other hand, I had thought that I will be able to visit Chikusa river and a couple of other shrines near the railway station. However, the visit to the castle and the Oisho shrine took most of my time and I could not do more, I had to rush back to catch the train to Okayama.

I think that Ako merits a visit. If you are visiting south-west Japan, such as Okayama or Kobe, it would be worthwhile keeping a morning to visit it.

*****

#banshi-ako #japan #samurai #bushido #legends #47ronin 

Dissident Art of Ai Wei Wei

Ai Wei Wei from China is one of the most famous contemporary artists. His name had become known because of a couple of controversial art installations. Through his art he has brought the spot-light on the absurdities of unequal power balances in the modern world, pointing fingers at both the totalitarian regimes as well as, the so-called civilized countries. I love the art of Ai Wei Wei.

The image above shows the entrance to the Wei Wei exhibition in the CCBB atrium in Rio de Janeiro, with a couple of "Roots" sculptures which gave the title Raiz (Roots) to this exhibition. During 2017-18, Wei Wei visited Brazil, where he came across these roots of the massive Pequi Vinegreiro trees, which were once common here and which now risk extinction - this art installation of Wei Wei referred to that experience.

In August, while in Rio de Janeiro (Brazil), by chance I came across this exhibition. Visiting this exhibition of Ai Wei Wei's works was one of the highlights of my Brazil visit.

It was organized in 2 locations. However, due to my work commitments, I was only able to visit one of the locations, the Cultural Centre of the Banco do Brasil (CCBB), which had his works from the period 2009 to 2018. This is the first part of a post describing those works, covering the period 2009 to a part of 2015. The second part of this post covers his works from 2015 to 2018, including some art installations he has created in Brazil.

Ai Wei Wei's Background

Wei Wei was born in Beijing in 1957. His father Ai Qing (Jiang Haicheng) was a well known poet who was a communist party member and who had been in jail during 1930s for opposing Kuomintang. When Chairman Mao's cultural revolution started, there was a deep distrust of poets, intellectuals and thinkers and thus Ai Qing was forced to shift to a small rural comune, where his job was to clean the toilets. Wei Wei accompanied his father during 5 years of their stay in this comune.

There is a story about Ai Qing, afraid of being labelled "elite", one night burned his poetry and other books, with his son's help. This left a deep impression on Wei Wei's psyche, who was around 9 years old at that time.

Ai Qing was finally rehabilitated in the communist party in 1979. In 1981, Wei Wei went to live in New York, where he lived for 12 years and became an artist. Back in China in 1993, two years later he sparked wide outrage and became famous for his artwork called "Dropping a Hun Dynasty Urn". For making this art installation, Wei Wei dropped and broke into pieces a 2000 years old urn and the whole scene was documented in a series of 3 photographs. Through this installation, Wei Wei denounced the destruction of hundreds of old Chinese temples and buildings along with their ancient treasures during the years of Mao's communist revolution.

In 2006, another art installation of Wei Wei called "Coloured Vases" made news all over the world, when he took 39 Neolithic vases and covered them in industrial paint. With this installation, he wanted to denounce the destruction of world's habitat along with old cultures due to non-stop onslaught of humanity and commercial interests.

Even when not making international news, Wei Wei was continuously challenging the Chinese Government by criticising it through his art. In 2009 he was placed under house arrest and in 2010-11, his new art studio was bull-dozed. Some of his most subversive and dissident art came during these years. Finally in 2015, his first solo exhibition was held at Galleria Continua & Tang Art Centre in Beijing and in July 2015, his passport was given back to him. After his release, he relocated to Berlin (Germany).

Wei Wei's Works from 2009

The Raiz exhibition had two of his works from 2009, before he was placed under the house arrest.

The first one is called Porcelain Cube. It has a cube outline made from 1 metre long porcelain cylindrical tubes made according to the traditional Qinghua technique, known for their blue coloured designs. Thus, the cube itself is a negative space.

The second one is called "The Hanging Man", which has the profile of the American artist Duchamp made from a porcelain hanger. During his years in New York, Wei Wei had been greately influenced by Duchamp's works. It is a small work and you can see it below on the wall-paper art from 2015 called "The animal that looks like a Llama but is really an Alpaca" (Last image at the bottom).

Wei Wei's Art Works from 2010-2015

These are his works from the years when he was under house arrest and immediately after it.

The first one is called the "Sun Flower Seeds" & is from 2010. For this installation, Wei Wei had made millions of porcelain sunflower seeds. Each seed was crafted individually in northern Jiangxi province, an area known for its kilns where they made imperial porcelains. Initially authorities could not understand the meaning of this installation. It was recalling the hero-worship cult of Chairman Mao, who was called the Sun and people were supposed to follow their leader like sunflowers.

The sun-flower seeds also reminded about the days of political rallies called by the supreme leader (Mao), where people went with sunflower seeds in their pockets so that they could eat something when they became hungry. This kind of subtle irony and hidden criticism of the communist regime became Wie Wie's approach, which was difficult to control by the authorities.

The second one is called He Xie or the river crabs and is also from 2010. These represent the destruction of his art studio in Shanghai. When Wie Wie was told that bull-dozers will raze his studio to ground, he organized a He Xie party for his friends for an ironical celebration. The authorities were confused that he was celebrating the imminent destruction. Finally, they decided to place him under house arrest.

The installation is composed of 1000 river crabs in porcelain, each made individually. Ai explained, "In different dynasties, people used to make these crabs from jade, bamboo or onyx. In 1976, when the gang of 4 was arrested, to celebrate it many artists had made the sculptures of these river crabs." There was another subtle message in the crabs - its Chinese name, He Xie, sounds like the Chinese word for harmony. Thus, it alludes to the struggle between the authorities and the society in the name of maintaining "a harmonious society".

The third one is called "The hanger" (2011) and has cloth-hangers in different materials - steel, wood and crystal. During the house arrest he was allowed to keep only a few things, which included some hangers. These sculptures are a reference to his house arrest and thus represent an oppressive regime. These also recall similar works by some American artists like Marcel Duchamp on concept art.

The 4th is called the Mask and is from 2013. It has a mask in marble, placed on a tomb stone. Carved from a single piece of marble, this mask represented the smog covering Bejing, due to unregulated industrialization which did not respect the environment. It can also be seen as a symbol of un-breathable air across different cities of the world due to pollution, as is affecting Delhi during these

days.

The fifth art installation is called "Grapes" and is made of 32 antique Chinese wooden stools from the Qing dynasty and is from 2014. The stools have been joined together, using the traditional wood-working techniques. Like the more controversial destruction of the antique urn mentioned earlier, this was a criticism of the destruction of ancient art, culture, heritage and religion during the cultural revolution.

Conclusions

To the see the pictures of Wei Wei's controversial installations "Destroying a Hun dynasty urn" and "Coloured vases" is a deeply disturbing experience. Try searching for these 2 installations on internet. The destruction of antique vases which go back to thousands of years is like a wound in the soul, because that loss can never be repaired.

Through these installations, Wei Wei hits us with a killer punch forcing us to think not only of the years of destruction during the cultural revolution in China. It also forces us to think of millions of persons killed in the Holocaust by the Nazi regime or by ideologues running totalitarian regimes in China and Cambodia. It is a reminder of the destruction done by radical Islamists and by the so-called "forces of Liberty" - the Bamayan Buddha statue, and ancient ruins in cities like Mosul, Nimrud and Palmyra in Afghanistan, Iraq, Syria and Libya.

I am concluding this post with an art work of Wei Wei from 2015 - it is a wallpaper called "The animal that looks like a Llama but is really an Alpaca". The title of this artwork refers to the optical illusion. On a first glance, the wallpaper looks composed of geometric designs. A closer look shows you that it is made of elements like surveillance cameras, handcuffs, twitter birds and alpacas, each a representation of his struggles with the Chinese authorities and symbols of the Chinese society. Hanging on the wall, you can also see this 2009 work called the Hanging Man.

The second part of this post will focus on his remaining works from 2015 and later, that were presented in the Raiz exhibition.

*****

#aiweiwei #artofaiweiwei #artinstallations 

Basvanna to Sankardev - Poet Saints of India

From ancient times, India saw a steady stream of social reformers. These included persons like Buddha and Mahavir in the pre-Christian times. Starting from 6th century CE for more than a thousand years, India saw a number of social and religious reformers who expressed themselves in devotional poetry, often wore the saffron cloth of the renunciation, and wandered around composing and singing songs of divine love, spreading messages of human dignity and equality. These reformers are often called the Poet-Saints and their movement is known as Bhakti-movement (Bhakti = Devotion).

This post focuses on two such poet-saints – Basvanna in Karnataka and Srimanta Sankerdev in Assam, and their profound and lasting impact on the society.

The Religious Belief Systems in India

Like other ancient religions in the world, what is today called Hinduism, did not divide people into “believers” and non-believers”. These terms were introduced by Abrahamic religions in the middle-east, which insisted that their prophet was the only true messenger of God and only their religious path was the right way to worship.

In Hinduism, there have been and there continue to be different streams of beliefs, that sometimes separate from each other, sometimes ran parallel and are sometimes mingle and conjoin. They all accept that they are flowing from the same source. On one hand, the Vedic streams of Hinduism are associated with the sacred fires of Yagna and see God as Onkar, the infinite formless consciousness that permeates all the universe. Then there are Puranic streams, with their multiplicity of gods, especially the trinity of Brahma, Vishnu and Shiva along with their respective consorts, Saraswati, Lakshmi and Parvati.

The different poet-saints of the Bhakti movement, were followers of these different streams of Hinduism. Many of them were followers of Shiva or Krishna. However, some of them also sang of the formless infinite God. Today some persons consider the followers of some poet-saints, such as those of Guru Nanak, Ravi Das and Kabir, as specific and separate religions. In my opinion, such considerations are influenced by the Western thinking, which is reductionist (looks at bits and pieces composing something) and prefers to categorize on the basis of differences. At other times, these considerations focusing on differences are linked to political and cultural struggles of these groups. However, personally I consider them as the multiple streams of Hinduism.

Bhakti Movement and Poet Saints

The earliest recognised poet-saints of the Bhakti Movement composed and sang their prayers in Tamil language in the 6th - 7th centuries. These were the devotees of Shiva, the Nayanars. They challenged the caste system and asked for a world of love and selflessness. Then there were Alvars, devotees of Krishna, starting from the 8th century.

The names and compositions of around 80 Tamil poet-saints (including both Nayanars and Alvars) are known. From Tamil areas, over the centuries this movement spread to the rest of India.

Then for almost thousand years, different parts of India saw these wandering mistrals, singing about casteless societies and divine love. Most of them wrote their songs in common local languages and many of them came from the so-called “lower castes” and humble backgrounds. They sang about divinity, promoted equality and at the same time, initiated a literary and cultural renaissance.

There were many women among them including Karaikkal Ammiyar, Tilakavatiyar, Andal and Madhurakavi Alvar in Tamil, Akka Mahadevi in Kannada, Gangasati in Gujarati and Meerabai in Rajasthani, who gave a message about the dignity and equality of women.

In north-west India, the Bhakti movement coincided with the arrival of different Muslim dynasties. It influenced them as well, giving rise to some Muslim poet-saints who followed the Bhakti tradition (Ras Khan and Rahim Das). It also influenced the wider Muslim community, especially through its interactions with the Sufi traditions.

Chronology of Indian Saint Poets After 1000 CE

A chronological-geographic analysis of the most well-known poet saints of India after 1000 CE shows the following names:

12th – 13th century: Basvanna, Allama Prabhu and Akka Mahadevi in Kannada; and Jaidev in Odishi

13th – 14th century: Namdev and Gyaneshwar in Marathi; Gangasati and Narsi Bhagat in Gujarati; and Ramananda in Hindi

14th – 15th century: Bhagat Pipa in Rajasthani; Guru Nanak in Punjabi; Purandhar in Kannada; Ravi Das and Kabir Das in Hindi

15th – 16th century: Chaitanya Mahaprabhu in Bengali; Shrimanta Shankerdev in Assamese; Vallabhacharya in Telugu and Hindi; and Meera Bai in Rajasthani.

16th – 17th century: Kanakdas in Kannada; Eknath and Tukaram in Marathi; and, Ras Khan and Rahim (Abdul Rahim) in Hindi

17th – 18th century: Vijay Das in Kannada; and Ram Prasad Sen in Bengali.

Poets in the above list classified under "Hindi language", include those who used its regional variants such as Braj bhasha, Khari boli, Avadhi and Maithili.

As the list above shows, the Bhakti-Saint reformist movement covered the whole Indian sub-continent and its different linguistic groups. The similarities of their messages and of the Gods they were worshipping illustrates the civilisation unity of India. 

Next, I want to talk about the legacies and continuing impact of two of these poet-saints with whom I am more familiar: Basvanna and Shrimanta Shankerdev.

Kannada Poet Saint Basavanna or Basveshwara

12th century Kannada poet-saint Basava, commonly called Basavanna or Basavanneshwara, composed songs known as Vachanas, filled with devotion for Shiva, which spoke against caste and gender discriminations. He was a minister in the Kalachuri dynasty of Kalyani. His followers are known as Lingayat or Virashaiva.

Along with other Kannada poet-saints including Allama Prabhu and Akka Mahadevi, he established a prayer and discussion centre called Anubhava Mantapa (in the image below), where both men and women of different castes were welcome to participate in philosophical and religious discussions.

His teachings are still followed by a large number of persons in Karnataka. His statues are common in the villages along with those of Ambedkar. In Basvan Kalyan in Bidar district of Karnataka, where the Anubhava Mantapa is located, a shrine of Basavanna has been built with his giant statue (in the image near the top). The image below shows him in princely attire.

Assamese Poet-Saint Srimanta Sankardev

The 15th century poet-saint from Assam wrote his devotional poems to Krishna in Assamese, Sanskrit and Braj bhasha (a dialect of Hindi) and had a tremendous impact among the Assamese people. Like Anubhava Mantapa in Karnataka, Sankardev (Shankerdev) is associated with religious and philosophical centres called Sattras. Apart from his devotional poems, he popularized traditions of Sattriya music, dance and theatre. He also promoted simple living, gender equality and casteless society.

His impact on Assamese society continues to be very important. Different Sattras are spread all over the state, the most important being those in Majuli island. (In the image below, a Satra in Guwahati)

Millions of his followers believe in simple life and prayers. For example, they have simple marriage ceremonies without exchange of money or costly gifts. For the prayers, they have Namghars, where the followers meet regularly, sing kirtans in front of book Bhagawat Purana (image below).

To Conclude

The singing and wandering poet-saints of India, over a period of about a thousand years, campaigned for gender equality and casteless society, though in vastly different ways.

Many of them were devotees of Shiva, a God associated with detachment, destruction and rebirth, and characterized by the ashes of cemeteries, snakes and a rag-tag group of followers including those who drink alcohol and use ganja or other drugs. Some Shiva stories also include bhoot-pichash (ghosts and demons) among his followers.

Others were devotees of Krishna, a God associated with the sermon of Bhagvad Geeta and also with the escapades of a naughty cowherd’s boy, known for his love for Radha.

I think that by choosing Shiva and Krishna as their personal gods, the poet-saints were moving away from the Rules and Obedience-based ideals of the Indian society, and promoting a more just and inclusive social system. They were also asking for more humane figures of gods, that were more accessible to people compared to the formless and infinite God of Vedas. (In the image below, a bass-relief of Shiva and Krishna from Shankerdev Kalakshetra in Guwahati)

They did not manage to banish the gender and caste-based discriminations all over India, though as the above examples from Karnataka and Assam show, they did have an impact on millions of people. Their influence was not limited to the different streams of Hinduism, but also had an impact on the different syncretic traditions of India including the Muslim Sufis.

Today we live in a different world. Though the Baul singers of Bengal and Assam can be seen as a part of the on-going tradition of poet-saints, they are more community-based, their names are not so well-known and their social impact is much smaller. However, in future the rise of the YouTube culture may spring surprises with new social-media poet-saints who are recognised in different regions and can spread the message of an equal, just and inclusive society -for transforming India. At least, I hope so!

*****

#poetsaintsofindia #basvanna #srimantasankardev #anubhavamantapa #namghar #sattrya