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The Politics of Cultural Homogenization and Territorialization: Representation of Northeast in Tinkle’s WingStar Series

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Renu Elizabeth Abraham

Dept of English and Cultural Studies, Christ University, Bengaluru, India. Email: renu.elizabeth@christuniversity.in

Rupkatha Journal, Vol. 14, Issue 2, April-June, 2022. Pages 1-12. https://doi.org/10.21659/rupkatha.v14n2.ne33

First published: June 30, 2022 | AreaNortheast India | LicenseCC BY-NC 4.0

(This article is published under Themed Issue on Literature of Northeast India)
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Abstract

Tinkle, the children’s magazine in English in India has been instrumental in shaping the imagination of the young urban Indian child ever since its inception in 1980. No other magazine has the readership and reach that Tinkle enjoys with a circulation of more than 3 lakh. The fact that Tinkle has survived unlike many other magazines in India for 40 odd years is testimony (marketing strategies aside) of its reach and popularity. Tinkle, ever since the days of its founder-editor Anant Pai, has been instrumental in constructing “imagined communities” of national identities for children in India over the decades since the 1970s ever since the Amar Chitra Kathas. One such attempt in constructing children’s imaginaries is the addition of a series Wing Star in 2015, scripted by Sean D’mello and inked by Vineet Nair that features Mapui Kawlim, a 13-year-old superhero from Aizwal, Mizoram. While it is empowering that a national mainstream popular magazine for children would feature a female superhero from among the less represented Northeastern states, what is problematic, according to this study, is the manner in which there has been a conscious erasure of all markers of her ethnicity by appropriating her into the larger mainstream homogenised pan-Indian identity of a young female superhero with no specific markers to represent the culture she belongs to. This study will attempt to read this ‘sanitised’ representation of a Northeastern superhero in the light of the idea of cultural appropriation and deterritorialization and reterritorialization posited by Gilles Deleuze and Felix Guattari that looks at the erasure of specific ethnic and other identities markers. This study will also engage with the implications of how ‘sanitised’ representations like this in popular narratives would construct and homogenise the imaginaries of the children of a country as they would grow up with erroneous notions of cultural ethnicities and diversity within the country adding to the problematics of marginalisation and hegemonic nationalities.  

Keywords: Cultural appropriation, homogenization, WingStar, Tinkle, Northeast, reterritorialization, identity politics

Introduction

Children’s Literature in English in India is a domain that has been immensely popular.  Children’s magazines have played a formative role in the development of indigenous narratives for children in India. Children’s magazines are periodicals published on a weekly, fortnightly, monthly, bi-annual, quarterly or bi-monthly basis and are important sources of education and entertainment for the intellectual development of a child. These publications are targeted at children and preteens around the ages of 4 to 16 years. Children’s magazines in India can be loosely classified as educational and edutainment magazines. About the educational magazines of children, R.E. Abraham writes:

(they focus on) developing the academic and professional skills of the children in terms of knowledge development, domain expertise, self-learning skills, current affairs and enhancing their global perspectives. They attempt to do it through fun and often concentrate on the academic development of the children….The second variety of children’s magazines were of the edutainment variety…. These magazines concentrated on the holistic development of the children through developing their creative skills, academic skills, personal, interpersonal and societal skills. (Abraham, 2018, Chapter 3, pp. 23-24)

Ever since the inception of Chandamama in 1947, the magazine made a niche for themselves within the Indian households. The English version of the magazine came out in 1955 followed by Children’s World from Children’s Book Trust in 1957. These magazines attempted to engage the children in India with indigenous mythologies and folk tales along with fables and other stories for children. These magazines were followed by Champak (1968), Amar Chitra Kathas (1969), Pran’s Comics, Lotpot, Target (1979), Tinkle and Gokulam (1980) and many others like Children’s Digest, Magic Pot, Chatterbox, Thinkling, Impulse Hoot and Toot, Heek, Mira, Active Kids, Dimdima, Young Bhaskar and Brain Tonic. Over the last few years, some scholarly interest has grown to locate children’s literature in India and its representational ethos but almost no research has emerged in the field of magazines for children in India, except for a very few articles on the subject such as “Acculturation and holistic development in children in India: Educative possibilities of children’s edutainment magazines in English” (2020) and a monograph on Children’s edutainment magazines in English in India: An overview (2018) both by R E Abraham. Scholarship has emerged around Hindi children’s magazines earlier through the works like Nandini Chandra’s Siting childhood: A study of children’s magazines in Hindi 1920-50 (2001).

Among these edutainment magazines, Tinkle: Where learning meets fun was the first all-comic children’s magazine to emerge in India and to this day it remains one of the most widely circulated, read and accepted magazines for children in India with content that is original and not traditional in nature. Original, here, denotes work that is written by Indian authors targeted at children and not based on pre-texts like mythologies, folk tales and bowdlerisations of classics or other existing literature. Tinkle was the culmination of Anant Pai’s vision of a magazine that would aid children’s development in terms of cultural and social capital (to borrow Pierre Bourdieu’s terms) and was the brainchild of Subbu Rao, who was Amar Chitra Katha’s Associate Editor at the time (Abraham, 2018, Chapter 3, p. 47). Through strategic marketing and word-of-mouth publicity Tinkle rose to an almost cult status among urban and semi-urban English-speaking children in the 1980s and 1990s. The magazine was for its time a massive 72-page comic meant to entertain and inform. The magazine targeted the whole-person development of a child through stories of informative and scientific content like the Anu Club series, fun and moral development through the Kalia series and the Tantri the Mantri series, comic and slapstick through the Suppandi series and the like. With the advent of the satellite television and consequent development of television content for children in India, Tinkle developed e-media strategies like developing e-content through video games and MUDS (Multi-user Domains) and MOOS (MUDS Object-Oriented) early in the late 2000s and has currently diversified into developing animated content on Youtube and the Tinkle Online Comics with their flagship characters like Shikhari Shambu, Tantri the Mantri, Suppandi and many others. Over a period of time Tinkle has diversified and revamped its characters and content to suit contemporary concerns and developments in society. One such development is the addition of the WingStar series to the array of stories stabled in Tinkle.

This study, as indicated earlier will examine the WingStar series collection, volumes 1 and 2 that were serialized as episodic narratives in Tinkle from 2015-2020. WingStar is the eponymous title of a female superhero comic series featuring Mapui Kawlim, a 13-year old preteen, as a superhero from Aizwa in Mizoram. The writer is Sean D’mello and the artist is Vineet Nair (who is also the Deputy Art Director of Tinkle). While the initiative was praised by the media as being an important move in representing voices from the North East, it also drew flak from a lone voice, in an online feature in The Caravan magazine by Sukruti Anah Staneley, “Looking East: Tinkle’s depiction of its new superhero from the Northeast has a long way to go” (2016). The article clearly pointed out the problematics of universalization, generalisation, lack of research to authenticate identities and information, and tokenism in the name of inclusion. In this study in order to understand the representational politics that is operational in the creation and dissemination of this narrative to the masses in India and why such consciously sanitised narratives could do untold damage in contemporary Indian society given the climate of exclusion and dissidence that is growing in the country, I will extend Staneley’s observation and locate it within the academic imperatives of understanding children’s literature in the Indian context. Homogenising an ethnic culture through the purposeful erasure of its identity markers will not be inclusive or cater to diversity but rather promote a culture of exclusion and stigmatisation that emerges out of a forgetting that does not recognise differences.

Theoretical Frameworks

While it is empowering that a national, mainstream popular magazine for children would feature a female superhero from among the less represented North-Eastern states, what is problematic is the manner in which there has been a conscious erasure of all markers of her ethnicity by appropriating her into the larger mainstream, homogenised pan-Indian identity of a young female superhero with no specific markers other than her name and facial features to represent her ethno-cultural context. This sanitization and appropriation is examined with the help of E. W. Holland’s reinterpretation of the frameworks of cultural appropriation and deterritorialization posited by Gilles Deleuze and Felix Guattari and also locating it within discourses of nationalism and nationhood as formulated by Michael Billig. The purposeful manner in which WingStar is constructed results in the erasure of specific ethnic, regional and other identity markers that reiterate and specify ethnic and regional identities alongside spatial orientations. This study will also engage with the implications of how conscious ‘sanitised’ representations like these in popular narratives would construct and homogenise the imaginaries of a nation of children who would then grow up with erroneous notions of cultural ethnicities and diversity within the country adding to the problematics of marginalisation and hegemonic nationalisms. In order to do so the study will also examine the frameworks of nation-building and othering as engaged with in the representational works of Sanjib Baruah and Udayon Misra that emerge from and are firmly rooted in the Northeastern region.

Homogenisation and Erasure: Nationalism in WingStar

Ideologies operate in constructing and restructuring lives and identities that seem natural and universal. Nations and nationalisms are also part of this ideological constructedness. Billig (1995) writes, “Nationalism is the ideology by which the world of nations has come to seem the natural world – as if there could not possibly be a world without nations.” (p. 184). He further adds that national identities are also natural to possess and to remember. Billig writes:

This remembering, nevertheless, involves a forgetting, or rather there is a complex dialectic of remembering and forgetting. …, this dialectic is important in the banal reproduction of nationalism in established nations….This remembering is simultaneously a collective forgetting: the nation, which celebrates its antiquity, forgets its historical recency. (1995, 185)

Billig points out that this collective and selective amnesia is a complex process where not just the past but the present is also subjective to this deletion. Quoting Langer, Billig gesticulates to the manner in which national identities get established over ages through daily routines that flag the idea of nationhood and that this is often routinized in that they are followed mindlessly to the extent that it becomes forgotten (1995, p. 185). According to Sanjib Baruah, (1999) “the apparent amnesia about identities that compete with official State nationalisms is the legacy of cultural standardisation particularly associated with successful State-building endeavours” (p. 4). One of the parts of this amnesia is also a creation by the intellectuals as Ernest Renan acknowledges in his work, “What is a nation?” (p.251).

Cultural artefacts, like literature, films and other material products, also enable the construction of identities including that of nation and nationalism. In case of children’s magazines like Tinkle, it has long carried the baton of homogenising ethnic and regional identities to create a pan-Indian identity. This has constructed narratives for children like Butter Fingers, Dental Diaries, Shikhari Shambhu, Tantri the Mantri, Suppandi and WingStar among others where regional and cultural markers are completely absent, or if present, they are non-representational, other than character names and reconstituted location names. Contextualising Billig’s idea to WingStar, it is interesting to note that this cultural artefact (that of a children’s magazine) plays an important role in the collective forgetting of identities and ideas within the nation, especially when it is perpetrated and perpetuated through childhood into adulthood. In the construction of this narrative of history through a children’s literary text, what is forgotten is the true nature of diversity, leading to the birth of a sanitised version of diversity that homogenises ethnic and regional identity indicators. This creates a “banal” (Baudrillard) diversity that subsumes the ethnic and regional variations into the realms of a dominant nationalism that prefers to erase and forget difference. Children growing up reading WingStar would understand that diversity is actually not so diverse and all cultures are quite like each other. This becomes problematic in the context of a multicultural, multireligious, multilinguistic and multiethnic nation like India.

In order, to be remembered and included in the national imaginary, the categories of its existence have to be reproduced and in the same manner, in order to be forgotten, the categories of erasure too have to be constantly reproduced, which is infinitely possible in an infinite series like that of WingStar which is periodised in the fortnightly Tinkle. In WingStar, all indices of difference except that of the names of people and the state are erased and the “female superhero from Mizoram”’ can be dislocated or relocated against the cultural locus of any state within the country as she is presented as generic or universal. She is a ‘female superhero’ who incidentally belongs to a state in India, Mizoram. There has been a conscious effort to equalise Mizoram and the Mizo character, Mapui Kawlim in the name of inclusivity and this inclusiveness operates through erasure and a certain elision. There seems to be an attempt to bring the Northeast into the consciousness of the ‘mainstream’ by representing it as any other state. This elides over ethnic and cultural heterogeneity and homogenises not just Northeastern identities as a whole but also situates it within a larger pan-Indian identity rubric. Throughout the series across various issues of Tinkle there is no mention of anything specific that would locate WingStar as quintessentially Mizo or as hailing from Mizoram, a state underrepresented in mainstream children’s literature. Other than the name of the central character, Mapui Kawlim, and the town she is located in as Aizwa, suitably changed from Aizawl to make it sound more generic, and which according to the writer of WingStar Sean D’mello is “just a city” (qtd in Staneley, 2016), young Kawlim is just any other female superhero from any part of the country, and for that matter from any part of the world. D’mello comments in an interview, “At Tinkle, we never use the original name of cities or towns. This is primarily because it gives us the freedom to do what we want in a story” (D’mello, 2022). With respect to the name of Mapui, in order to be a Mizo name, Mapui should be spelt Mapuii. Her father’s name Tashi and their last name Kawlim are not Mizo names, which in addition to the fact that most Mizos do not employ last names but second names that are indicative of clans, (qtd in Staneley, 2016) which point to a disjuncture. Later in “Strange sightings”, an episode from WingStar, the Reiek mountains, a tourist destination of Aizawl, is denoted as Relek mountains. This episode is also interesting in that, the identity of Mizoram as a state is established and reiterated through mythical creatures and Relek mountains, but their protection is dependent on the non-Mizo characters of the Tinkle Toons universe, along with Mapui, of course (Vol. 1, 2018, pp. 42-49). The only distinguishing feature that marks Mapui’s identity as a Mizo is her facial features or rather the representation of her eyes and the eyes of most characters in the narrative. But even this is done in the caricaturish style and not the realistic style, which brings with it the problematics of exaggeration (Fig 1 and Fig 2). Needless to say, every other distinguishing ethnic feature is erased while the eyes become the centre-point of the character’s features and identity, which gets further accentuated when she dons her WingStar power suit which then displays her eyes naturally and prominently. This seems to be a kind of “visual orientalism” (qtd in Baruah, 2021, p. 10) when taken in conjunction with the fact that there seems to be no other identity marker that distinguishes these characters from Mizoram.

          Fig 1. WingStar: The reluctant superhero. Vol. 1, 2018, p.9. | Fig. 2. WingStar: The reluctant superhero. Vol. 1, 2018, p.5

In another instance of elision, the episode “Stranger sightings” (a metafictive narrative) features the pheiccham, a one-legged mythical forest being, belonging to Mizo folklore, that is purported to bring good fortune to those who seek and catch it (Pheiccham: The story, n.d.). But even in this instance of the WingStar narrative which is set in Mizoram, they get subsumed in the story under the other Tinkle Toon characters featured, such as Shikhari Shambhu, Tantri the Mantri and Billy the fangless vampire as it is they alongside Mapui who seek to rescue these mystical creatures from the clutches of the villain Rasha. There is no description of what a pheiccham is with respect to Mizo culture and lore and at one point, Mapui herself dismisses them as “the so-called pheicchams are just a new species” (WingStar, Vol.1, p. 46).

These interventions were purposeful, and according to D’mello and the editor of Tinkle at the time of WingStar’s inception, Rajni Thindiath, they “did not want to directly represent or misrepresent a particular clan” (qtd. in Staneley, 2016). When D’mello was asked why specific aspects of the Northeastern identity do not come through in WingStar, he indicates that while presenting a character from the Northeast was an aim, “WingStar is a superhero who doesn’t want to be a superhero. That was her fundamental purpose, to find a way to balance expectation and her own desires. It was this aspect of the storyline that we chose to focus on when writing her stories” (D’mello, 2022). D’mello also responds to why Mizoram was chosen for WingStar’s setting saying, “Tinkle Toons do not only live and have adventures in their place of birth. They travel the country and in WingStar’s case internationally to complete a variety of missions” (D’mello, 2022). All these strategic decisions by the makers of WingStar result in a cultural product where all specific ethnic identity markers are erased and elided over as if they do not matter or exist and will thus not introduce the children to anything specific to Mizoram or Mizo culture. It becomes a generic story of a superhero who incidentally is female, hails from India and more specifically Mizoram, a state in India. Erased in this process is the history of marginalisation and under-representation that Mizoram along with other Northeastern states are subjected to within the mainstream literature and media, particularly with respect to children’s literature, television and film in India.

To place this problematic of homogenisation and monolithic nationalism in perspective it is important to look at this issue through writers and political scientists who write about the centre-state politics in the Northeast. Udayon Misra, a writer and critic from Assam, while talking about the national imaginary about the North-East and its identities, states, “such monolithic conceptions about a region which stands out for its diversity of cultures and civilizations would only help to nourish the biases and prejudices…” (2013, p. 3). According to Misra in his book India’s North-East: Identity, movements, state and civil society (2014) such a construction of nationalism has a historic lineage that goes back to the immediate months and years in post-independence India. Misra writes:

Those who had taken over power from the British at Delhi and were immersed in the streams of Indian cultural nationalism, were, therefore, not in a position to acknowledge, let alone try to understand and appreciate the different strands of alternate nationalism that were present in the northeastern part of the country… (2014, p. 9)

He points out that the nascent Indian nation may have been ill-equipped and unwilling to tackle the “demands of pluralism and the multi-ethnic nature of our polity” due to their tendency to gauge things through “a highly centralised focal point” (Misra, 2014, p. 28). The tendency over the years, as a result, is to attempt to integrate the states in the Northeastern region of India into the ‘Indian mainstream’ or to make them part of the ‘great Indian tradition’ (Misra, 2014, p. 74), as can be seen in the attempt to situate certain communities from Northeast India within ancient scriptures (2014, p. 79). Tinkle through WingStar seems to fall prey to this politics of integration, not by situating it within the larger discourse of “Hindu cultural nationalism” (Baruah, 2021, pp. 16-17), but by ignoring all cultural and regional specificities in order to ‘integrate’ it into the larger national imaginary. Though it is to be noted that the magazine is egalitarian in erasing all markers of ethnicity or regional specificities within its pages, however, what is problematic, is that it seems to have for the first time posited a specific geographic and cultural marker for one of its series to mark the ‘inclusivity’ the editors have aimed at and then have proceeded ‘naturally’ to erase all identity and cultural markers of the region.

Sanjib Baruah in his evocative accounts of the history of the Northeast, refers to the ‘othering’ of the states in the Northeastern region of the country. He points out that the language of ‘other’ing that permeates the official central government documents, national media accounts about what happens in the Northeastern part of the nation and popular culture references that further otherises the states in the Northeast. Baurah points out the vocabulary in government documents that state that the region in time will “catch-up and become part of the ‘national mainstream’” (2021, p. 44) indicating that in the national imagination the states of the Northeast “appear as a periphery” that are to develop and “catch-up” with the ‘mainstream’ (2021, p. 188). Quoting Mrinal Miri, Baruah states that, “the metaphor of the mainstream is a powerful hindrance to the understanding of India” (2021, p. 180). The arrival of WingStar within the Tinkle Universe serves as a moment for the Northeast to ‘catch-up’, it has now arrived in the living-rooms of children and Tinkle has become an agent to facilitate that moment. This moment is important considering the three lakhs per issue (as in 2019) circulation of Tinkle across 400 towns in India. Therefore, arriving in the Tinkle Universe would metaphorically herald an arrival into the psyches of the young Indians, for many among whom this would be their first cultural introduction to Mizoram or any of the states in the Northeastern region for that matter. In contextualising the WingStar within the larger Tinkle Universe imaginary, the diversity, plurality, multilinguistic and multiethnic identities of the region are levelled out, appropriated and erased to serve the ‘national mainstream’ and a rhetoric is established that tells the young reader that the people of the Northeastern regions in India are the ‘same like you’. Extrapolating from Baruah and Misra’s histories of the Northeastern regions, it is interesting to note that WingStar does not touch upon themes of insurgency or separatist movements that are part of the dominant discourses and cultural history of the region. It is interesting to note that Mapui Kawlim as WingStar is a vigilante superhero in a state which has cracked down hard on vigilantism. But Mapui is redeemed in that she along with her father and mother, Tashi and Kyati Kawlim work hand-in-hand with the State, through the state agency of the police forces of the region. Effort is made by the makers of WingStar to situate and locate her identity within the boundaries of the state machinery, with the police time and again turning to her for help, which validates her position. It is reiterated that Tashi Kawlim is an innovator who refused to sell his inventions to the “private arms manufacturer” Baik Sailo (Vol. 2, 2020, p. 1) but at the same time assists the police through his inventions. The State, in this narrative, takes on a glorified and glorifying position.

The cultural forgetfulness that is generally associated with successful state-building seems to be receding (Baruah, 1999, p. 4) and this brings in its wake a resurgence of memories and the need to imprint them into the national consciousness. Tinkle via WingStar joins the bandwagon to culturally represent the nation and its diversity but it still constitutes Mizoram within the larger amnesiac history of nation-building. All constructions of nationhoods involve projects of cultural hegemony and a pan-Indian national identity that is achieved through differences being ‘assimilated or destroyed’ (Baruah, 1999, p. 9). In all this, we can observe the creation of a banal nationalism that subsumes all differences and seeks to establish a non-heterogenous notion of identities and nationhood and in which WingStar becomes a part of this project of nation-building.

The Politics of Deterritorialization: Situating WingStar within the Tinkle Toons universe

Giles Deleuze and Felix Guattari in their seminal works ranging from Anti-Oedipus (1972) to A thousand plateaus (1980) re-examines Lacanian notions of territorialization and extends its use from within the psychological milieu and register to the social. This discussion will adopt E. W. Holland’s response to Deleuze and Guattari’s work in the 1970s and ‘80s to examine WingStar. It will concentrate on the social deployment of the notion of territorialization, deterritorialization and reterritorialization extending its use from the purview of the libidinal to human investment of energy in all kinds of activities ranging from the perceptual, cognitive, artistic, productive and physical (Holland, 1991, p. 57). According to Holland, Deleuze and Guattari, while examining the rhizomatic relations of power in society, argue that capitalism is not the only power that deterritorializes but that all operations of power in society do so. (Holland, 1991, p.57). In A thousand plateaus Deleuze and Guattari re-examine the notions of deterritorialization and reterritorialization not as binaries but as immanent structures within diverse semiotic processes (Holland, 1991, p. 59).  Capitalism for Deleuze and Guattari is a prime agent for deterritorialization (Holland, 1991, p. 64). In the context of WingStar and Mizo ethnic identities for the establishment of a certain pan-Indian identity, one can argue that nationalism is an agent for deterritorialization and a problematic reterritorialization through a process of cultural erasure of ethnic markers, in that, all specific Mizo identities are deterritorialized and reterritorialized as an absence/presence in WingStar.

Northeast is often “imagined as an internal other” (Baruah, 2021, p. 12). This internal “othering” is evident in the manner in which the state machinery has designed policies for the Northeast. And as Baruah, mirroring Miri, points out, “human beings do not have a policy toward family members or friends (Baruah, 2021, p. 13). In WingStar one can see a duality at work, a recognition of the ‘other’ and a fear of the same ‘other’. This gets expressed in the recognition of the need for narratives from the Northeast. The fear is manifest in the attempt to homogenise ethnic and cultural differences into a “just like any other” structure. The desire to recognise the ‘other’ manifests itself in the fact that these narratives are written and illustrated by people who do not culturally belong, who invest in themselves the power to represent this ‘other’ they feel requires representation. But this recognition does not at the same time extend to representing the cultural and ethnic markers specific to Mizoram and the Mizo community in which the narratives and characters are set. There is a deliberate way in which racial discrimination against the people from Mizoram and other Northeastern states are glossed over in order to not “offend people” (Staneley, 2016). The narrative turns into another Enid Blytonesque adventure fantasy where Mapui fights against the modern-day crime using technological interventions that grant her an edge over all other characters. It is interesting how her superhero powers are all because of the power-suit and extensions her father customises for her and not because she has something inherent within herself that enables her to be a superhero. She is not represented as a character who has a sense of justice, but she is portrayed as a young girl who is frivolous and boastful, not in the least accommodating of other’s opinions and full of herself. In this sense, she seems not in the least a superhero material. The sense of heroism and valour that ideally characterises a superhero is constantly demystified by her representation as a young girl who can lie to get out of doing her homework, who does not want to save the world but would rather have sleepovers and watch a TV series. She seems to be full of false bravado as she faces a temperamental villain and declares, “Come at me! Let me show you what I can do” (Vol 1, 2018, p. 19). She is visualised in this scene with her arms folded across her chest and it is also striking that she has come to face this villain ignoring her father’s instructions to stay at home. She seems narcissistic when she tells her friends that they could pass their time during their sleepover by watching news reports documenting “all her heroic acts” (Vol. 1, 2018, p. 23). She is portrayed as unwilling to change and experiment when she attempts to persuade her dad to give her the same power-suit rather than a revamped version. Through these and other instances in the narrative we see that Mapui Kawlim is deterritorialized from the normative superheroes of fictional worlds and reterritorialised in peculiar ways within the Tinkle Toons universe.

Within the Tinkle Toons universe, all ethnic and cultural markers and differences are wiped out, nothing differentiates the characters in terms of specific cultural or regional identities. Within this Universe the characters are reduced to a pan-Indian Tinkle toon character with idiosyncrasies and not so likeable traits. This is symptomatic of the Tinkle Toons universe, take for example Tinkle Toon characters like Shikhari Shambu, Tantri the Mantri, Suppandi and others. None of them have any specific identity or cultural markers and neither are they like the conventional heroes or central characters of children’s narratives. Shambu wins against villains through sheer force of circumstances and not through his intelligence or efforts, Tantri fails in all endeavours not for want of intelligence or cunning but through a set of circumstances, Suppandi is a hero for his witticisms that are more stupid than witty and there is Mapui Kawlim who wins only because of her power-suit, without which often than not and even despite it many a time her friends have to step in to save her from the clutches of the villains (Vol.1 & 2). The reterritorialization of Mapui Kawlim within the Tinkle Toons universe becomes apparent in the episode titled “Strange sightings” (Vol. 1, 2018, pp. 42-49) where Mapui is situated within the Tinkle Toon universe as a foil to Shikhari Shambu, Tantri the Mantri and Billy, the Fangless Vampire. All of these Tinkle Toons characters are involved, in their own bizarre and slapstick styles, in solving the case of the pheicchams. In the regular schema, this homogenisation then would not seem problematic unless one examines the avowed reason for the introduction of a narrative based in the Northeast. According to D’mello, the major reason for introducing WingStar set in Mizoram was “to showcase Northeastern culture, backgrounds, people—how they talk, how they look, they behave” (qtd in Staneley, 2016).

In WingStar we see deterritorialization and reterritorialization at work. Mizoram, as a state from the Northeastern region, which is under-represented in literature and children’s literature, is problematically ‘redeemed’ from this under-representation in a quintessential Tinkle manner through its appropriation into the Tinkle Toons universe. Aizawl is reterritoritorialised in this process as Aizwa, Mapuii as Mapui, Kawlim, a non Mizo surname attributed to her and all other social, cultural, ethnic and geographical markers which are obliterated in the process of this reterritorialization. According to D’mello, “Tinkle Toons are written with a universal narrative in mind. We want every reader to see themselves in the characters” (D’mello, 2022). In this process of recontextualization the narrative loses credibility with respect to its avowal to represent and showcase the Northeast and privileges a certain homogenisation that is the dominant ideology of nationalism. Mapui and her world gets recoded in this process into “just a female superhero from the Northeast” and her specific locale as “just a city”, both now almost ahistorical entities that exist ‘harmoniously’ within the Tinkle Toons universe.

Conclusion

One of the major problems that could possibly arise from this scenario would be an indigenization that is pan-Indian, an Indianization over Mizoization, that could lead to the erasure of ethnic and cultural specificities of Northeastern states and identities among children who read and engage with only mainstream media. The banal nationalism that gets enacted in the pages of WingStar is just another in a long chain of cultural and political hegemony enacted upon the body of a state located in the Northeastern region. In the case of Tinkle, Mizoram joins the long list of such homogenisation and cultural decluttering that guides the editorial policy of the magazine, which is to represent diversity but to not make it seem very diverse. In WingStar, Tinkle continues its history of recognising unity as a subsumption of identities into a pan-Indian and ubiquitous entity and generalising differences as present in every state and not touching upon specifics, in order to not disengage its readership. This positionality mirrors what Misra talks about when he says that the Indian middle class are yet to change from their narrow equations into a “truly liberal urban space. … Therefore, old mindsets and perceptions continue to hold sway and there seems to be little space for plurality of cultures and alternate nationalisms” (2014, p.6).  In this process, a breed of young minds would develop who do not recognise differences and would confront differences with suspicion and fear. But, “social, linguistic, and regional plurality must be seen as essential to the task of nation-building.… The perception of India as a country must be broadened to include nationalities which have been at the periphery, culturally, politically, and economically (Misra, 2014, pp. 82-23). What is important is not an ethnic nationalism which is a “commodified surplus” (Billig, 1995, p. 195) but an inclusive nationalism that acknowledges and respects differences of culture and ethnicities “without being integrated” (Misra, 2014, p.6) that can be built in the minds of children through inclusive narrativization that does not purposefully erase differences and ethnic markers.

Declaration of Conflict of Interests

The author(s) declared no potential conflicts of interest.

Funding

No funding has been received for the publication of this article. It is published free of any charge.

References

Abraham, R. E. (2018). Children’s edutainment magazines in English in India: An overview. Centre for Publications, Christ University. 

—. (2020). Acculturation and holistic development in children in India: Educative possibilities of children’s edutainment magazines in English, New Review of Children’s Literature and Librarianship, 26(1-2), pp. 1-13. https://doi.org/10.1080/13614541.2021.1972751

Baruah, Sanjib. (2021). Introduction. In In the name of the Nation: India and its Northeast (pp. 1-24). Navayana. 

—. (1999). India against itself: Assam and the politics of nationality. Oxford University Press.  

Billig, M. (2005). Banal nationalism. In P. Spencer & H. Wollman (eds.), Nations and nationalism: A reader, (pp. 184–196). Edinburgh University Press. http://www.jstor.org/stable/10.3366/j.ctvxcrmwf.17

D’mello, S. (2022, January 12). Personal communication [Email].

Holland, E. W. (1991). Deterritorializing “deterritorialization”: From the “Anti-Oedipus” to “A Thousand Plateaus.” SubStance, 20(3), 55–65. https://doi.org/10.2307/3685179

Misra, Udayon. (2013). India’s North-East: An illusive construct. In The periphery stikes back: Challenges to the Nation-State in Assam and Nagaland (pp. 1-14). Indian Institute of Advanced Study.

Misra Udayon. (2014). Northeast India: Roots of alienation. Introduction. In India’s North-East: Identities,   movements, state, and civil society (pp. 1-7). Oxford University Press.   

Pheiccham: Lead for change. (n.d.). Pheiccham: The story. https://pheichham.com/

Renan, E., & Giglioli, M. F. N. (2018). ‘What is a nation?’: (Qu’est-ce qu’une nation?, 1882). In What is a nation? and Other political Writings (pp. 247–263). Columbia University Press. http://www.jstor.org/stable/10.7312/rena17430.15

Staneley, S. A. (2016, January 18). Looking East: Tinkle’s depiction of its new superhero from the Northeast has a long way to go. The Caravan, Delhi Press.

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Thindiath, Rajani, ed. (January, 2018). WingStar: The reluctant superhero (Vol. 1) [Comic]. In Tinkle Mumbai: Amar Chitra Katha Pvt. Ltd.     

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Renu Elizabeth Abraham is an Assistant Professor of English with the Department of English and Cultural Studies, CHRIST (Deemed to be University), Bannerghatta Road Campus, Bengaluru, India. Her academic interests lie in Children’s Literatures in India, Fandom Studies, Comics Studies and Popular Culture Studies in India and she has recently published a monograph on Children’s magazines in English in India along with research articles on Fandoms and children’s magazines for acculturation in India.

Forbidden Cravings: Exploring socio-cultural ramifications of food practices in Aamis

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Alicia Jacob1 & Dishari Chattaraj2

Department of English and Cultural Studies at Christ University, Bangalore. Email: alicia.jacob@res.christuniversity.in

Rupkatha Journal, Vol. 14, Issue 2, April-June, 2022. Pages 1-10. https://doi.org/10.21659/rupkatha.v14n2.ne37

First published: June 30, 2022 | AreaNortheast India | LicenseCC BY-NC 4.0

(This article is published under Themed Issue on Literature of Northeast India)
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Abstract

Food choices represent conscious affirmation and expression of personal, group, ethnic or national identity. Due to its multidimensional role, food that we rely on sustenance is often politicised and used as a tool to create conflict amongst and within diverse social groups. Assamese cuisine includes a rich platter of authentic food varieties, often limited to the north-eastern region. Although food consumption is a subjective experience, cultural taboos within a community might be acceptable practices in another culture, creating conflicting notions of food practices. The balance between the twin axis of culture and politics regarding food is disrupted when heterogeneous cultural patterns and opposing political notions are in discord. Similarly, the solidarity within a cultural group becomes hostile when the authority of the individual concerning food choices is not aligned with the authority of the social structure. This discord from a political and cultural standpoint is evident in the Assamese socio-cultural scenario. Taking Bhaskar Hazarika’s Ravening/Aamis (2019) as a case study, this paper proposes to analyse the representational troupe of food, through a structuralist anthropological lens, with respect to food politics to understand socio-cultural ramifications of Assamese food patterns.

Keywords: food, Assamese cuisine, Aamis, food politics, cultural appropriation

The need to begin human settlement emerged out of the need to procure food. Food thereby was the foundation on which culture was built. Every culture is the point of interaction between tradition and innovation. Globalisation and change in patterns of consumption are erasing distinctive traditions and culture. Cultural contact and postcolonialism have increased the pace of cultural diffusion in the Indian context. Being a diverse country with multiple religions, ethnicities, languages, and cultures, India is waging an endless battle to attain cultural homogeneity. Additionally, in the context of India, cultural contact and postcolonialism have increased the pace of this cultural diffusion. In his work Multiculturalism, C. W. Watson (2000) emphasises the mutating role of culture and how collective identity is constantly modified and transformed. Apart from its nutritional value crucial for man’s survival, food is a social construct that is not often meant for conscious consumption. Kaplan (2012) asserts that the essence of food includes thirteen main conceptions. Ranging from the most natural to the most cultural, these conceptions include “nature, nutrition, fuel, medicine, diet, pleasure, taboo, commodity, goods, meaning, spirituality, recipe, and art” (p. 19). Thus, due to its multidimensional nature, food becomes a breeding ground for hegemony and creates disparities between cultures.

The eight north-eastern states in India are victims of cultural subjugation. The majoritarian culture from the mainland side lines these minority states, subjecting them to cultural loss (Misra, 2011). The sense of alienation from the mainland due to their cultural diversity creates tension between the mainland and North-eastern states (Harriss, 2002). The liminal position of the north-eastern states within Indian politics began with the independence of India and is attributed to their geographical location as well as their cultural practices. Food becomes a tool to create an inclusive exclusion within the north-eastern community in India. While they are part of the Indian subcontinent, they are excluded from full membership and forced to assimilate mainland practices and food choices through food politics. Food politics refers to the rules and regulations governing food production, distribution and consumption. Food through government manipulation becomes an instrument in heightening differences and creating a milieu of alienation. Michael Twitty (2017), in his talk on Culinary Justice, differentiates between cultural diffusion and cultural appropriation. He defines cultural diffusion as a natural and innocent process where different cultures interact and, as a result, assimilate certain practices into their culture. This assimilation is mutual. In contrast, cultural appropriation subjugates a minority culture and forces them to assimilate into the prominent culture, erasing their cultural aesthetics. Evidently, the north-eastern states are subjected to cultural appropriation.

One among the eight states of north-eastern India, Assam is an amalgamation of diverse cultures. Assamese cuisine includes a rich platter of authentic food varieties, which remains absent in the Indian cookbooks from the mainland. The balance between the twin axis of culture and politics regarding food is disrupted when heterogeneous cultural patterns and opposing political notions are in discord. Similarly, the solidarity within a cultural group becomes hostile when the authority of the individual concerning food choices is not aligned with the authority of the social structure. This discord from a political and cultural standpoint is evident in the Assamese socio-cultural scenario. Taking Bhaskar Hazarika’s Ravening/Aamis (2019) as a case study, this paper proposes to analyse the representational troupe of food, through a structuralist anthropological lens, with respect to food politics to understand socio-cultural ramifications of Assamese food patterns.

While anthropology, in general, is concerned with the scientific study of human beings, socio-cultural anthropology, in particular, focuses on understanding human behaviour in association with nature and culture (Eriksen, 2004). Natural behaviour refers to the set of common philosophical patterns seen in all human beings. In contrast, cultural behaviour refers to distinctive patterns of behaviour practised by an individual or within a community. However, structuralism is a cultural theory that aims to study human culture and practices through their relationship with broader social systems. Therefore, structural social anthropology, pioneered by Levi Strauss, study communicative structures and their mechanisms on both conscious and unconscious levels to understand intricate cultural forms (Leach, 1973). The idea of art as an imitation of reality is an age-old dictum that finds realisation in films. Additionally, being a product of culture, films tend to portray the culture that it represents in intricate ways. Structuralist film theory further interprets how meanings are channelled through a set of codes through both linguistic as well as visual cues (Benshoff, 2015). Food, a cultural marker that often finds its place on the big screen, is instrumental in implicitly transacting meaning. Aamis, set in Guwahati, the largest city in Assam, enthralls the viewers through the appealing visuals of food while problematising the politics of food.

Assam, food and culture – Inclusive exclusion

The etymological origin of the word ‘Assam’ has its root in Food culture. Taken from the Sanskrit word ‘cham’ the derivation of the verb ‘to eat’, Assam got its name after the arrival of Brahmins, who cleared the misleading reputation of the land as one of cannibalism. ‘A-cham’ refers to ‘non-cannibal land and people’ (Saikia, 2005)[i]. The politics of food and culture within the terrain of Assam can be directly linked to the State’s position within the country. The relative absence of Assam from the documented history of modern India, along with the lack of representation from the Northeast within the socio-political reforms of Indian history, has been an area of discussion (Barua & Lal, 2020). The relative non-existence of the history of Assam within the ranks of Indian chronicles can be attributed to the diverse non-Aryan linguistic and cultural heritage along with the presence of multi-religious communities (Goswami, 2014). Additionally, cultural appropriation of this northeasternstate through the invasiveness of mainland culture blurs the boundaries between indigenous traditions and modernity. The loss of cultural identities and the issues of creating new cultural identities through intercultural interactions has remained a prominent subject matter within Assamese literature (Misra, 2011). While included within the geographical and political terrain of Indian policies, Assam remains excluded and ‘othered’ based on cultural differences. Food, a prominent marker of every culture, has also been subjected to appropriation in the Assamese context. Assamese cuisine, like Assamese history, has been excluded from the texts of the mainland. The majority of the Indian cookbooks available in the market split Indian cuisine into North-Indian and South-Indian cuisine and rarely includes authentic dishes from the north-east. However, despite its side-lined existence within the world of cuisines, Assamese cuisine retains its authenticity within its geographical boundaries (Das, 2008). Relying on a wide variety of plant as well as animal products, Assamese cuisine refers to the authentic dishes and stylised cooking from the state of Assam. Assamese dishes are simple and rely on fresh, fermented and dried forms of food products to add flavour to the dishes.  Meat remains a popular dietary choice within Assamese communities, besides a diverse variety of fish, poultry and animals to choose from. The popular types of meat include: fish, mutton, pork, chicken, squab, and duck. Although not widely popular, beef is consumed within Assam (Biju Borah et al., 2018). Consumption of dog meat, pangolin meat, and a wide variety of insects such as rice grasshopper, cricket, water bug, snail, adult termite, and silkworm larvae in Assam are also accounted for (Chowdhury et al., 2015; D’Cruze et al., 2018). These food groups are unique to the northeastern region and are relatively absent from the cuisine of the mainland. Religious restrictions on meat consumption practised in the mainland remain void on Assamese grounds. Assamese brahmins consume meat, while Meitei brahmins restrict themselves to fish consumption and avoid other forms of meat (Datta, 2012). In addition to their geographical position, these attributes within Assamese culture become sources of alienation.

Cultural appropriation aims to erase these authentic functionalities within the Assamese culture to create a more unified national identity and culture. Although a secular country as per the constitution, India has evidently leaned towards the demolition of the secularistic spirit of the nation. Additionally, the tendency to proclaim India as a Hindutva nation has been accelerated in recent times. In the wake of the political change of guard after the 2016 state elections in Assam, cultural appropriation of the state was set in motion with an aim to spread the dogmatic ideology of the mainland (Jaffrelot, 2017). An attempt at religious polarisation within Assam has been underway since then (Saikia, 2020). Food, as a cultural marker, is often instrumental in cultural practices. Food politics refers to the policies governing the production, distribution, and consumption of food endorsed by a political/governmental body. Cultural appropriation can be achieved through the policing of food practices and restricting the availability of food groups that are not aligned with the consumption patterns of the mainland. Assam’s Cattle Preservation Bill of 2021 is one such political agenda that aims to create food restrictions within the State (Correspondent, 2021). Although the bill does not explicitly ban the production, distribution, and consumption of beef, the restrictions imposed by the bill make it seemingly impossible to sell or consume beef. This restriction was inflicted upon every community, especially the Muslim community, within the boundaries of Assam with an aim to achieve the spirit of the ‘Hindutva nation’. The beef ban exacerbates the oppression of religious minority groups and often becomes a tool to normalise violence against Muslim and Dalit communities (Parikh & Miller, 2019). Additionally, the call for the ban of pork slaughter and distribution within a 500-metre radius of mosques, as consumption of pork meat is considered taboo by the Muslim community, was refused arguing that the pig was not a sacred animal (Zaman, 2021). Warren Belasco (2008) introduced the concept of the culinary triangle of contradiction to better understand the factors that influence food consumption on a personal, social and global level. Identity, convenience and responsibility take up each side of the triangle. While identity is the preliminary factor determining food choices, convenience or the availability of food factor is the second. The lack of availability of certain food groups through political interference forces people to choose a more convenient option making cultural appropriation invisibly actionable. Aamis by Bhaskar Hazarika is a film that implicitly addresses the disparity between political appropriation and cultural resistance by questioning the authority of the social structure.

Aamis: Mirroring Reality

Although the Assamese film industry had its foundation in the early 20thcentury, it was only in contemporary times that Assamese cinema gained significant national and international attention. Apart from its entertaining quality, regional cinema is an instrument that addresses, influences and often mirrors the ideologies of a community and works towards empowering society. Assamese movies stand true to this statement as regional narratives give us insights into the intricacies of Assamese culture and society (Deori& Bora, 2020; Deka, 2021). Written and directed by Bhaskar Hazarika, Aamis (2019), alternately titled Ravening, is an Assamese film that first premiered at the Tribeca Film Festival, New York. The movie received critical acclaim for its unique portrayal of a haunting love story centred around food and the intricacies of intimacy and taboo. The movie is closely aligned with the culture of Assam and takes us through an exotic journey through its representation of Axomiya cuisine. The movie also bagged the Best Director Award along with the Best Actor: Female Award at the 3rd Singapore South Asian International Film Festival (SAIFF) 2019.

‘Aamis’ literally translates to meat. Whereas the film’s English title ‘Ravening’ refers to the extreme hunger of a ferocious animal hunting for prey. Both titles remain significant to understanding the essence of the movie where meat is a metaphor for love and intimacy that the protagonists are ravening for. Aamis is an all-consuming love story between Nirmali, a paediatrician and Suman, a research scholar. The complexity of the plot is attributed to the forbidden nature of their relationship and the lengths to which each character has to go to control their insatiable desire until it consumes them. Nirmali, a woman with strict values and a mother, is contemptuous towards illicit relationships and adheres strictly to the societal construct of a ‘married woman’ despite the fact that her husband is more or less absent. Sumon, who is conducting research on the meat-eating traditions of the Northeast, is a non-conformist who is assertive with his culture and ideology. Sumon is part of a meat club in which they hunt, kill, cook and eat the meat of wild animals and birds. He is scornful of processed meat available in stores. Suman says “we don’t buy dressed meat in the Meat Club. These days people put anything in their mouth not knowing where it came from, how it was stored, how old it is. Feels sick thinking about it. In our Meat Club we buy the thing live, slaughter, cook and enjoy it” (Hazarika, 2019). The politics of food and the involvement of governmental agencies to regulate food consumption within the Assamese culture are questioned through Sumon.[ii] Axomiya cuisine comprises a rich platter of meat varieties which is often reduced to a few basic variants like mutton, chicken, pork and fish through governmental interference. Sumon and his meat club is a form of resistance against cultural appropriation through which he is inhibiting governmental policies attempting to erase the cultures and practices within Assam.

A serendipitous encounter between Nirmali and Sumon catapults a series of meetings that revolve around testing and tasting different varieties of meat. Nirmali treats a vegetarian friend of Sumon, who was suffering from indigestion after overeating mutton for the first time. On getting to know about the meat club that Sumon was a part of, Nirmali promises to take a portion of the meat, they cook as the fee for his friend’s diagnosis. While tasting wild rabbit meat enthralls her tastebuds, Nirmali complained about the increasing availability of processed food in the market and how it is difficult to trust the food on the plate. Nirmali’s interest in consuming unadulterated meat and Sumon’s resistance towards processed food consumption leads them to explore authentic meat delicacies. Soon these food rendezvous develop into love, although Nirmali is hesitant to admit this to herself. The food on the plate becomes an extension of Sumon himself. “When I am eating with you, all I want to eat is meat. Nothing else registers” Hazarika, 2019).

 The meat here becomes a metaphor for love,[iii] which she is unable to reciprocate physically. Her conflict in adhering to the social stigma of having an illicit relationship and going against the moral codes of society weighs heavily on her. This prevents her from reciprocating her longing for Sumon who is desperate for her attention. While her internalised social parameters prohibit her from embracing her newfound love, she rebels against societal norms surrounding food which to her is less threatening. While Sumon talks about the meat varieties consumed by people from the Northeast like deer, elephant, donkey, dog, cat, lizards, worms, snakes, snails and so on, Nirmali is brimming with passion. Sumon, upholding the idea that there is no universal ‘normal’ when it comes to food, is excited to fulfil Nirmali’s wishes to try foods that are culturally forbidden. While Sumon remains a forbidden object by the societal conventions inflicted on a married woman, Nirmali is unwilling to break her commitment towards her family. Meanwhile, her indulgence in forbidden meat is a means to satisfy her craving for Sumon, which, while giving her the pleasure of being a non-conformist, remains seemingly harmless. The story takes a dark turn when what seemed seemingly harmless, and simply Sumon’s idea of indulging in Nirmali’s love for meat, turns to cannibalism.

Food Ethics and Cannibalism as resistance

David M Kaplan (2012) in Food Philosophy discusses the concept of food ethics as the food-related obligation one has with oneself and the society at large. It refers to the responsibility an individual has to himself and his community in creating an environment of wellness and wholesome nourishment. Cannibalism, although prevalent in certain tribes in the remotest part of the world, is generally frowned upon by civilised society. Consuming human flesh as the last resort for survival, emergency cannibalism, although undesirable, is not considered immoral; however, any other form of cannibalism is strictly prohibited in contemporary society (Kaplan, 2012). Nevertheless, cannibalism or cannibalistic tendencies in literature and films often represents a wide array of meaning. Carolyn Korsmeyer (2014) argues that within literary discourse, cannibalism tends to represent societal breakdown. In the movie The Cook, the Thief, His Wife and Her Lover, Cannibalism becomes a metaphor that signifies the disintegration of civilised society and, by extension the end of consumerism (Armstrong, 2004).

Sumon, who is madly in love with Nirmali, is desperate for their physical union. However, respecting Nirmali’s need to adhere to societal codes, he realises a conventional union of the bodies is unfeasible in their case. Desperate, he comes up with a solution that would ascertain their union. With the help from his Veterinarian friend, Elias, Sumon obtains a piece of his flesh claiming, that he needs it for his research. He then prepares an egg dish which, when consumed by Nirmali, makes her ecstatic and takes her to orgasmic heights. The egg is symbolic of fertility and carries sexual connotations. Replacing the yolk of the egg with his flesh can be connotative of their physical union where the egg is representative of the female sexual organ, and the action of filling is symbolic of the act of sex itself. Every dish prepared from Sumon’s flesh has sexual underpinnings to them. The rice cake stuffed with meat provides a similar symbolic meaning. Additionally, the way the tomato is gutted and stuffed with meat alludes to sexual union. The preparation of Sumon’s meat on a skewer symbolically exerts the image of a phallus. Every dish prepared on-screen carries an underlying allusion to their sexual union. Similarly, the cutlet made out of Nirmali’s flesh is representative of the female reproductive organ, and the cabbage dressing is symbolic of purity and fertility. Further, cabbage, with reference to its shape, is also representative of a fertile womb (Rinker, 1995).

Nirmali is disgusted with herself for enjoying the dish when she realises that it was made of human flesh. Although initially upset at Sumon, Nirmaliunderstands what propelled Sumon to take this drastic step. For Sumon, the consumption of his flesh signifies a sense of spiritual union that is absolute, uniting them in a single body. Peggy Sanday (1986) defines cannibalism into multiple categories based on their motivation, and the ‘psychogenic hypothesis’ best represents Suman’s motive as it implies the satisfaction of psychosexual needs. Moreover, we see Nirmali reciprocating her love by preparing Sumon a cutlet made of her meat for the first time. Sumon vomits when he finds out. This may be because Sumon is not reined in by societal pressure to consummate their love; it is only the lack of consent from Nirmali that is stopping him. Nirmali admits that she has tasted the fundamental flavour of life through tasting human flesh and, there is no going back. Things go out of hand when she develops an acute addiction to human meat, which is driving her insane. Left with no option, Sumon promises to find her a large chunk of human flesh, which is the only way to curb her craving. Unfortunately, Sumon is caught in the act of murder and is convicted along with Nirmali. Towards the end of the movie, we see Nirmali striking a realisation that murder is a detrimental societal taboo than an illicit relationship. We see them holding hands for the first time in the movie, which is publicly pronouncing their love for each other. Humans are bound by cultural norms, and social dictums and cannibalism erase those boundaries set forth by these socio-cultural milieus (Brown, 2013). Nirmali and Sumon are both socially non-conforming, and cannibalism signifies their resistance toward the restrictions imposed on them through cultural appropriation.

Apolitical Stand in Aamis

According to Anne Bower, food films are the ones where food plays a central role in the development of the narrative, negotiating questions of identity, power, and culture, and the inclusion of a film into this genre is generally subjective (Bower, 2012). Aamis evidently belongs to the genre of food films and implicitly critiques dominant attitudes that are part of cultural appropriation. However, explicitly, the movie remains apolitical. The conflict regarding the consumption of beef and pork in Assam is an extension of the Hindu-Muslim conflict and is an area of political/religious disparity. Despite the conflict, the consumption of pork and beef within Assam remains consistently high. In a study on meat-consumption in North-East India, pork ranked first, which owed to 70% of the meat consumption in the Northeast, and beef ranked second with 10% of total meat consumption (Mahajan et al., 2015). The study also shows that there is a supply–demand gap in the production and consumption of beef in Assam, which might be attributed to governmental food policies. Similarly, in the case of Assam, a large majority of 79% of the population indulged in the consumption of pork while the consumption of beef was below 10% (Biju Borah et al., 2018). However, despite the evident consumption of pork and beef by the people of Assam, Bhaskar Hazarika’s decision to neglect the existence of these varieties of meat have raised questions. The decision to avoid representations of pork and beef might be a deliberate attempt to steer clear of controversy and political backlash. Every cultural product is forced to undergo censorship to maintain the status quo of the political and social practices of the region. The intolerance of politicians towards filmmakers, especially in the Indian context, has influenced the creation of Cinematographic laws (Banerjee, 2009). One can only argue that the inclusion of politically controversial topics in the movie would have resulted in censorship, which would have had detrimental effects on the transaction and success of the movie. By choosing to self-censor and remaining apolitical, Hazarika was able to address the issues of food politics more inherently and reach a wider audience without uncanny political attention.

Conclusion

Films, primarily feature films, are carefully constructed reflections of reality. Food, which is an inevitable part of human life, inherently mundane, when presented on screen provides insight into the existing hegemony within cultural and social structures and also marginalisation and disenfranchisement causing, social, political and economic implications. Aamis, although superficially a haunting love story that finds expression through food, addresses the socio-cultural ramifications of Assamese cuisine and the exertion of political influence in appropriating Assamese culture. The association of cannibalism to the breakdown of the socio-cultural system can be aligned with the attempt of political policies to erase the authentic practices and culture of Assam in particular and the Northeast in general. Cultural appropriation, be it forceful or seemingly harmless, imply the collapse of culture. Food and air are the primary necessity for human survival. However, food carries additional cultural significance, for it remains a marker not only of socio-economic and cultural identities but also is responsible for creating communal, religious, gender, and national identities. Indian culture has always been diverse, and attempting to compile these cultures into a standard framework is atrocious. Food politics provides autonomy to the authority to police what is and what is not be consumed. Aamis, although a dark love story revolving around food taboos at the surface, addresses wider socio-cultural implications. Carefully integrating political concerns that threaten to erase Assamese culture, the film, while remaining apolitical, succeeded to sow the seed of resistance. Additionally, the film attempts to create a space for Assamese cuisine and the rich platter of meat varieties within the wide spectrum of Indian cuisine.

Declaration of Conflict of Interests

The author(s) declared no potential conflicts of interest.

Funding

No funding has been received for the publication of this article. It is published free of any charge.

Notes

[i]Yasmin Saika (2005) in her interpretation of the etymological origin of the name ‘Assam’ discusses two derivations; the first from the Sanskrit word ‘asama’ meaning ‘uneven’ or ‘undulating’ referring to the hilly terrain of the land, the second from the Sanskrit word ‘cham’.

[ii]Food and associated practices, along with its connotative meaning, help define cultural citizenship. The term ‘cultural citizenship’ was first introduced by Toby Miller in his book Cultural Citizenship: Cosmopolitanism, Consumerism and Television in a Neoliberal Age (2007), and it refers to the participation of an individual in a society where his consumption of goods and services is aligned with the ideologies of his culture.

[iii]Food metaphors are symbolic of sexual consumption and allude to sexual desire, where the appetite for sex and food becomes inseparable (Andrievskikh, 2014).

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Alicia Jacob is a UGC Junior Research Fellow and Research Scholar at the Department of English and Cultural Studies at Christ University, Bangalore. She did her MA in English from the University of Calicut. Her ongoing PhD research includes areas of gender and cultural disparities that exist within the terrain of Food Studies.

Dr. Dishari Chattaraj is an Assistant Professor at the Department of English and Cultural Studies at Christ University, Bangalore. She received her M.Phil and Ph.D. from JNU, New Delhi, and her MA from EFLU, Hyderabad. She has been hosted as a Fulbright Fellow at Indiana University Bloomington, USA. Her area of research is primarily in the area of Food Studies, Pedagogy and Curriculum development in higher education.

Cultural Differences, Racism and Trauma: A Critical Analysis of Nicholas Kharkongor’s Axone: A Recipe for Disaster

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Munmi Bora

Department of Foreign Languages, Gauhati University, Guwahati, Assam. Email: munmi.bora92@gmail.com

Rupkatha Journal, Vol. 14, Issue 2, April-June, 2022. Pages 1-10. https://doi.org/10.21659/rupkatha.v14n2.ne36

First published: June 30, 2022 | AreaNortheast India | LicenseCC BY-NC 4.0

(This article is published under Themed Issue on Literature of Northeast India)
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Abstract

 “How do people born and raised in one society manage to live in another society that is culturally different from the one they are used to?” (Sam & Berry, 2006, p. 3). This question is fundamental to the whole process of acculturation. When cultures come together there is always the possibility of conflict. But apart from conflict, processes like assimilation, integration, separation or marginalization are also there as the line separating different cultures is penetrable and not rigid. In this paper, an attempt shall be made to study these concepts and to some extent the problematic side of a globalized world and the related trauma the characters go through in a society culturally different from theirs in Nicholas Kharkongor’s film Axone: A Recipe for Disaster. Though the film is particularly about the Northeast migrants and the racism they faced, it also portrays the universal presence of such bigotry and prejudices that have infected the Northeastern communities as well. This paper is an attempt to understand the sufferings and the hostilities faced by the migrant groups that compel them to return to their ethnic roots. Does retreating to one’s enclosed shell a way out to avoid this conflict? Or is there a way out to establish a meaningful relationship and establish proper communication among people in an environment where different cultures reside together? A close reading of some particular incidents in the film will be done in an attempt to find an implicit solution to reconcile the differences. 

Keywords: Culture, conflict, acculturation, racism, trauma, reconcilement

Culture encompasses every aspect of human life. With the onset of colonization, globalization and augmentation of such new concepts, thinkers have placed a critical eye on the concept of culture, as the homogeneity of societies has been doubted with penetrable boundaries and movement of people across the globe. The meeting of cultures resulted in hegemonic relationships and cultural imperialism which created an unbalanced equation among the culturally different groups (Weedon, 2004, p. 3). Moreover, the inception of “hegemony” has tended to serve one group better than the other. Such an imbalanced equation among groups caused the emergence of conflict. Samuel P.Huntington in his book Clash of Civilization and Remaking of the World Order (2011) has forwarded his idea about the source of conflict among the nations which will be cultural rather than ideological or economic in the coming future (p.26). The line that separates the dominant and subordinate cultural groups is penetrable. Thus, we have theories related to acculturation, assimilation, or cultural mixing to name a few.

India, a postcolonial society, is a multi-ethnic, multicultural, and multiracial nation. Multiculturalism, however, has become more an expression of an individual’s apprehension for dignity and respect than a reflection of culture. This remains evident in the treatment and condition of certain minority social groups like the ethnic tribes from the India’sNortheast region in a multicultural society like Delhi. People belonging to such groups are often singled out and are discriminated against by the dominant groups because of certain apparent differences in their appearances, accent, or food habits etc. The case of Northeast people and their condition in a culturally diverse place like Delhi has unveiled some larger issues that are often ignored in a culturally diverse country like India. Vinod Khobragade (2009), substantiating the idea of Harrison that there are many nations within India, has figured out the different nations that constitute India as “North Indian nation (the fair-skinned Aryan), South Indian nation (dark-skinned Dravidian), and more importantly the North-Eastern nation (theellow-skinned Mongoloid)”(p.1162). India is considered as a synthesis of Aryan and Dravidian culture and the fact that Northeasterners belong to the mongoloid race made them ‘the Other’ (Bora, 2019, p.854). Sanjib Boruah (2005), citing William Van Schendel, hasrevealed how the western gaze that looked down upon the hill people as backwardand generally stereotyped as uncivilized as compared to the people of the plains. Such extant practices have not only instigated racial divide but caused the fractured relationship between the Northeast and mainland India resulting in “a cultural gap, an economic gap, a psychological gap, and an emotional gap” (Baruah, 2005, p.166). Writers like Papori Bora (2019) have traced the problem of racial divide to the colonisation era when the imperial power tended to differentiate and discriminate the colonised native on the premise of the inferior race (p. 846). When people from the Northeast region started migrating to the mainland cities with such a history of differences, it made them vulnerable as they faced racial discrimination for their looks, the way they dress, or the food they cook. Ever and again, incidents of racial discrimination against Northeasterners come out. The sudden spike in such racial prejudices during the Covid- 19 pandemic has exposed the dehumanizing treatment a Northeasterner goes through in metropolitan cities. The incident of the Manipuri girl being spat on by an unidentified man and calling her “corona” revealed the racially charged comments and treatment people from the Northeast face (Bajaj, 2020). Again in Hyderabad, entry was denied to two young students from the Northeast region because the guard thought they were not Indian (Das, 2020). In many places, tribal students are asked to vacate the residency citing petty reasons, or sometimes no reason at all. Such racial discriminations remind us of Nido Tania, who raised everyone’s concern when he was beaten to death by a shopkeeper who called him ‘chinky’ and against which Nido Tania retaliated (Pant, 2020).  Later the High court cited intolerance for cultural differences as the root cause behind the attack. However, they acknowledged the presence of a ‘racial element’ for which they recommended an amendment in the IPC that would make “racial slurs punishable” (Bora, 2019, p.858). Commenting on the report submitted by the Bezbaruah committee in regard to Nido Tania case, Bora (2019) writes how the assigned committee failed to articulate racism as a problem behind his death substantiating the fact that racism exists in our society as “a problem without a name” (p.849).

 This paper brings to light a culturally significant film set in the Humayunpur area in Delhi which is considered a ghetto for migrants from Northeast. The film is about a group of friends from the Northeast region living in Delhi and their struggle to cook ‘axone’ for their friend Minam’s wedding. The film attempts to deal with some of the larger issues like racism and prejudices through the medium of food and how people from Northeast region are almost always on the receiving end of such discrimination. The discrimination is manifested through the vile act of harassment, bullying, physical and verbal abuse, and other such experiences that affected the inner psyche of the migrants and traumatised them. The leading characters like Chanbi (Lin Laishram) and Upasana (Sayani Gupta) played challenging roles that attempt to break the stereotypical images associated with girls from Northeast. The group of friends from the Northeast knew that their owner would never allow them to cook ‘axone’ in the building, so they try finding out tricks to cook it. The struggle they faced to accomplish their goal of cooking their ethnic food highlights some major issues engulfing Indian society. For a Northeastern who has lived outside the Northeast, the obvious point of difference arises when you are cooking something specific to one’s culture like fermented ‘dry fish’, ‘axone’, and ingredients that are more on the noisome side and smell pungent for the neighbours. This paper attempts to discuss such differences and challenges of prejudices and racism the ethnic minorities face in Delhi and the related trauma the characters go through in a society culturally different from theirs. The film also portrays the solidarity the migrant group shares and how they seek out each other to make friends, which helps to overcome the traumatic harassment and create their own space where they can recall and remember their home. The role of stereotypes, prejudices, and the conflict history of the region has fitted the region into the bowl of discrimination. Another issue that is highlighted in this paper is the universality of such bigotry and prejudiced practices which pervades every community and exists even within the Northeastern group. For instance, Upasana (the Nepali girl) is often considered as the ‘other’ among the group of Northeastern friends. In one instance Zorem (her boyfriend) made her realise how she is treated differently by Minam and Chanbi who are closer to each other. In another instance, Minam showed aversion to Zorem being in a relationship with the Nepali girl Upasana. Thus, occasionally Upasana too faces such discrimination within her own friend circle.

People carry their culture wherever they go, consciously or unconsciously. We often tend to carry with us objects that symbolise our culture. Food is an integral part of one’s culture and a powerful lens of analysis. Food is also the space where intercultural exchanges possibly take place. The film Axone by Nicholas Kharkongor uses the food motif to deal with some complex issues like cultural acceptance, preservation, and also resistance in a multicultural world. In this film, food becomes the main point of difference that caused racist treatment towards the group of Northeast migrants who wanted to prepare their ethnic food for one of their friend’s weddings. The owner of the building where the three Northeastern girls (Chanbi, Upasana, and Minam) live, calls their food “stinky” and even threatens to get them arrested if they don’t stop cooking. She further abuses them and condemns their cooking by retorting that her building is stinking like a gutter. The struggle on the part of the migrants to taste and cherish their ethnic food in a foreign land brings forth some of the major issues like racism, casteism, and violation of human rights that have swamped the Indian society. In this era of cultural globalization where local food items are getting equal attention in the global market, the same is not the case with akhuni/axone. It has a distinct smell which makes the food sidelined in the global market. The matter gets worse when, along with the food, the particular community associated with it is pushed into the periphery and is discriminated against and judged with a biased and racist eye. Northeast migrants in Delhi often find it hard to get accommodation and when they get any, they are strictly prohibited from cooking their ethnic food. Despite having multiethnic restaurants in Delhi that reflect, on the surface, the cosmopolitan nature of such big cities, the question arises as to why the migrants then have to live under strict surveillance when it comes to eating and cooking the same ethnic food in the comfort of their home. In the film, we come across scenes where Upasana and Chanbi approach such restaurants serving ethnic cuisine to help them cook their food. The whole façade of multiculturalism has been righty captured in Kikon’s (2015) writing where she points out how ethnic foods from the Northeast region have been subjected to “inclusion without acceptance” (p.323). Naga food has been included in the national culinary map of India but the same food is banned from being cooked because of its strong smell. Instances of police circulating booklets about how cooking and eating smelly food by the northeast migrants have caused chaos in the migrants’ pockets in Delhi proves the non-acceptance of the ethnic food (Dholabhai,2007). Another reason behind the non-acceptance of the tribal food in the mainland delicacies is the ways the dishes are cooked. Tribal food is cooked with less oil or masala segregates it from the mainland delicacies. The importance of ethnic food for a migrant lies in the fact that it invokes the memory of ‘home’ and ‘identity’ and helps to satiate the feelings of longingness for one’s roots in distant or unfamiliar surroundings (Kikon, 2015, p.321). Gopal Guru (2019) in this context has pointed out how cooked food apart from satiating hunger and taste has a “decisive criterion for the construction of cultural identity” (p.156). In the power dynamics to maintain hegemony, food becomes a crucial aspect that carries political underpinnings and becomes a medium through which social hierarchies are indicated and perpetuated. The violent reaction against the food habits of particular social groups belonging to the Northeast region or the Dalits by calling it “dirty” and “smelly” stems from conditioned racism ingrained in the social structure (Kikon, 2021, p. 280). The attempt on the part of the upper caste to homogenise the culinary practices according to the dominant class pushed the minority social groups and their dietary practices into the domain of non-acceptance: “The upper castes have not only prescribed food for themselves, they have designated foods for other castes as well” (Guru, 2019, p.157). Such tendencies have not only victimized the minority social groups but denounced the notion of diversity altogether. Affirming the food practices of the minority groups will not only provide a counter-narrative but a proper presentation of diversified India.

Racist disparities shown towards the dietary practices of the northeast region become a metaphor for how northeast migrants are treated in mainland Indian cities like Delhi. Instances of racial abuse that take the form of violence are apparent in the film. The brutal comments that the landlady pass on one of the Northeast migrants, Bendang Longkumer, about his appearance that he can’t keep his eyes open render it evident that the Northeasterners are mistreated and abused for their looks. The incident that Chanbi, another migrant from the Northeast, faced in the market pushed everything to an extreme. She was slapped by two guys who verbally abused her and when confronted, they did not hesitate to abuse her physically. The two boys unveiled the harassment women face that double up when colors of racism are added. Rachna Chandira (2018) while interviewing Ngurang Reena revealed the general perceptions about northeastern girls that they are “easy women”. Ngurang Reena, a social activist and a feminist fighting against such discrimination states:

When you are in a place like Delhi and you have to always adjust to something new, as a woman, as a person from the marginalised section, so every space you go into makes you sort of political. (Chandira, 2018)

This image of ‘being available’ is also manifested in their non-Northeastern friend Shiv’s fetishism over the Northeastern girl who continuously makes comments like “get me a northeast girlfriend” (Kharkongor, 2019, 1:21:10). Women, in general, and women from marginalized social groups, in particular, are subjected to multiple jeopardies. They become victims of race, class, gender, caste, and whatnot. In a survey carried out by the Centre of Northeast Studies and Policy Research, Jamia Millia Islamia, and the National Commission of Women in 2012, 81% of women from the northeast face discrimination daily. They are always viewed through a judgmental lens. This incident that Chanbi faced, traumatizes her to the point of making her numb, incapable to act. Moreover, nobody supported her except one woman who consoled her rather than taking any action. Even her partner Bendang acted passively. Each and every character in the film has a different story of such harassment altogether. For instance, Bendang once had blonde hair for whichpeople nearby the area, where he worked, often made fun of him, and for once when he protested, he was beaten almost to death. The story of Bendang brings back the case of Nido Tania who was beaten to death when he retaliated to such bullying. Continuous discrimination has shaken the self-worth and self-confidence of Bendang. The behavior of Bendang can be related to social anxiety disorder, that is, the fear of negative evaluation, fear of embarrassment that partially comes because of his earlier non-acceptance. The effect of the incident is very much reflected in the behavior of Bendang when he remained numb even when his partner faced the same brutality. He no longer dares to stand for himself or others. Such psychological trauma compelled him to lock himself up in his room, away from everything. On the other hand, we have Chanbi who continuously suffered a panic attack after facing all those racist incidents.

Both men and women from the Northeast are subjected to different kinds of racial discrimination which has its commencement in stereotypical conceptions that the common masses hold against the Northeastern people which further exacerbates the traumatic experiences of the characters. Stereotyping is when an assumption becomes knowledge that common people start sharing about an individual or thing. The stereotypes are generally negative and derogatory, often used to justify some kind of discrimination, oppression, and otherization. The concept of stereotype represents the consensus of the majority of the population about the other person or group. Stereotyping, and at the same time romanticizing the unknown or the half known has caused a lot of problems disrupting proper communication among people in a multicultural and globalized world. The building where Chanbi and Minam live also has some African girls. While they were having conversations about cooking ‘axone’, the African girl commented on how Upasana did not look like one who belongs to the Northeast. Even Shiv, the grandson of the landlady, made the same remark about her look. Her face does not fit the stereotype image people carry about the Northeasterners. This showcases yet another problem of how Northeast India is taken as a homogeneous entity by the outsiders. Women are more vulnerable owing to the gender-based violence they receive. The aspects associated with Northeast Indian Women, likethe way they dress, the bond they share with their male friends, and the independence they forecast in metropolitan cities that stand at odds with most of the women from mainland India become a matter of speculation that finally culminates in presenting them as “loose in morals and sexually promiscuous” (Mcduie- Ra, 2012, p. 71).

In the film Axone, we see how the characters behave in intercultural encounters and respond to acculturation, assimilation, and other such processes.  Sam and Berry (2006) defined acculturation as, “The meeting of cultures and the resulting changes” (p.1). Some other terms associated closely with acculturation are assimilation, integration and marginalization, and separation.  As forwarded by John W. Berry (2006),

when individuals do not wish to maintain their cultural identity and seek daily interaction with other cultures, the assimilation strategy is defined. In contrast, when individuals place a value on holding on to their original culture, and at the same time wish to avoid interaction with others, then the separation alternative is defined. When there is an interest in both maintaining one’s original culture, and having daily interactions with other groups, integration is the option here. (p. 35)

Bendang trying to sing a Hindi song or Upasana trying to cook a traditional dish of Nagaland ‘axone’, and at the same time learning the language of her partner, are some examples of their attempt to integrate with the dominant culture. They did not adopt a separatist tendency or assimilative tendency but rather wanted to take a middle path where they could keep intact their own culture and at the same time integrate with the mainstream dominant culture. However, integration between dominant and non-dominant cultural groups requires acceptance and mutual accommodation of the larger social network. To live as culturally different people within the same society requires acceptance. The strategy requires efforts from both sides. The non-dominant groups are required to adopt some basic values of the larger society, at the same time the dominant group should accept the needs of the former. However, non-acceptance from the dominant group often pushes the individual to take up a separatist stand avoiding interaction with the mainstream group or minimal interaction. In the later part of the film, we see Chanbi telling Bendang about how he never tried to integrate with people other than his Northeastern friends. What we see in the case of Bendang and his other Northeastern friends is that the dominant group or culture did not accept them and pushed them into their enclosed shell. Bendang’s inaction during the market incident or even locking himself up in his room can be interpreted as signs that imply his separatist tendencies compiled with fear and trauma. P.K. Nayar in his book Postcolonial literature: An Introduction (2008) states, “When the adopted culture fails to see beyond the ethnic identity of the diasporic/exilic individual then this individual has no choice but to retrieve her/his indigenous culture” (p. 205). Thus Bendang and Chanbi finally decided to leave Delhi and return to their native land. The decision taken by them somewhat hints at their intention to remain confined within the comfort zone of their roots and culture. But such a stand might have a different repercussion as such tendencies on the part of the Northeastern group might well further broaden the gap between the dominant and non-dominant groups leading to the continuation of differences besides being detrimental to dismantling the persistent social prejudices. As Lears points out that subordinate groups may participate in maintaining a symbolic universe, even if it serves to legitimise their domination. In other words, they can share a kind of half-conscious complicity in their own victimization (Lears, 1985, p.573).

 In the final part of the film, we see how the friends ended up cooking ‘axone’ on the terrace amidst nature signifying the fact that nature never discriminates against culture. Love and friendship in particular and human relations, in general, are taken into account to show how this relationship can surpass all other man-made barriers that include our own culture. The friendship of the migrants is a crucial factor in determining their condition in the distant land. Making homoethnic friends, like the ethnic food, compensate for the migrants feeling of missing home (Akhtar, 2011, p. 86). The shared experiences of the migrants in a foreign land bring them together to create a symbolic world where they can feel comfortable. The sense of camaraderie binds the northeast migrants together. Besides, such friendship is not without rivalry but when threatened by the outside force they unite and stand together to overcome the discrimination. Like the homoethnic friendship, heteroethnic friendships develop amongst the migrant groups. Heteroethnic friendship, as Salman Akhtar (2011) puts it, can be divided into two categories- the first one with people who are migrants themselves and the second one with those who are native to the land. In the film, we come across both types of heteroethnic friendships. The first one is evident in the relationship Upasana and Chanbi share with the Black girls. They not only share the same building but share experiences in the acculturation process and go through similar kind of treatment as one situated on the receiving end of racial prejudices that builds connection and form solidarities that embody the genesis of their friendship. The second category of heteroethnic friendship is seen in the relationship the Northeastern group shares with Shiv, who is a Delhiite, which reflects how such a bond can surpass the differences that exist between them. Akhtar’s use of the word ‘native’ comprises not only the original inhabitants of that land but those migrants or immigrants who have assimilated and earned the status of the native. According to Akhtar, most of the heteroethnic friendships are filled with ambivalences because of the mixed feeling they have towards the natives. For instance, the Northeastern group did not like Shiv at first and made weird facial gestures whenever he arrived on the scene. Shiv, on the other hand, made unintentional racial remarks that instigated such hatred towards him. However, Shiv was always there whenever they needed him. He arranged cylinder and cooking space for Upasana and Chanbi, also managed his grandmother who was against cooking any stinky food, and even took Chanbi to the doctor when she got a panic attack. Moreover, Chanbi’s comment that although some are rude, most of them are nice to them, and because of such people they can still live in cities like Delhi, reflects how such mutual love and friendship helped them to tolerate the differences and diversity that exist in multicultural societies. Thus, Akhtar (2011) rightly puts it when he writes about heteroethnic friendships as something that can act as a “bridge to acculturation” (p.91). Apart from these inherent qualities, another way forward is cultural intelligence and tolerance and even learning to respect every culture. Minimum awareness about the diverse culture is the need of the hour that might fill the knowledge gap thereby increasing cultural intelligence. Though cultural intelligence is a concept limited to business, academics, education, and government research, there is a need to adopt the same in a social environment too. How to deal with or behave in a culturally diverse situation effectively is what cultural intelligence means. The concept is more than mere cultural awareness and sensitivity. Cultural learning approaches might help in reducing conflict during intercultural communication:

There is no doubt that one of the most important factors in determining effective communication with members of the host community, and arguably the most central one, is one’s facility to speak their language. (Masgoret and Ward, 2006, p. 62)

An important element of cultural learning theory is language learning; learning the language of the host culture. It helps to establish successful intercultural and interpersonal communication. Bendang’s struggle to learn the Hindi song and failing to do the same is a factor that might have contributed to pushing him into the periphery. Whereas we have other characters who can speak the Hindi language and go along well with others and can even confront the abusers at times when needed to make their stand. For instance, we have Chanbi who confronted the two guys who abused her verbally but Bendang could not even utter a word. Though he has his own traumatic experiences, the language barrier has further broadened the gap. The same kind of cultural intelligence is also seen in Martha, a friend of theirs who married into a Punjabi family. In a conversation with Chanbi and Upasana, while they were complaining about their right to cook their food freely,Martha pointed out how others have the right to not tolerate the smell of the food they don’t feel like.

Nicholas Kharkongor’s Axone, released on Netflix, is indeed a short film that showcases the event in mere ninety minutes but the premise and the ideas it sends through are big.  Axone is a balanced film where Kharkongor, in a non-patronising and non-moralising way has presented the lived reality of people from the Northeastwhose stories have not got much scope to get the audience outside the region. Khargonkor did not restrict himself to Northeastern actors but extended his scope to include the brilliancy of Sayani Gupta, Vinay Pathak, Rohan Joshi, Dolly Ahluwalia, and others. The characters, apart from stripping the hard-biting reality of racism also provide comic relief through their humorous interactions. We live amidst multiculturalism and a globalized world where everyone has experienced such a crisis at some point in time. At a time when the Black Lives Matter slogan has shaken the whole United States of America, Axone portrays that India too suffers from this syndrome causing a systemic defect that needs to be addressed with urgency. Though the study mainly focuses on the migrants from the Northeast, it represents every such migrant group inhabiting culturally different regions and facing these issues. In this short film,we have seen how the Northeasterners are looked down upon and are discriminated against, and often projected as the other but prejudices and ‘othering’ also existamidst their own communities. Awareness about the other cultural groups and removing the deleterious cultural practices like bigotry and biases that we hold towards others will help us to communicate better with others. Cultural intelligence, mutual learning, understanding, and other such approaches along with the humane qualities of love, respect, and tolerance will help establish a healthy relationship that would contribute to making this world a better place to live in.

Declaration of Conflict of Interests

The author(s) declared no potential conflicts of interest.

Funding

No funding has been received for the publication of this article. It is published free of any charge.

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Munmi Bora is a PhD research scholar in the Department of Foreign Languages, Gauhati University, Assam. Her research interests include cultural studies, Northeast literature and Francophone literature.

Formulaic Language and Style of Turkic Zhyrau of the 15-18th Centuries

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Kairat Zhanabayev1, Karakat Nagymzhanova2, Nursulu Shaimerdenova3, Ayzhan Turgenbaeva4 & Nazerke Tleubayeva1

1Department of Publishing, Editing and Design Arts, Al-Farabi Kazakh National University, Almaty, Republic of Kazakhstan. Email: zhanabayev@nuos.pro

2Department of Pedagogy and Psychology, Turan-Astana University, Nur-Sultan, Republic of Kazakhstan

3Department of Russian and Foreign Literature, Al-Farabi Kazakh National University, Almaty, Republic of Kazakhstan

4Department of Religious Studies and Cultural Studies, Al-Farabi Kazakh National University, Almaty, Republic of Kazakhstan.

Rupkatha Journal, Vol. 14, Issue 2, April-June, 2022, Pages  https://doi.org/10.21659/rupkatha.v14n2.25

First published: June 26, 2022 | Area: Aesthetic Studies | License: CC BY-NC 4.0

(This article is published under Volume 14, Number 2, 2022)
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Abstract

The article reveals the importance of studying the formulaic style in the oral epic culture of Kazakh (Turkic) zhyrau of the 15-18th centuries. The purpose of the article is to identify the specificity of the formulaic language and the style of the epic tradition of these singers, as well as to show the degree of their knowledge, based on the principles of oral theory by M. Parry and A. Lord and their followers. Zhyrau are singers of the times of the Golden Horde and the foundation of the Kazakh Khanate. In the analysis of the ancient forms of their epic thinking; the genesis of genres, principles of performance and transmission of tradition, formulaic style plays a major role. The method of discourse analysis, system review, referencing, comparative analysis, and the methods of previous researchers were applied in the study. The novelty is that the formulaic style was first studied on the oral material of the zhyrau dated the 15-18th centuries, where stable units are represented by a formula – the basis of the epic style and an important means of the singer’s oral-style technique. The theoretical significance of the article and its relevance, is based on a broad discussion of oral theory, and at the same time on its effectiveness and efficiency in studying the Kazakh (Turkic) epic tradition. The practical value of the research gives its results in the analysis of language and style, the distinction of styles and genres of zhyrau from other bearers of Turkic poetic culture. The Parry-Lord formulaic grammar can be applied both for the study of Turkic languages and to the quality of artistic translation.

Keywords: Parry-Lord’s oral theory, Turk epic, zhyrau, tolgau, oral technique, individual creativity.

Introduction

Within the framework of the present project, the authors have prepared several theoretical works of value for Kazakh (Turkic) epic studies and modern folkloristics. The authors of the paper also consider that the study of the oral tradition of nomads in Central Asia, the North Caucasus and South Siberia is a significant contribution to the science of folklore and mythology of the East since the culture of the Kazakh (Turkic) culture nomads are not only specific and unique as a special type of equestrian-nomadic civilization, but also have deep ties with the richest oral folklore of ancient and medieval Europe, Asia and Africa (Nurgali, 2013; Zhakupov et al., 2020). With a long history of studying the language and style of Kazakh (Turkic) zhyrau from the 15-18th centuries and comparative epic studies, the authors of the article drew attention to the high productivity of oral theory, two American researchers – M. Parry (1932) and A.B. Lord (1964). In our country, this theory is presented in detail by the monograph published in 1986 by Harvard University professor A.B. Lord (1964) “The Singer of Tales”. It, as noted in the Introduction, “contains ideas important for the study of epic traditions, including Oriental ones” reference. The authors of the oral theory gave a special role to “the technique of oral performance of the epos” – the source of the formulaic style” the link.

Although traditionality and stereotyping in folklore and epic genres have been mentioned before by American scholars, they have a valuable idea that explains this stereotype (sustainability of forms) not only as a feature of traditional style but as a powerful principle of the artists’ creativity. This principle is a formulaic style or formulaic grammar. The effectiveness, efficiency, and perspective of the oral theory are particularly evident in the study of Turkic monuments, whose language is perfectly structured, free from external influences, and characterized by great richness and variety of poetic forms.

Research into the language’s formulaicity and style in recent years has also unexpectedly revealed the fundamental role of formulaic grammar in poetic translation. Especially when it concerns the ancient Kazakh poems, the oral text of the medieval nomadic judge and speaker (Kazakh biy), the ancient runic inscriptions of the VIII centuries of Turkic Haganat, where there is no influence of other languages and religions yet, and therefore of exceptional interest both in terms of their pure form and in their unique content and the prospect of reconstruction of their initial bases – the Turkic archaic myth, rite and ritual (Aimukhambet et al., 2017). Criticism is present in several works on Perry-Lord’s oral theory. It mainly dealt with the problems of nationality and authorship, and the theory of formulaic style. However, it was based, as the translators of “The Singer of Tales” note, on the special author’s terminology, which, in our opinion, should have been different from the existing one, as it is about a living tradition, a living process, that is, oral technique, and not a static grammar and epic. Thus in the classical monograph “Origin of Heroic Epic”, analyzing and criticizing all existing basic theories, the famous scientist E.M. Meletinsky (1963), pointed out that A.B. Lord (1964), who followed his teacher and “derives the epic style from the poetic technique of oral creativity, does not doubt the mythological origin of the contents of epic formulae”. And that’s very revealing because the oldest epic formulas are the ones that lead us to myth, rite, and ritual. And this theory of Lord is most vividly demonstrated by the oral-style poetic technique of nomads of Central Asia, South Siberia, North Caucasus and Crimea…Full-Text PDF

Identity in Consumption: Reading Food and Intersectionality in Anita Desai’s Fasting, Feasting

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Nayana George1 & Arya Parakkate Vijayaraghavan2

1Research Scholar, Department of English and Cultural Studies, Christ University, Bengaluru, India. Email: nayanageorge295@gmail.com/ nayana.george@res.christuniversity.in, ORCID ID: 0000-0003-0002-5024

2Assistant Professor, Department of English and Cultural Studies, Christ University, Bengaluru, India. Email: aryavijayaraghavan@gmail.com/ arya.pv@christuniversity.in, ORCID ID: 0000-0001-9682-6074

Rupkatha Journal, Vol. 14, Issue 2, April-June, 2022, Pages  https://doi.org/10.21659/rupkatha.v14n2.20

First published: June 26, 2022 | Area: Gender Studies | License: CC BY-NC 4.0

(This article is published under Volume 14, Number 2, 2022)
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 Abstract

With the resurging interest in Food Studies, this rapidly emerging field of study has seen multiple disciplines adding in their distinct flavours that truly make this an area to savour. Literary food studies, in particular, has become a relevant field of study with the understanding that food in literature always plays a symbolic role, as food in literature is never depicted for the sustenance of the literary characters. This paper seeks to explore the novel Fasting, Feasting (1999) by Anita Desai through the lens of food and foodways to explicate how the characters interact with the culinary arena, and ultimately, interact with each other and themselves. These interactions will serve as crucial insights into their identities, particularly their intersectional gender identities considering the facets of nationality, class, and the like. A special focus will also be rendered on the notion of marginalisation seen in the text, of which gender is a crucial deciding factor. The title of the novel hints at consumption—at both its presence and absence—which will prove as the gateway to the interactions of the characters with food in the novel to examine who it is that gets to feast while who are forced to starve.

Keywords: literary food studies, food in literature, gender, intersectionality

1. Introduction

Anita Desai’s Fasting, Feasting (1999) has been the subject of immense critical inquiry due to the varied themes that Desai explores in the novel. The text is a fertile ground wherein discourses regarding the diasporic concerns of alienation and belonging (Amo, 2016, p. 138), gender (Choubey, 2004; Volná, 2005), the psychological insights into the oppressed central characters (Narayan & Mee, 2003, p. 227)—an aspect reflected in Desai’s other works as well and is often considered reminiscent of Virginia Woolf’s literary oeuvre (Kanwar, 1991)—and the like, thrive and flourish.

The foray of food studies into literary studies has invited more nuanced introspections into Desai’s text through the lens of food. Its multidisciplinary background lends to innovative analyses that add to the existing critical literature surrounding this crucial contribution to world literature. One such notable work is the conception of viewing the material culture depicted in the novel as politically charged, a perception that is primarily shaped by post coloniality and post liberalism (Wiegandt, 2019). These “post” conceptions have further invited migration and transnationalism. It is here that studies on food and its associated practices can “make a significant contribution not just to the anthropology of food, but also to our understanding of the ways in which the globalized movement of people, objects, narratives and ideas is experienced and negotiated” (Abbots, 2016, p. 115). Food is “endlessly meaningful,” writes Carole Counihan (1999, p. 6), for among its many other functions, it also serves as a marker of ethnic identity (Counihan, 2004; Vallianatos & Raine, 2008, p. 365). The multiplicity of identities takes on intricate nuances due to intersectionality in the globalised contemporary world. Initially, the term “intersectionality,” introduced by Kimberlé Williams Crenshaw (1989), was primarily related to the issue of race in feminism, especially concerning “the multidimensionality of Black women’s experiences” (p. 140). During the third wave of feminism, the term has developed to give rise to a subjectivity influenced by race, gender, class, sexuality, and more such classifiers (Cooper, 2016, p. 391; Nash, 2008, p. 2).

This subjectivity is visible in the chosen text’s food practices which “form the material nexus of class, gender, and political distinctions between individual characters and between India and the United States” (Wiegandt, 2019, p. 123). The title of the novel hints at consumption—at both its presence and absence—which will prove as the gateway to the interactions of the characters with food in the novel to examine who it is that gets to feast while who are forced to starve.

2. Feasting and Fasting—the Gender Divide

Rana Dasgupta, in her introduction to Desai’s novel (1999/2008), states that the book is an “excruciating account of how society can seize control of individuals—especially women—through such practices as eating, and remove them from everything they intended to be” (p. viii). Carole Counihan (1998) asserts that there is a “clear significance of food-centered activities and meanings to the constitution of gender relations and identities across cultures” (p. 2). Furthermore, food and food practices are often taken for granted due to their association with women (D’Sylva & Beagan, 2011, p. 280).

Kumkum Sangari (1993) observes that a household’s politics are seemingly dictated according to the degree of access women have to power (p. 871). An instance that demonstrates this fleeting supremacy of the woman over the man in the matters of the kitchen is seen in the exercise of deciding on the meals of the day by “MamaPapa,” the conjoined entity that they are referred to as in the book (Desai, 1999/2008, p. 5). The dining table was a “fertile ground” for “discussion and debate.” However, the narrator observes that “it was impossible not to see that the verdict would be the same as at the outset”—it would be Mama’s suggestions and “no other” (p. 14). Only Mama reserved the right to control the cook in the household. While the family’s economic and social status afforded the family cooks and servants, this exercise shows that it is the mother who is essentially cooking through the kitchen help.

The image of the ideal woman that has been created and perpetuated shows a being that is inferior to the male figure in every way. Pitted against masculinity, femininity is always considered as the weaker counterpart and as a member of “disadvantaged and devalued social categories” (Counihan, 1999, p. 8). While women are often entrusted with providing food for the family, notions of the ideal woman being submissive and sacrificing factors in this scenario present the ideal provider as one who creates and distributes but never consumes what she makes. “Many studies demonstrate that men eat first, best, and most” (Counihan, 1998, p. 2). Class, caste, race, and gender hierarchies are partly maintained and sustained through differential control over food and the varying levels of access to the same (Counihan, 1998, p. 2; 1999, p. 2). The rich distinguish themselves from the poor through food and foodways, and a similar correlation is perceived in the way men are distinguishable from women (Counihan, 1999, p. 8).

Desai’s work provides numerous examples of the way people are treated differently based on their gender identities (Karam, Khan, & Ahmad, 2022). What, how much, and when they can eat are dependent on their gender (Counihan 1999, p. 8). This creates an unequal footing between them as one is clearly favoured over the other in the prevailing heteronormative worldview. In the family that the first part of the novel revolves around, the dominance and supremacy that the father has are clearly exhibited through the way he behaves and how the rest of the family behaves towards him, especially on matters related to food and consumption. While it is the mother who takes decisions regarding the kitchen, as was established before, it can also be seen that the mother merely functions as a puppet that moves along to the father’s whims and fancies.

Additionally, the father’s supremacy is explicitly expressed through how he is considered akin to royalty and is often treated as such. The special attention that he garners is solely because he is a man. According to the norm propagated by the traditional society, the rest of the women have to take it upon themselves as their duty to serve him, regardless of whether they are willing to do so. This can be seen in the way the mother asks the elder daughter Uma to serve some fruit for her father, and she comes to the realisation that she “can no longer pretend to be ignorant of Papa’s needs, of Papa’s ways.” They make a whole ritual of the process of preparing the fruit to be fit for his consumption—wherein each orange segment is painstakingly peeled and rid of the pips—and “everyone waits while he repeats the gesture” of eating the pieces. When the whole process is completed, what remains are the peels and seeds on the mother’s plate and smears of orange juice on the father’s (1999/2008, pp. 23-24). With the depiction of the scene here, it is evident that the father was the only one to eat the fruit. The meals end with a flourishing presentation of “a napkin and a finger bowl” to the father and “he is the only one in the family who is given” these “emblems of his status.” The feeling of grandeur that his meal evokes is further exemplified when the narrator signals the end of the meal with the statement: “the ceremony is over” (p. 24).

The mother is used to being treated as inferior to the men, and she cultivates this idea in the minds of her daughters as well:

In my day, girls in the family were not given sweets, nuts, good things to eat. If something special had been bought in the market, like sweets or nuts, it was given to the boys in the family. (p. 5).

As she recounts this, she adds that her family did not belong to “such an orthodox home” and that her mother and her other female relatives often slipped her some “good things to eat…on the sly” (p. 6). While the mother remembers these situations so fondly, the pleasant feelings here do not take away from the fact that she was forbidden from eating certain food items solely because she was a female. The idea that these women, controllers of the kitchen space in their homes, still had to abide by the rules drawn up by the family’s men and had to hide what they had consumed shows the injustice in this scenario. The perceived notion of feminine control over the domestic space is just that—a false perception far away from reality. Other instances further express this sentiment of a man having control over a female’s eating and consumption patterns and preferences (Counihan, 1999, p. 8). The father disapproves of the mother playing rummy with her friends and eating betel nuts and leaves as he sees them as sinful indulgences that he dislikes. Still, when he indulges himself “in a little whisky and water,” the “little” being an understatement when he goes overboard and becomes an embarrassment in a social gathering, he hardly sees any of it to be his fault. He never deigns to apologise to anyone (pp. 7-10). An interesting alimentary image that makes its appearance numerous times in the novel is that of the glass of lemonade served to the father. The mother frets and worries herself to the extent that it pointedly draws the reader’s attention in the process of her ensuring that the father’s glass of lemonade is always ready for him to drink when he reaches home. It suggests that perhaps the mother had neglected to perform that particular task once and the repercussions were probably not so forgiving. It may be due to this fear that Uma always “decides to say nothing” (p. 12) when it comes to expressing her desire for food (Swarnakala & Kirubakaran, 2021, p. 423).

While she is never free to consume what she wishes nor that she creates, a woman’s self-worth is dependent on her abilities in the culinary space, her culinary prowess, and her ability to manage a kitchen. These are considered to be the only factors that impact her self-esteem, as illustrated through the mother forcing Uma to take credit for all the culinary delights served to the guests to increase her prospects of acceptance by the visiting family in the chances of a marriage match (pp. 75-78). Even the approval from the future family-in-law is expressed through a reference to the tea that she had served; “very nice tea,” says the prospective mother-in-law (p. 78).

However, Uma’s marriage plans do not come to fruition. The multiple failures at being wedded result in her parents giving up on those prospects for her, deigning themselves to an obligated maidservant in the form of their unmarried daughter (Chandel, 2018, p. 33).  This situation provides a glimpse “into the fate of the women who remain single in this society” (Nandan, 2002, p. 171), always remaining bereft of autonomy (Jackson, 2018, p. 168). The younger daughter, Aruna, finds herself even more burdened to succeed where her sister had failed. Hence, she ends up in a marriage upheld merely out of obligation and not by choice.

On the other hand, Arun—the only son of the family—gets a radically different treatment than his sisters as he is greatly favoured over them (Jackson, 2018, p. 164). His mother feels that her status as a wife has been elevated once she birthed a son after numerous failed pregnancies. “What honour, what status. Mama’s chin was lifted a little higher in the air.… She might have been wearing a medal” (Desai, 1999/2008, p. 31). Papa insists on “proper attention” (p. 30) for his son with the assurance of “the best, the most, [and] the highest” (p. 121) for him, not just regarding education, but other needs as well. Papa believes that consuming meat is necessary to develop Arun’s strength (Poon, 2006, pp. 35–37).  This reflects Counihan’s (1998) assertion that “food symbolically connote maleness and femaleness and establish the social value of men and women” (p. 2). This notion is also seen in “the practical philosophy of the male body as a sort of power, big and strong, with enormous, imperative, brutal needs…asserted in every male posture, especially when eating,” thereby functioning as “the principle of the division of foods between the sexes, a division which both sexes recognize in their practices and their language” (Bourdieu, 1979/2013, p. 35). However, all this attention works to culminate in the opposite of the desired effect in Arun, for he ends up burdened by expectations and scrutiny, and instead yearns for freedom. Moreover, ironically enough, the force-feeding of meat causes his body to unconsciously reject it entirely, and hence he relies solely on vegetarian food for his sustenance.

3. Beyond Boundaries—the Transnational Experience

In the second part of the book, Arun is in the USA, where the culture is very different from India. What remains almost constant is perhaps the gendered differential treatment of food. Arun stays as a guest with the Pattons, a seemingly conventional white American family. Mr. Patton cooks in the stereotypical overtly masculine way by cooking an enormous amount of meat out in the patio, for it “is a man’s thing” (Parasecoli, 2005/2013, p. 292). Arun is highly displeased with it, as evidenced by the choice of words that he uses to describe it— the “pervasive odour” of “raw meat being charred over the fire” (Desai, 1999/2008, p. 166), and the images of “grease and blood” (p. 169) — all of which are far from appetising thoughts.

Mrs. Patton, on the other hand, uses Arun as a crutch; she hides behind the excuse of Arun’s vegetarianism to avoid eating meat herself. Her domineering husband ignores her constant expressions, both verbal and otherwise, of being disgusted by meat. The choice of food is taken away from the woman in this situation and it is the man who decides for her. She is rendered insignificant in her household which she is supposed to run, and seen as suffering from “emotional and spiritual starvation” (Jain, 2014, p. 24). Arun sees a reflection of his mother in Mrs. Patton and her “bright plastic copy of a mother-smile…that is tight at the corners with pressure, the pressure to perform a role” (Desai, 1999/2008, p. 198).  This realisation is at once comforting and disturbing for Arun—the former for it serves as a reminder of home (Jackson, 2018, p. 168). The latter is due to the feelings of entrapment and stagnation that he associates with his family in India. Mrs. Patton experiences the same emotions within her own family (Jain, 2014, p. 24). “Mrs Patton is afraid, defeated, and no less a prisoner in her own home than Uma” (Desai, 1999/2008, introduction by Dasgupta, p. x). Even the Pattons’ daughter, Melanie, is adversely affected by the tensions in the family. Her mental afflictions result in her suffering from eating disorders, which hint at her need for some semblance of control in her turbulent life (O’Connor, 2013, p. 32). Her food consumption is seemingly the only aspect of her life that she can direct. Consequently, her eating disorders and hostile behaviour are cries for help that are constantly left unheard and ignored.

The idea of gender identity accompanies sexuality and how its perception has evolved and been rediscovered. Food and sex are seen to be “metaphorically overlapping” (Counihan, 1999, p. 9) as they are multisensorial experiences that excite similar responses within the body. By exploring the role that food plays in “enabling antinormative relationships to emerge within the sexualized, gendered, and classed domestic space,” Anita Mannur (2010) argues that “the relationship between food and queerness challenges the apparently seamless links between food, home, nation, and (hetero) sexuality.” And hence, “the culinary functions as a site of cultural negotiation: both disciplining subjects into gendered roles and buttressing an alternative rendering of sexuality and gendered performance that cannot be contained by the structures of heterosexual patriarchy” (p. 20).

Desai puts forth the contrast between the gender identities of Arun and the two father figures that he encounters: his father in India and Mr. Patton in the US. Arun is a vegetarian not under religious restrictions but by his own volition. This choice is a concept that neither of the older men can fathom. Arun’s father finds his decision to be “baffling,” for he considers vegetarian men as “meek and puny men who had got nowhere in life” (1999/2008, p. 33). Mr. Patton thinks of vegetarianism to be “not natural,” and he finds himself disappointed with “such moral feebleness” (p. 170), for men are supposed to be “the natural meat eaters” (Bourdieu, 1979/2013, p. 35). All these qualities that these men describe are precisely the opposite of those associated with masculinity, and it is to be noted here that they pride themselves on being men who embody the masculine nature. By referring to Arun as weak and frail, they associate him with the notions of being effeminate and subservient solely based on his food choices. While the men never explicitly mention any outright words about Arun’s sexual orientation, they may consider the possibility of him being a homosexual as well. Regardless, the thought of the formative men in his life thinking Arun to be weak indicate that they see him as soft and hence, not masculine in their binary oriented perception. This pushes Arun into a category that is neither here nor there of the narrow heteronormatively constructed gender identities, and into a state of uncertainty and confusion.

“Food consumption,” writes Tulasi Srinivas (2006), is the “narrative of affiliative desire” that affectively recreates social identity groupings for the “cosmopolitan Indian” (p. 193) by simultaneously functioning as a medium of showcasing assimilation as well as resistance to the dominant culture (Mannur, 2010, p. 7). Furthermore, “[t]he domestic arena…becomes a space to reproduce culture and national identity” (p. 30). Or in Arun’s case, it becomes a space for him to resist his old identity and reinvent himself. For Arun, India is a far cry from the central stage of the nostalgic reverie of other literary characters who usually make appearances in diasporic literature. He only sees India as the home of his overbearing parents, and he dreads the very thought of going back. And hence, he willingly suffers through the alienation he experiences at the Pattons’ place due to them reinforcing “the boundaries between Self and Other through appropriation of and emphasis on Arun’s Otherness” (Amo, 2016, p. 133). He would much rather make peace with the USA’s paltry contribution of sandwiches and salads to vegetarians than return to the place that was never his home. He has completely severed himself from the culinary performance of making food and always buys comestibles that are made in outlets by faceless strangers. He is apprehensive of the food that Mrs. Patton prepares for him, for she reminds him of his mother. He prefers the impersonal act of buying food from his college cafeteria instead. Even though Arun hardly pays attention to what he consumes while leading his busy life as a college student and as a part-time worker, his conscious avoidance of everything that may remind him of his life in India indicates his desire to leave that existence behind him. He never learned to cook the kind of food he ate throughout his childhood, and he does not exhibit a desire to do so in the future. He has no qualms in adhering to his new country’s food norms, and while he does not particularly enjoy his stay there, he still considers it much better than his life in India (Desai, 1999/2008, pp. 175-202).

4. The Potpourri of Marginalised Identities

Returning to the first part of the novel, Uma has various interactions with others who shape her life, presenting alternative ways of existence to her enslavement at home, and perhaps, the opportunity to live and experience life vicariously through them. Ramu, her traveling vagabond cousin, always provides her with good memories sprinkled with food, wine, dancing, and laughter (pp. 48-52). Though considered slightly lower than other men due to his club foot, his status as a man in society still grants him the sanction to be Uma’s protector on the short trips that they take. However, the understanding that Uma’s worth as a non-disabled woman being much lower than a disabled man is an undercurrent in their scenes together.

The gendered perception of life is also seen in the treatment of widows. “The life of the Hindu widow has always been the dark side of eating in India,” says Chitrita Banerji in Eating India (2007, p. 142). She writes about her grandmother whose identity as a widow has permeated her life so profoundly that even her eating habits have not been spared. The food that she now consumes indicates her identity as a woman who no longer has the support of her husband. The death of her husband is “traditionally attributed to her misdeeds and unnatural appetites; a common word of abuse in rural Bengal translates as ‘husband-eater’” (p. 142). A widow is considered guilty of “the sin of survival” (p. 142), and her presence is thought of as a bad omen. As punishment for her existence, she is forced into permanently giving up many food items and developing a culinary palate that is as bland and bleak as her life as a widow is supposed to be, even going so far as to be kept away from cooking in the kitchen during the occasions of feats and festivals (Lamb, 2000, p. 213-217; Patgiri, 2022, p. 152). The want for food beyond the measure of mere sustenance is seen as a reflection of lust and desire, and hence, abstinence from all pleasure is wielded as a way to control sensual desires. And a way of ensuring this control is seen in the way that some widows are only allowed one meal a day, leaving them in a state of almost fasting (Lamb, 2000, p. 213-217). As anticipated, only the desires of women need to be curbed, for there are no such restrictions for a widower to follow (Ahmed-Ghosh, 2009). Mira is Uma’s aunt who ascribes to the forced asceticism due to her status as a widow. She embraces religious devotion to escape from the marginalisation accompanying her status (Jain, 2014, p. 25). Uma, perhaps rebelliously enough, associates her aunt with her decadent ghee laden laddoos that she painstakingly prepares (Desai, 1999/2008, p. 38)—an exercise of Mira’s choice—instead of the forced austerity of widowhood.

Anamika, Uma’s cousin, is yet another victim of a forced social practice. Her marriage at the expense of her scholarship to Oxford is filled with trauma and physical abuse at the hands of her husband and her mother-in-law (p. 67-72). All she is reduced to now is a harried servant who cooks and cleans at her marriage home, relegated to days of service after her worth is tarnished beyond relief after a miscarriage brought about at the hands of her husband leaves her to identify as “damaged goods” (p. 72). In one stroke, all that she had achieved in life is disregarded, and her identity is solely defined based on her trauma.

5. Conclusion

The characters’ experiences “illustrate the interplay of individual and collective identity, the consequences of identification, and the magnitude of the historical themes that everyday situations may evoke” (Jenkins, 2008, p. 4). Desai initially seems to posit a gender-centric classification to the characters by drawing a defining line between the subservient female and the privileged male. However, the delicate nuances of identity come into play on further introspection, where the “differential control over and access to food” exhibits the various societal hierarchies (Counihan, 1999, p. 8). The evaluation of the characters’ lives and experiences gets flavoured by aspects such as their nationality, class, and notions of marginalisation. On viewing the text through the lens of food, the characters exhibit their various characteristics in their interactions with food. Additionally, food also serves as a medium that highlights the relationships among the characters—of kinship and otherwise—and ultimately, shapes and moulds their individual and collective identities. A more holistic view towards the characters invites the appreciation of the richness of Desai’s story world as being a true reflection of the real world.

The title of the novel is often thought to convey significant meaning as well, at first glance seemingly referring to the geographical backgrounds of the two parts of the novel— “fasting” associated with the regressive and poverty-stricken India and “feasting,” in turn, representing the dreams, hopes, and plenty in the USA (Amo, 2016, p. 134). However, on careful consideration, the fasting and feasting seen in the context of the characters are “relative and multiple at the same time” (Volná, 2005, p. 2). Each character experiences fasting and feasting in their separate ways with their experiences, thoughts, and memories creating bespoke blends that influence their identities—in how they perceive themselves, in the projection of their identities, and in the way, others perceive their identities.

Declaration of Conflict of Interests

The author(s) declared no potential conflicts of interest.

Funding

No funding has been received for the publication of this article. It is published free of any charge.

References

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Ahmed-Ghosh, H. (2009). Widows in India: Issues of masculinity and women’s sexuality. Asian Journal of Women’s Studies, 15(1), 26-53, https://doi.org/10.1080/12259276.2009.11666060

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Nayana George is a Research Scholar at the Department of English and Cultural Studies, Christ University, Bengaluru, India. She is currently invested in the areas of literary food studies and South Asian narratives for her doctoral research.

Dr Arya Parakkate Vijayaraghavan is an Assistant Professor in English and Cultural Studies at Christ University, Bangalore, India. Her areas of research include Gender and Intersections, Food and Identity Discourse, Memory studies, Cultural Studies, Education and Curriculum Development. She was awarded her MPhil and PhD from The English and Foreign Language University, Hyderabad. She is particularly interested in understanding how the experience of the pandemic has shaped the practices of everyday life. Some of her recent works were published in various Scopus-indexed journals like Society (Springer Science), Smart Learning Environment (Springer Open), Journal of Computers in Education (Springer Nature), and Journal of English as an International Language (ELE Publications) among others.

Art and Culture in the Diplomatic Ceremonial as the Basis of International Relations

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Oksana Zakharova

1Department of Art Management and Technology Events, National Academy of Management of Culture and Arts, Kyiv, Ukraine. E-mail: o.zakharova@tanu.pro

Rupkatha Journal, Vol. 14, Issue 2, April-June, 2022, Pages  https://doi.org/10.21659/rupkatha.v14n2.16

First published: June 26, 2022 | Area: Performance Studies | License: CC BY-NC 4.0

(This article is published under Volume 14, Number 2, 2022)
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Abstract

Currently, there is an increased interest in ceremonial culture. A ceremonial is a kind of cultural message from one social group of people to another. The basic idea of behaviour, the inner meaning of secular ceremonial is laid down in church rituals, and external forms of behaviour can be borrowed from the traditions of everyday secular life. Diplomacy as one of the spheres of applied politics is a very complex and responsible type of human activity, which has always had a pronounced ritual character. The conclusion of contracts and alliances took place according to a certain scenario plan, according to which the ceremonial action developed. During the preparation and holding of the ceremony, the exchange of diplomatic letters and embassies continued, solemn meetings were arranged for the honored guests, feasts, theatrical performances, games, and festivities were given in their honor. the purpose of the article is to conduct a comprehensive study of the communicative functions of diplomatic ceremonial in international communication based on the analysis and generalisation of new facts with the involvement of archival materials and other sources introduced into scientific circulation for the first time. In this study, art is considered for the first time from the point of view of the communicative factor of a diplomatic ceremony. A ceremonial is an event in the life of society that has a symbolic meaning. The norms of ceremonial reflect not only ideology but also the social psychology of society, without an adequate interpretation of which it is impossible to correctly understand the behavior of statesmen in specific situations related to their official status.

Keywords: diplomacy; culture; art; political elite; ideology; society.

Introduction

By the beginning of the First World War, the Russian Empire was a state whose opinion could not be ignored. Court ceremonials, which emphasised the strength and power of the ruling dynasty, were the political programmes of the government (Golubev & Nevezhin, 2016; Gould-Davies, 2003). After the February Revolution of 1917, the politicisation of leisure became the most important feature of public life. Not only rituals, but also performances, concerts, and cinema sessions turned into political demonstrations. The Revolution used new artistic forms, decorations of demonstrations, processions, and mass celebrations. The origins of this phenomenon are in the mass celebrations of the French Revolution (Martin & Piller, 2021). The ceremonial action itself is a synthesis of the arts – pictorial design of space, music, choreography, and costume.

Already in the first years of Soviet power, the symbols of power entered “into the struggle for power.” At diplomatic ceremonies, this struggle was in the nature of a confrontation between European protocol traditions and the newly created rules of Soviet diplomatic etiquette by the staff of the Protocol Department of the People’s Commissariat for Foreign Affairs (ICID). The uniform at diplomatic receptions, concert programmes, the list of dishes served – everything had to meet the norms of Bolshevik ideology (Karyagin, 1994; How to Be Diplomatic, 2022). During the leadership of the People’s Commissariat of Foreign Affairs under V. Chicherin, Protocol Department under D.T. Florinsky is a collective of creative personalities who, without being afraid to experiment, developed norms of protocol practice that have been relevant for decades, compiled in 1923 by D.T. Florinsky’s “Brief Instruction on observing the rules of Etiquette adopted in bourgeois society” was taken as a basis for the creation in 1935 of a new manual on the protocol “Diplomatic Technique” (reprinted in 1938) (AVPRF. F. 057. Op. 3. P. 101. D. 1. L. 20-25).

From the first years of its existence, the Protocol Department of the NKID (People’s Commissariat of Foreign Affairs) (until November 12, 1923 – the protocol division (protocol unit), took an active part in the preparation of foreign visits to the RSFSR (Russian Socialist Federative Soviet Republic), and since 1923 – to the USSR (Union of Soviet Socialist Republics). In the 20-30s, Protocol Department employees were literally at the forefront of “diplomatic” relations, forming the foundations of Soviet protocol practice. Reports of D.T. Florinsky and comments on them by G.V. Chicherina are filled with interesting details that convey the atmosphere, and the spirit of the time with a lot of humor and self-irony. Elegant in form, they are very deep in content. Chicherin and Florinsky carefully analyse every situation that arises during visits, not to punish the guilty, but so that in the future such mistakes of the protocol service do not discredit the authorities, for many of whom the European diplomatic protocol is an external manifestation of bourgeois morality (AVPRF. F. 057. Op. 8. P. 106. D. 6. L. 157-159).

In addition to the development of regulatory documents for the preparation and conduct of foreign visits, the Protocol Department staff actively participated in the organisation of diplomatic ceremonies with the participation of diplomats accredited in Moscow and their family members. The peculiarity of the diplomatic corps’ stay in Moscow was that the embassy staff were in an unusual socio-cultural environment, the value system which was formed by the norms of Bolshevik ideology. Using the methods of agitation and propaganda, the authorities sought to form a negative attitude among citizens towards modern European culture, representatives of which were, among others, employees of diplomatic agencies.

Diplomatic life and ceremonial culture after the formation of the USSR

From 1923 to 1929, the diplomatic corps in Moscow was distinguished by the cohesion of its members and at the same time isolation from Russian reality. But at the same time, from the point of view of the development of diplomatic ceremonial culture, the life of the diplomatic corps was very busy. Receptions at embassies were arranged almost daily and were built according to a certain scenario: during lunch – conversations about politics and art, then a dance or concert program. Many accredited diplomats in Moscow were engaged in collecting objects. So, the Ambassador of France, one of the best French journalists J. Erbet acquired a collection of objects from Ural malachite. The head of the German Embassy, Count Brakdorf-Rantzau, collected antique bronze. Norwegian diplomat Dr. Urbi collected icons. Just like the Latvian Ambassador K. Ozols (2026), he believed that a modern diplomat should spend two years in Moscow to consider himself a professional. The embassies of the Baltic states were practically under siege in Moscow, as states that the USSR wanted to seize into its sphere of influence. The aggressive policy of the authorities has led to the fact that the diplomatic corps has become even more united. Receptions were held quite often at the Latvian Embassy, they were attended not only by well-known journalists, but also by representatives of the Soviet elite (Ozols, 2016). The Lithuanian Embassy occupied a special position in Moscow, largely due to the personality of the envoy Jurgis Baltrushaitis – poet, translator of Byron, Ibsen, d Annunzio, Hamsun, Wilde, Strindberg. Of the Soviet diplomats, who also needed to be included in the diplomatic corps, the most significant was G.V. Chicherin, who was a brilliant pianist, a subtle connoisseur of musical culture.

Despite an active diplomatic life, the Italian writer C. Malaparte (2018) calls the Soviet capital a provincial city in which the creativity of European writers was preferred to the creativity of European fashion designers. The Soviet nobility tried to “try on” the lifestyle of the pre-revolutionary elite of Russian society, but copying the form, it did not care about the content, about its moral and spiritual origins. The traditions of pre-revolutionary secular life continued to develop at receptions at embassies, to which representatives of the Soviet creative intelligentsia were invited. Stalin did not take part in the events of the diplomatic corps, but at the same time the entire diplomatic corps “with one voice” praised the lifestyle of the leader, whom he compared to Bonaparte after 18 Brumaire (November 9), 1799, when the Directory was dispersed in France, and the government headed by Napoleon Bonaparte came to power. Stalin was a dictator, the communist nobility was against him, in the late 20s its representatives tried to imitate Paris, London, Berlin or New York manners (Malaparte, 2018). Notably, the embassies of fascist Italy and Nazi Germany were the peculiar centers of the diplomatic life of the capital of the USSR. In the 20s, the Italian Embassy played a leading role in the life of the diplomatic corps, forming programs of diplomatic receptions, in which, for example, dancing was replaced by playing bridge.

Sports, in particular tennis, united members of the diplomatic corps, but did not contribute to their rapprochement with Soviet colleagues, who for the most part came from a working-peasant environment, were neither practically nor psychologically ready to communicate with foreign diplomats. This problem was discussed in the language of art at one of the most striking events of Soviet diplomatic life in the early 30s – the ball at the German mission (1931), at which, during a theatrical performance, the Soviet protocol was criticized for being late, not knowing foreign languages, etc. (AVPRF. F. 057. Op. 11. P. 109. D. 2. L. 73). During this period, ballroom ceremonial ceased to be a component of the state ceremonial culture, but it still remained an important component of European life. In diplomatic Moscow, balls were given not by official Soviet officials, but by members of the diplomatic corps.

It was the ballroom ceremonial, combining various types of arts, that allowed achieving the greatest emotional impact on those present, who, at the same time, were active participants in the ceremonial, owning a whole complex of relevant class norms. Of all the ceremonials, the ball had the utopian function to the greatest extent. Music, choreography, architectural decoration created an ideal environment from the point of view of artistic harmony. In the 30s, the staff of the German Embassy were the leaders of secular life, but at the same time, German diplomats did not seek to isolate the embassy and the entire diplomatic corps from the NKID staff, but were looking for ways to get closer to them. In particular, discussing protocol issues, for example, the appearance of a diplomat at official receptions.

When Hitler came to power in 1933, the music of R. Strauss and all modern German composers was banned in the USSR. Excluded were the repertoire of Wagner’s operas, which were performed on the stage of the Kiev Opera and Ballet Theater – in the 1926-1927 season – “Meistersingers”, in the 1932-1933 season – “Lohengrin” (Stefanovich, 1960). The Soviet-German agreements signed in Moscow in 1939 had a noticeable impact not only on the political, but also on the cultural development of Soviet society. In 1939, during negotiations with the German Foreign Minister in Moscow, the foundations of a new world order were laid and the map of Europe was “reshaped” considering the interests of Nazi Germany and the Soviet Union.

At the end of 1939, the pro-German musical policy began and the reason for this phenomenon was the Molotov-Ribbentrop Pact. But the changes in the foreign policy of the USSR were said in the language of art a few months before the meeting in Moscow, namely on May 5, 1939. On this day, at a concert for the participants of the military May Day parade in Moscow, the “Chorus of Sailors” by R. Wagner was performed in the 3rd department. Symphony orchestras began to perform R. Strauss (Nevezhin, 2011). The Protocol is not only an instrument, but also a kind of indicator of the priorities of the state’s foreign policy, which was especially clearly manifested in the relations of the Soviet leadership with German representatives in Moscow and during the visit of I. von Ribbentrop. The totality of protocol norms as a whole demonstrated the priorities of the Kremlin leaders in the field of international relations. One of the clearest confirmations of the Kremlin’s loyalty to the chosen course aimed at establishing friendly relations with Germany was the decision to stage R. Wagner’s opera “Valkyrie” on the stage of the Bolshoi Theater by the outstanding Soviet film director S. M. Eisenstein, who openly expressed his anti-Nazi views (Golubev & Nevezhin, 2016). On November 21, the premiere of the opera, which was a kind of “greeting” of a delegation that arrived from Berlin after Molotov’s talks with Hitler and Ribbentrop.

During the Soviet period, all the details of state ceremonies were carefully developed, each of which is an illustration of the ethical norms accepted in society. As in the pre-revolutionary period, great importance was attached to the gesture, musical accompaniment, and the language of the costume. Methods of appearance design are important signals, personality signs. Clothes are a business card. The attitude towards a diplomat is related to the perception of the country he represents. In choosing a suit, the personal preferences of a diplomatic employee give way to political expediency. The “expulsion” of the tailcoat, and even earlier the top hat, from Soviet protocol practice was regarded as a victory in the struggle against bourgeois values. Modern European dances were also considered carriers of ethical norms alien to the Soviet citizen. Despite the prohibitions of the authorities, the daily, unofficial life of Soviet people was filled with foxtrot, tango, waltz, which literally “punched” their way into dance halls at different periods of history. Each of them was accused of promoting sexual promiscuity, called obscene and vulgar. And here it is very important to distinguish between the original choreography and the subsequent “processed” by classical choreographers, teachers of ballroom dancing. The ennobled returned dancing to the ballroom floor and became its kings. Each dance in different periods of history had its own semantic meaning, its own intonation at the ball, being not only an organizational link, but also a kind of expression of the basic ideas of banal ceremonial. Diplomatic privileges and immunities extended not only to diplomats, but also to the forms of their leisure, in particular, to the programs of dance evenings. Thus, the foxtrot, banned in the USSR, is performed in embassies not only by foreign diplomats, but also by the head of the protocol department of the NKID, D.T. Florinsky. The 20s were a time of searching for ways to reconcile traditional European protocol norms with the Bolshevik ideology of the Soviet state.

With the expansion of international contacts, the problem of the exchange of commemorative gifts both in the foreign missions of the USSR and in Moscow itself became more acute and urgent. Especially acute was the issue of the relationship between the authorities and the keepers of the cultural heritage of the USSR – museum workers (AVPRF. F. 057. Op. 8. P. 106. D. 10. L. 223, 223 rev). It should be noted that if the interior items that were not returned to the museum storages remained in the USSR, then the works of painting, sculpture, decorative and applied art became the cultural heritage of other states. The canvases of B.M. Kustodiev “The Beauty” (AVPRF. F. 057. Op. 8. P. 105. D.1. L. 128, 129), S.Yu. Zhukovsky “Forest in early spring” (AVPRF. F. 057. Op. 21. P. 115. D. 4. L. 19), V.I. Zarubin “Landscape with three old ladies” (AVPRF. F. 057. Op. 21. P. 115. D. 4. L. 23), K.F. Yuon “Parade on Red Square on November 7, 1941” (AVPRF. F. 057. Op. 31. P. 155. D. 20. L. 48), A.I. Laktionov “Girl for embroidery”, P.P. Konchalovsky “Lilac” (AVPRF. F. 57. Op. 41. P. 198. D. 36. L. 168), I.E. Grabar “Frost, the last rays” were used as diplomatic gifts (AVPRF. F. 57. Op. 41. P. 198. D. 36. L. 169).

Foreign guests were generously gifted with fur products, some of which can rightfully be attributed to works of art. So, in 1943, Molotov’s wife gave the wife and daughter of the representative of the President of the United States (United States of America) Davis’s outfits were made of fox and ermine, and in 1946 a sable fur coat was presented to the Princess of Iran A. Pahlavi personally from I.V. Stalin (AVPRF. F. 057. Op. 26. P. 127. D. 7. L. 18). The range of Kremlin gifts is very diverse. If in 1944 U. Churchill received as an official gift 10 kg of caviar, 15 liters of vodka and 40 packs of cigarettes, then his wife in 1945 – a diamond of 5.58 carats (AVPRF. F. 057. Op. 24. P. 120. D. 7. L. 33; AVPRF. F. 06. Op. 7. P. 22. D. 246. L. 62).”The Prime Minister’s grocery set is rather evidence of special friendly relations, since in 1944 Churchill was still “his boyfriend”, and you can also give vodka to “your own”. In turn, M.A. Churchill earned a diamond for organising Soviet aid during the war. In this regard, the question involuntarily arises – for what merits the wives and daughters of Soviet leaders received very valuable gifts from foreign guests (platinum watches with diamonds of Stalin’s daughter from I.B. Tito, etc.) (AVPRF. F. 057. Op. 26. P. 127. D. 8. L. 32).

The visit of K. Churchill was one of the first independent visits of the wife of a state leader to the USSR. The “women’s visit” forced the staff of the Protocol Department to depart from the “men’s code” of the Soviet protocol, in which the presence of women at official receptions was not welcome. The situation began to change in March 1945 during the visit of Czechoslovak President Benes and his wife to Moscow: members of the delegation were invited to dinner with Stalin (March 28) together with their wives (AVPRF. F. 057. Op. 25. P. 123. D. 8. L. 53.). Ulanova, Maksakova, Kozlovsky, Mikhailov and others performed at the concert in the Central House of the Red Army (CDKA) [25]. The President’s wife visited the Moscow Art Theater (Moscow Art Academic Theater named after M. Gorky) (the play “Russian People”) and the ballet school at the Bolshoi Theater.

It should be noted that in the programs of official foreign visits there is practically no information about the visits of guests to academic drama theaters in Moscow and other cities of the Soviet Union. The reason for this phenomenon probably lies not only in the difficulty of translation – professionals possess a number of artistic techniques that allow not only to understand the meaning of what is happening on stage, but also to feel the atmosphere itself, the mood of the performance. Probably one of the reasons is the repertory policy of theaters, which could not refuse to stage plays by foreign and pre-revolutionary domestic playwrights. But even in the traditional staging of classical works, censorship could detect an encroachment on the foundations of communist morality, at the same time, visiting the Bolshoi Theater was an important component of the programs of foreign visits to the USSR. Great music and choreography, and outstanding performers, greatly contributed to the fact that the ballet “Swan Lake” became a kind of element of Soviet classical diplomacy (Karyagin, 1994).

After the “Basic provisions of Protocol practice in the USSR” approved in 1976 by the Central Committee of the CPSU (Central Committee of the Communist Party of the Soviet Union), official visits to the theater were excluded from the programs of foreign visits. (AVPRF. F. 057. Op. 60. P. 260. D. 1. L. 40, 41, 43, 44). The official version is saving public funds. But in our opinion, the main reason is the confidence of the leaders of the state that their political course does not need the support of art. Moreover, in the 70s and early 80s, representatives of the creative intelligentsia, including soloists of academic opera and ballet theaters, were either expelled from the country – Vishnevskaya and V. Rostropovich – or preferred to work in foreign collectives in the Bolshoi Theater or the Kirov Theater (Mariinsky Theater) – Natalia Makarova, Rudolf Nureyev, Mikhail Baryshnikov, Alexander Godunov. But the specific features of the Kremlin leaders’ “understanding” of the significance of works of art in the political life of society in no way begs for their value.

The art of ballet forced the world community to see the USSR as a country in which the traditions of classical art continue to develop, and, consequently, human values are not alien to the Soviet state. Thus, it is possible to build partnerships with the Soviet Union, which are based on mutually beneficial cooperation. At Kremlin receptions, there was a representation of power, the process of interaction between the party leadership and the invited audience, which allowed communicating (including using the language of art) to the broad masses the main ideas of power. Individuals with a high social status, an active and trustworthy part of society, were invited to the Kremlin.

Features of the development of the cultural repertoire in Soviet Moscow

In states with a pronounced vertical of power, state policy in the field of culture largely depends on the tastes of the leaders of the state. At the same time, not only are the people deprived of the right to choose, but also the ruling elite, which for the most part was deeply mistaken about their real capabilities. The slightest violation of the designated rules of the game could lead to moral and physical destruction. The proof of the above is the Soviet musical doctrine of the 30s-50s of the twentieth century during the active process of the totalization of art in the USSR.

A comparative analysis of the programmes of government concerts in Moscow and the repertoire policy of Ukrainian theaters showed that they were united not by what was performed, but rather by what was forbidden to perform. So, in the repertoire of theaters, including concert programmes, there are no works of Hindemith, Stravinsky, Bartok, Kozelli, Schoenberg, Mesian, Penderetsky, Berg, Krshenek, Schreker and Kurt Weil. They were excluded from concert programs and theater posters after Zhdanov’s articles against Shostakovich’s music – “Confusion instead of Music” (about opera “Lady Macbeth of the Mtsensk district”) and “Ballet Falsehood” (about the ballet “Light Stream”), published in January and February 1936 in the newspaper “Pravda” point to this.

In totalitarian states, the government deprives the people of the right to choose. The development of entire directions in the field of art depends on the leader’s predilection. Before the war, Stalin liked the music of I. Dzerzhinsky. As a result, the composer’s operas were staged on the stage of leading musical theaters: “Raised Virgin Land” – in Kiev (season 1937-38); in Odessa (1937), in Dnepropetrovsk (1937); “Quiet Don” – in Kiev (season 1936 – 1937), in Lviv (1940). The works of D. Shostakovich, including the opera “Lady Macbeth of the Mtsensk district”, did not make a proper impression on the leader. So, it is not surprising that they were not on the theater posters of opera houses and in the programs of government concerts. At the same time, the 7th Symphony (Leningrad) was performed on February 21, 1943 on the stage of the Royal Albert Hall of Arts and Sciences in London during the theatrical performance “Salute to the twenty-fifth anniversary of the Red Army”, which is a unique event in the history of Soviet-British cultural ties (RAHE/1/1944/16).

The press noted the “grandiose” design of the stage space, which represented a stylized view of the Russian city. Each of the two thousand participants, attracted from various services, factories, civil defense institutions, as well as the London Philharmonic Orchestra, numerous Guards orchestras, outstanding artists, was an important component of the stage action, which The Times called a “triumph” (The Times, 2022). Against the background of the aggravation of allied relations caused largely by the Katyn tragedy, as well as the problem of opening a second front in Europe, a concert dedicated to the twenty-sixth anniversary of the Red Army on the stage of the Royal Albert Hall on February 23, 1944 acquires special political significance.

A kind of culmination of the concert, composed of works by outstanding composers of the English musical Renaissance, led by Edward Elgar, was the work of G.F. Handel “Hallelujan Ghorus Aroma Messiah” performed by the Royal Choral Society and the London Symphony Orchestra (The Times, 2022). Despite the fact that the concert was dedicated to the Red Army, it became an important factor in British cultural diplomacy. In London, the music of D. Shostakovich and S. Prokofiev was played, but we could not find them in the programmes of government Kremlin concerts either during the war or in the post-war periods.

In totalitarian states, the subjective factor prevails over national interests, priorities in domestic and foreign policy. Stalin loved opera. Excerpts from opera performances by Tchaikovsky, Rimsky-Korsakov, Borodin, Rossini, Gounod were performed at almost every government concert. In choreography, he preferred characteristic and national dances to classical dance. The leader did not like instrumental music, especially symphonic and chamber music. We were unable to find fragments of symphonic works by Russian and Western European composers in the programs of government concerts, as well as long-lasting compositions for solo instruments – sonatas, concerts.

Stalin considered vocal music to be the highest kind of music. These opinions of the leader were reflected in the musical Soviet policy and were theoretically justified in the resolution of the Central Committee of the CPSU in 1948. In the field of folk music, he preferred Ukrainian and Russian folk songs. The Kremlin leaders had a special dislike for vocal and instrumental modernist music. Thus, Stalin’s tastes formed the basis of strict control in the field of musical creativity. The musical doctrine of the Soviet government was based on the musical tastes of the leader. This doctrine wore the mask of “socialist realism in music.” But it was the “mask” under which the music that gave Stalin pleasure, the works that acted on the leader “like a dentist’s drill or a musical slaughterhouse” (as Zhdanov put it), were excluded from the repertoire. In February 1948, the Moscow central newspapers published a resolution of the Central Committee of the CPSU(b) (Central Committee of the All-Union Communist Party of the Bolsheviks) about the opera “The Great Friendship” by Vano Muradelli, in addition to the author, D. Shostakovich, S. Prokofiev, A. Khachaturian, B. Lyatoshinsky, V. Shebalin, N. Myaskovsky.

Lviv Theater excluded the opera V. Muradelli and other “dubious” performances in the light of the new party decrees. In Lviv, Prokofiev and Khachaturian were “rehabilitated” only in 1965, when the ballets “Cinderella” and “Spartak” were staged on the stage of the theater. In 1985, S. Prokofiev’s opera “War and Peace” was presented to the audience. It is a mistake to say that only modern music was subject to the ban. What the leader did not like and did not understand, for example, the Viennese operetta, was not performed. Ballet “The Big Waltz” to the music of I. Strauss was stopped in Lviv in 1957, and the operettas “The Gypsy Baron” and “The Bat” – in 1960 and 1982, respectively. In the 40s, paradoxically, the cultural programmes of the Allies contributed more to the creation of a positive image of the USSR – a theatrical performance (1943) and a concert (1944) at the Royal Albert Hall – than the programmes of government concerts in the Kremlin and the Bolshoi Theater. A performance glorifying the Red Army was created in the Albert Hall, and in Moscow in the same year a reception was held at the Spiridonovka, which was more famous for abundant treats, rather than a concert programme. The “thaw” that came in the mid-50s forced Soviet leaders to reconsider the style and methods of international activity.

The number of diplomatic missions accredited in Moscow increased from 1918 to 1945 from 2 to 32. In 1960, the USSR already had diplomatic relations with 69 states, 53 foreign diplomatic missions were accredited in Moscow. Soviet leaders practically did not attend receptions at embassies, diplomatic staff, military personnel, cultural figures were sent there – all according to the approved list. In the early-mid-50s, the Soviet government began to take measures aimed at establishing active contacts with the diplomatic corps, providing it with information about new achievements, processes in the development of the economy, science, culture, etc. The protocol service organized regular screenings of new works of cinematography and theater, trips around the country, meetings with representatives of the creative intelligentsia.

In 1953-1954, conditioned upon the intensification of the USSR’s foreign policy, more international meetings, congresses, festivals, exhibitions, etc. began to be held. In the “activation” of work with the diplomatic corps, the main role was assigned to cultural programs. In the Bolshoi Theater, in the Kremlin Palace of Congresses, separate seats were assigned to diplomats. In the representative mansion of the Ministry of Foreign Affairs (Ministry of Foreign Affairs) Since January 1963, the USSR has organised weekly screenings of feature films, monthly author’s evenings of famous cultural figures. The demands to take measures to “activate” work with the diplomatic corps were repeated in the decisions of the Board in the 70s and 80s.

In 1970, the British Council (a semi-governmental organization operating under the auspices of the Ministry of Foreign Affairs in the field of cultural, scientific and other humanitarian exchanges) promoted the organisation of an exhibition of ancient Chinese drawings in London. In exchange, Beijing received the London Symphony Orchestra. In diplomacy, this cooperation has been called “symphonic ping-pong”. “Ping Pong diplomacy” became a household name after the Chinese-American table tennis match, which marked the beginning of active relations between the United States and the People’s Republic of China (People’s Republic of China).

Conclusion

In the early years of Soviet power, representatives of the workers’ and peasants’ government tried to ignore the norms of diplomatic protocol and etiquette, arguing that they were based on bourgeois morality alien to the young Soviet Republic. But already in the early 20s it became obvious that it is impossible to build partnerships with foreign countries without observing generally accepted European norms, traditions and conventions in international communication.

In the post-war years, the isolation of part of the diplomatic corps continued on an ideological basis. Such a situation could not but influence the behaviour of the members of the diplomatic corps in Moscow, in which there was, along with the traditional, a kind of diplomatic counterculture, that is, the deliberate disregard by the participants of international communication of the accepted protocol norms, and the rules of respect and politeness in international communication. Behind the seemingly “dry” language of the protocol are specific individuals with their habits and characters. In the system of international relations, art as a communicative factor not only poses problems, but also contributes to their resolution.

The study identified that art is a communicative factor not only in classical, but also in public diplomacy. In this regard, the profession of a diplomat implies communication both with persons provided for by the protocol service, and with scientists, writers, musicians, artists. Otherwise, diplomacy will remain an archaic institution that ignores public opinion, denies the possibilities of public diplomacy, and, consequently, the role of “soft power” in world politics, which defends the national interests of the state peacefully, using, among other things, the language of art in state ceremonies.

Declaration of Conflict of Interests

The author(s) declared no potential conflicts of interest.

Funding

No funding has been received for the publication of this article. It is published free of any charge.

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Image of Woman in Indonesian Folktales: Selected Stories from the Eastern Indonesian Region 

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Sugiarti1, Eggy Fajar Andalas2 & Aditya Dwi Putra Bhakti3

1Department of Indonesian Language Education, University of Muhammadiyah Malang, Indonesia, sugiarti@umm.ac.id

2Department of Indonesian Language Education, University of Muhammadiyah Malang, Indonesia, eggy@umm.ac.id

3Department of Communication Science, Faculty of Social and Politic Science, University of Muhammadiyah Malang, Indonesia, aditya@umm.ac.id

Rupkatha Journal, Vol. 14, Issue 2, April-June, 2022, Pages  https://doi.org/10.21659/rupkatha.v14n2.12

First published: June 19, 2022 | Area: Gender Studies | License: CC BY-NC 4.0

(This article is published under Volume 14, Number2, 2022)
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Abstract  

In Indonesia, a folk tale is used as a medium of entertainment as well as a teaching tool for children. Parents read folktales to their children at night. Folktales are used in the text of Indonesian lessons at the elementary education level. However, Indonesian folktale is suspected of being gender-biased. Although there is research on this subject, there is still little research on Indonesian folktales originating from Eastern Indonesia. Previous research conducted is still focused on the western region of Indonesia, for example, Java and Sumatra Island. This study aims to understand how women are depicted in Eastern Indonesian folktales, especially to understand the objectification of female characters. Based on the results of our research, we argue that many female characters in Eastern Indonesian folktales are subject to objectification. The objectification of female figures is carried out in the form of women as objects of sexuality, women as a medium of exchange of power, and women being passive and working in the domestic sphere. This finding shows that the folktale of Eastern Indonesia cannot be separated from patriarchal ideology. These stories show that women in the imagination of the Indonesian people still occupy an inferior position compared to men. Furthermore, the female characters also experience objectification and inequality as in folktales from Western Indonesia. The patriarchal point of view in folktales has deep roots and spreads in Indonesia. Research proves that the ideology of folktale is not always in harmony with the ideal values ??that exist in society. It takes a critical attitude towards the selection of stories that will be conveyed to children

Keywords: Image of Woman, Objectification, Indonesian Folktales, Eastern Indonesian Region

Introduction

According to the Central Statistics Agency of Indonesia (2015), 1331 ethnic groups inhabit the territory of Indonesia, an archipelagic country consisting of various cultures. The cultural heritage of Indonesia is enriched with artifacts produced by these diverse ethnic groups as hinted by the presence of 366 documented folktales in the nation. (Baihaqi et al., 2015) But, in comparison with a large number of ethnic groups, the number of documented folktales is very little. The existence of folktale in a community occupies an important position. A folktale is an ethnographic description of the community that owns the story (Dundes, 1969) because it contains its values and worldview (Andalas, 2018; Aristama et al., 2020; Sulistyorini & Andalas, 2017). For generations, the folktales have been passed down as “cultural treasures” that contain the cultural essence or cultural DNA (Bar Zaken, 2020) of a particular community. In other words, understanding the folktale of a community will gain knowledge and views of the community’s life (Andalas, 2015; Dundes, 1969). These various cultural treasures are passed down between generations and perceived as shared cultural truths.

In Indonesia, a folktale is used as a medium of entertainment as well as a material for teaching to children. Parents’ reading folktales to their children at night and their usage in the text of Indonesian lessons at the elementary education level shows the importance of folktales to the people of Indonesia. However, in reality, various folktales, that are constantly reproduced and consumed in reading books or learning materials in schools, are suspected of being gender biased (Eliyanah & Zahro, 2021). Andalas & Qur’ani (2019) argue that Indonesian folktales have an imbalance in the proportion of characters and a particular stigma is attached to the male or female gender.

Various folktales found throughout the world also contain gender bias as exemplified in Persian folktales where male and female characters are depicted as different-sex objects while men are portrayed as independent, rational, strong, and accomplished characters and women as the opposite (Hosseinpour & Afghari, 2016); the folktales of Sri Lanka which reflect male dominance in the stories (Medawattegedera, 2015). However, there are also examples of exceptional  folktales where the women are not subordinated or subjugated rather heightened as the African folktales which reject or subvert women’s patriarchal control, manipulation, exclusion, and oppression (Florence, 2016; Sheik, 2018); or folktales found in Saudi Arabia present brave and intelligent women (Al-Khalaf, 2019).

The outcomes of previous research intensify the belief that folktale as a form of cultural heritage must be assessed concerning its topic, form, and content as it is related to the children’s acquisition of knowledge. Understanding these parts of folktales is crucial as the pragmatic development at the level of early childhood is not adequate to comprehend the problem of gender bias that is socially and culturally imposed on them.

Studies on gender issues in folktales found in several regions of Indonesia, as in Java (Ariani, 2016; Hapsarani, 2017; Iswara, 2019; Juansah et al., 2021; Rochman, 2015; Sari, 2015; Setiawan et al., 2016; Wulansari, 2020), folktales from Sunda (Fauzar, 2019), folktales from North Sumatra (Baiduri, 2015; Paramita, 2020; Syahrul, 2020), and folktales from Southeast Sulawesi (Putra, 2018) among others, have been carried out. Instead of the research works of a large quantity done on the folktales originating in the Western parts of Indonesia like Java and Sumatra Island, the folktales of Eastern Indonesia have not been observed from scholarly perspectives. So, it has an utmost necessary to do research works on those unsung tales. So, this study aims to throw light on the folktales originating in Eastern Indonesia. This research aims to understand how women are depicted and also objectified in Eastern Indonesian folktales. It is expected that the results of this study can complement the results of previous studies. Understanding this issue will help us reassess the story based on the topic, form, and content because it is related to the acquisition of knowledge that children will receive. This is also important because perceptions at the early stage of children’s growth and development are not suitable for understanding the problems of socially and culturally imposed gender ideology.

Gender Representation in Folktale

Representation is the practice of constructing meaning through signs and language (du Gay et al., 1999; Hall, 2003). From this perspective, language is not understood as a stable thing and will always be tied to the context in which it attends. In everyday life, human beings use language to translate and construct various meanings about various things around them. Various objects that exist around human life are understood as neutral things. However, through human beings’ marking, the meaning of an object is attached by constructing several representations. The meaning attached to an object is not standard but fluid, and can always change according to the context of human development in interpreting things.

Hall (2003) views language as a representational system because, through language, human beings can maintain the dialogue that occurs and allow them to build a culture of shared understanding and interpret the world around them in the same way. Language is a medium that can represent thoughts, ideas, and feelings in a culture. Therefore, representation through language is essential for creating meaning because culture is a battleground for meaning. Through culture, various meanings about things are created and legitimized as a common truth.

As the author’s ideological space, folktale provides dozens of spaces for interpretation and hypnotizes his readers to unconsciously participate in the ideological flow contained in literary works (Sugiarti & Andalas, 2018). This is because the process of reproducing literary works is not isolated from the cultural, political, and social context of a society and, in turn, will shape the worldview of writers, readers, and the audience (Arimbi, 2009). In the context of this research, a folktale becomes a space for the representation of gender construction from the perspective of Indonesian society. The various divisions of roles inherent in each character, regarding how to be a man and a woman, are a form of representation of the ideology of gender in Indonesian society. These various ideologies are embodied in literary fiction spaces that the readers will receive.

Through the representational system built-in folktale, the identity to be a woman or a man is built. Identity, in the study of feminism, is not understood as a singular thing. Identity is the result of the construction of individuals or groups in the self-labeling process. Gender, from the point of view of feminism, is seen as the result of socio-cultural construction prevailing in a society. Therefore, the gender identity attached to the roles that men and women must carry out in human life is the result of human construction and is not innate. Therefore, gender identity is a political matter. The identity construction process does not occur in a single or causal process at the subject’s will but is a temporal process that operates through the repetition of norms (Butler, 1993).

In this identity politics, feminism is positioned to attack the traditional identities attached to women based on traditional norms built from the point of view of men’s minds. Women are invited to build awareness of their identity by understanding it as a flexible thing (plural) and not like what men have attached to it (Lara, 1998).

Apart from this, space and time also significantly influence the process of identity formation. Different moments will create different identity narratives, and different environments build different historical perspectives (Arimbi, 2009). In this context, it is crucial to understand the form of gender identity built in the narrative of Indonesian folktales.

Female Objectification

The existence of folktale as a cultural product of society cannot be perceived as a value-free cultural product. Folktale as a cultural product is ideological. A folktale is constructed based on a particular point of view. Within this framework of thought, feminist criticism aims to weaken oppression against women from economic, political, social, and psychological perspectives.

The perpetuation of operations against women on cultural products, such as folktales, is carried out by using the male point of view in seeing the reality of life. This point of view then seems to be seen as neutral and inclusive even though it is not neutral and inclusive because it tends to objectify women (Hapsarani, 2017).

Objectification theory argues that women experience sexual objectification when they are treated as body parts or a collection of body parts judged on their benefit to others  (Fredrickson & Roberts, 1997). Sexual objectification is a form of dehumanization because women are seen as objects or commodities (Nussbaum, 1995). Women are treated as objects which do not have complete power over their destiny and can be bought or sold without considering their experiences and feelings. This shows that sexuality and sexual relations are born by asymmetric power structures.

Seven conditions indicate the occurrence of objectification in a person: 1) if someone is treated as a tool to fulfill goals, 2) if someone is treated as a person who cannot determine his wishes, 3) if someone is treated as a person who has no agency, 4) if someone is treated as if they could be exchanged with other objects, 5) if someone is treated as an object that can be hurt, 6) if someone is treated as something that can be owned, and 7) if a person’s feelings and experiences are considered unimportant (Nussbaum, 1995). These indicate the occurrence of objectification in building subject-object relationships.

Based on the opinion above, it appears that the various descriptions in Indonesian folktales need to be evaluated in the framework of gender studies. Various representations of the objectification of women in stories are indeed very dangerous, especially when children consume folktales. Sexual objectification is the beginning of the emergence of sexual violence, which has significant consequences on one’s understanding and perspective on sexual violence (Loughnan et al., 2013). When a person sexually objectifies another person, he will perceive that that party is lower than himself. The perception of women as objects of men, especially in terms of sexuality, is very dangerous for children’s understanding of gender. Women are only seen as objects or commodities.

Impact of Gender Biased Reading Materials on Children

In contrast to sex, gender is a trait that is attached to human beings based on their socio-cultural roles in society. Throughout the history of the development of human life, there have been situations of injustice in the position and roles of women in various spheres of human life. Women tend to be positioned as inferiors who must submit to the superiority of men who dominate human life (Bourdieu, 2001).

As a fundamental dimension in understanding social life individually, gender becomes a tool for self-awareness in responding to and understanding various phenomena around them. In addition, gender awareness also influences how human interactions may be held as a worldview from birth to death (Taylor, 2003). Therefore, a person is never born with a particular gender but with the freedom to determine the roles and positions they want in their lives.

Childhood is a crucial period that will affect the way of life until adulthood. This stage is the initial stage for children to learn to understand various realities and respond to them. Through reading materials or fairy tales that they consume every day, children will get information on attitudes, values, beliefs, and behaviors that they will emulate and apply in their lives. In this position, it is crucial to be aware of the stereotypes that are widely practiced by patriarchal cultures regarding how men and women should play their roles in life. If children are presented with gender-biased stories from an early age, this will affect how children perceive various things in their future lives.

Various forms of ideology and teachings, both explicit and implicit, exist in literary works created from a patriarchal point of view and continue to be studied and shared in each generation. As a result of this kind of consumption, children will perceive various things in the story as a truth stored in their subconscious, and unconsciously will become their guide in interacting and behaving with their environment in the future. If this continues, children from an early age will begin to perceive biased gender roles in memory even though they cannot discriminate between men and women sexually (Bussey & Banddura, 1992). This is despite the view that, in reality, children feel that they have to identify themselves sexually, as male or female. If this is allowed to continue, there will be efforts to perpetuate patriarchal culture to limit the various roles of women from an early age and limit children’s social processes in the later years of development (McDonald, 2010).

Method

This study uses a qualitative method and the feminist literary criticism approach. Sources of research data are Indonesian folktales originating from Eastern Indonesia, namely 1) “The Legend of Ile Mauraja from East Nusa Tenggara”, 2) “The Origin of Lake Limboto from Gorontalo”, 3) “The Origin of Botu Liodu Lei Lahilote from Gorontalo”, 4) “La Upe from South Sulawesi”, 5) “Sawerigading from South Sulawesi”, 6) “La Onto-Ontolu from Southeast Sulawesi”, 7) “Indara Pitaraa and Siraapare from Southeast Sulawesi”, 8) “The Legend of the Horn of Nature from Central Sulawesi”, 9) “Napombalu from North Sulawesi”, 10) “Alamona n ‘Tautama n’Taloda (First Man in the Talaud Islands) from North Sulawesi”, and 11) “Four Sultans in North Maluku from Maluku”. The eleven stories have been accessed from the documentation done by www.ceritarakyatnusantara.com. This website is one of the complete databases for the preservation of folktales. The stories on the website are managed by the Center for the Study and Development of Malay Culture, Yogyakarta, Indonesia. The selected eleven stories fulfill the following criteria:  1) The stories come from the eastern part of Indonesia; 2) there are female characters in the story; 3) there is a depiction of the role of female characters in it. The eleven stories are analyzed using content analysis techniques with a feminist perspective to criticize how women are depicted in folktales in Eastern Indonesia.

Results and Discussion

This study aims to describe the representation of female characters in Eastern Indonesian folktales, especially the objectification of female characters. The data shows three forms of the objectification of female figures: women as objects of male sexuality, women as a medium of exchange of power, and women who are passive and work in the domestic area.

Women as Objects of Male Sexuality

Objectification theory argues that women experience sexual objectification when they are treated as body parts or a collection of body parts judged on their benefit to others (Fredrickson & Roberts, 1997). Sexual objectification is a form of dehumanization because women are seen as objects, or commodities (Nussbaum, 1995). Women are treated as objects which do not have complete power over their destiny and that can be bought or sold without considering their experiences and feelings. This shows that sexuality and sexual relations are born by asymmetric power structures.

In Eastern Indonesian folktale, it is found that the story is not neutral, and it tends to be inclusive because the depiction in the story tends to objectify women. In the eleven stories analyzed, this depiction was found in eight stories, namely “The Legend of Ile Mauraja from East Nusa Tenggara”, “The Origin of Lake Limboto from Gorontalo”, “The Origin of Botu Liodu Lei Lahilote from Gorontalo”, “La Upe from South Sulawesi”, “Sawerigading from South Sulawesi”, “Napombalu from North Sulawesi”, “Alamona n’Tautama n’Taloda (First Man in the Talaud Islands) from North Sulawesi”, and “The Four Sultans in North Maluku from Maluku”.

The representation of women as objects of sexuality in the stories like “The Legend of Ile Mauraja”, “The Origin of Botu Liodu Lei Lahilote”, “The Origin of Limboto Lake”, “Alamona n’Tautama n’Taloda” (First Man in the Talaud Islands), and “The Four Sultans in North Maluku” show similar motifs. These five stories have the same motive; they begin with a male character who accidentally sees seven beautiful women taking a bath. Girls are depicted as half-human beings, such as angels or other creatures. The male character then peeks at seven girls who are bathing and decides to steal a wing or other object that causes one of the youngest nymphs not to return to heaven. The girl is then married to a male character to have a child. However, the ending is not happy because someone will always separate them; whether they die or one of the characters (female) finds the object or wing and leaves the man. At the end of the story, a different motif is found in the Origin of Lake Limboto because women defeat male characters with their supernatural powers.

In “The Legend of Ile Mauraja” from East Nusa Tenggara, for example, it is told that one day a king who was looking for a goat got lost and entered a cave. However, he accidentally saw seven girls bathing in a river from the cave. He was fascinated and wanted to marry one of them. He took one of the garments and hid it in a tree hole. The clothes belonged to the youngest. They got married, but fateful fate made them burn to death (Samsuni, 2011c). The original story of Botu Liodu Lei Lahilote from Gorontalo also tells the same thing. However, in this story, the main character is a young man named Lahilote. One day Lahilote accidentally peeked and was fascinated by seven nymphs who were bathing in the lake. Lahilote then took one of the wings of the seven nymphs and hid it in the house. It made her unable to return to heaven. Lahilote comes back and pretends to help him. Long story short, Lahilote married the youngest angel and lived in harmony until finally the youngest angel who had been tricked found her wings hidden by Lahilote and returned to heaven (Samsuni, 2009a). The same story of the Origin of Botu Liodu Lei Lahilote is also found in the story of Alamona n’Tautama n’Taloda (The First Man in the Talaud Islands) (Samsuni, 2010a), dan and the Four Sultans in North (Samsuni, 2010b). The thing that distinguishes the story of the Four Sultans in North Maluku is that the object stolen by the male character is a shawl.

The above four stories refer to the same scene, namely the desire of men to have women in the wrong way. They want to have women based on their physical image, which is beautiful. The objectification of the women in the story is practiced as women are treated as body parts or bodies that are only judged based on their utility. In the story, the description of the objectification of the female body is illustrated through the narrative and dialogue as found in the following Legend of Ile Mauraja:

How surprised he was when he saw seven beautiful girls bathing in the river in the cave.

“Oh… how beautiful those girls are!” murmured the King’s with admiration.

Seeing the beauty of the girls came his intention to marry one of them. So, he secretly took one of the clothes from the girl that was placed on the river bank. Then he hid the clothes in a tree hole. (Samsuni, 2011c).

In the data above, women are objectified for their physical beauty. Similar representations are also found in other stories. In the original story of Botu Liodu, Lei Lahilote is described as “He then hid behind a big tree, then peeked out to check on the situation…He watched their every move without blinking an inch. The handsome young man was fascinated by the beauty of the girls.” (Samsuni, 2009a) likewise in the stories of Alamona n’Tautama n’Taloda (The First Man in the Talaud Islands) and the Four Sultans in North Maluku. The woman in the story lives in a culture that places her body to be looked at, judged, and objectified (Fredrickson & Roberts, 1997). In fact, in the stories, “Alamona n’Tautama n’Taloda” (First Man in the Talaud Islands) and “The Origin of Lake Limboto”, expressions of exploitation of the female body are described in a more vulgar way. In the story, “Alamona n’Tautama n’Taloda” (First Man in the Talaud Islands), verbal expression is expressed by “from behind the phone, he then observes the movements of the angels who are taking a bath. Wow, this is a really amazing sight. How beautiful those women are,” murmured the Crab Man in admiration.” (Samsuni, 2010a). Likewise in “The Origin of Lake Limboto”, which is “from behind the tree, he watched the seven nymphs bathing until their eyes did not blink a bit.” (Samsuni, 2009b).

In La Upe, Sawerigading, and Napombalu stories, female characters are visually exploited by male characters through their physical beauty (Samsuni, 2009c, 2009e, 2009d). Unlike the four stories above, in these three stories, the exploitation of women’s bodies is expressed in the admiration of the female characters’ physical appearance by the male characters. Through the description of physical beauty, the male’s sexual desire is displayed. This picture needs to be taken seriously because the representation of women’s bodies and the desire for male domination over women’s bodies need to be viewed as social practices (Goffman, 1971) and systems of power (Laqueur, 1990). This picture, at the same time, confirms the dominance of men over women (Bourdieu, 2001). Women become weak figures who are displayed more with just their physical aspect. The depiction of female intellectuals as human figures is not found in the story. Various descriptions found regarding the objectification of women in Eastern Indonesian folktales are in line with research findings on Western Indonesian folktales (Baiduri, 2015; Fauzar, 2019; Hapsarani, 2017; Iswara, 2019; Juansah et al., 2021). Women in folktales in the region also experience sexual discrimination in the form of objectification. The female characters in folktales tend to be passive, and the beauty aspect is the main attraction for male characters to get female characters. In addition, women become objects, especially of the sexuality of male characters.

Various representations of the objectification of women in stories are indeed very dangerous, especially when children consume folktales. Sexual objectification is the beginning of the emergence of sexual violence and it has significant consequences on one’s understanding and perspective on sexual violence  (Loughnan et al., 2013). When a person sexually objectifies another person, he will perceive that that party is lower than himself. The perception of women as objects of men, especially in terms of sexuality, is very dangerous for children’s understanding of gender. Women are only seen as objects or commodities.

Women as an Exchange of Power

Women are objectified when they are seen or treated by others as objects(Nussbaum, 1995). Objectification works through the experience of treating a body that is judged in terms of its usefulness for (or consumption by) others (Hapsarani, 2017). In the folktales of Eastern Indonesia, two stories describe female characters as a medium of exchange of power. The two stories are “Sawerigading” from South Sulawesi and “Indara Pitaraa and Siraapare” from Southeast Sulawesi. This depiction cannot be separated from the use of the background of events during the royal period. In the story of “Sawerigading”, the princess of the Chinese kingdom was used by her father to strengthen the ties of brotherhood with the kingdom of South Sulawesi. Putri does not have a role in participating in making choices in her life for the power of male characters (Samsuni, 2009e). Likewise, in the story of “Indara Pitaraa and Siraapare”, the king’s daughter became a gift for Indara Pitaara for helping to kill a giant snake. Putri has no power over her destiny and choices for the sake of perpetuating the king’s power in this region (Samsuni, 2011a).

The objectification of women as a medium of exchange of power in both of the stories occurs because women do not have the power to make decisions. In both the stories as well as in almost many folktales from Indonesia, women are depicted as passive beings who do not have the power to have opinions or make decisions (Toha-Sarumpaet, 2010). The depiction in folktale almost entirely depicts decisions made by men. This condition has implications for the emergence of constructions regarding the nature that a woman must possess. A good woman is a woman who obeys the decisions of men. However, in the folktale above, the passivity of women causes them to become objects for the medium of exchange of power. Women become commodities for men’s interests in perpetuating their power.

Women are Passive and Work in Domestic Areas

One of the methods of objectification of women is identifying a person based on his body or body parts (Langton, 2009). In Eastern Indonesian folktales, some depictions limit women’s space based on identifying their physical condition. The female characters in the story are described as having only access to the domestic area. Women occupy a passive role and obey the male characters. This is because women are depicted as physically weak characters and need men as their protectors.

In most of the stories, female characters are only described as having access to the domestic sphere. The female characters are tasked with taking care of household needs. In the story of La Onto-Ontolu, by the female character, Grandma, everything that deals with the kitchen area is done (Samsuni, 2011b). The grandmother figure is a representation of the depiction of the role of women in this region. Likewise, in the story of Indara Pitaraa and Siraapare, the mother character is depicted as the person who is responsible for the kitchen to meet the food needs of her children. Unlike the female characters, the male characters have access to get out of the domestic area. They have to work outside and even have access to leave the village to earn a living (Samsuni, 2011a).

The data shows that in the folktale of Eastern Indonesia, women are also described as being more dominant in the domestic sector. This picture is in line with the research findings conducted by  Zahro et al., (2020), which state that in Indonesian folktales, female characters tend to maximize their potential in the domestic sector and ignore broader competencies. Moon & Nesi (2020), in their research on fairy tales from East Nusa Tenggara, also found that women have more roles in the domestic area. Women rarely appear in public. This means that the images of women in folktales, both in the Western and Eastern regions of Indonesia, tend to represent women’s roles in the domestic sphere.

The placement of women’s positions only in the domestic area is closely related to how men perceive women’s physical strength. Many female characters in Eastern Indonesian folktales depict women as passive beings who have no will. Characters are treated as individuals who do not have the autonomy or ability to determine their desires (Nussbaum, 1995). For example, in the story of La Onto-Ontolu, the character Putri Bungsu must obey her husband’s invitation to leave her family at the palace (Samsuni, 2011b). The female character is described as a good figure if she follows her husband’s decision.

This picture shows the position of women in the family. A man is the head of the family as well as the protector of his wife and children. This construction influences how men view women’s position as weak creatures who only need to work at home and wait for the results of men’s hard work.

Women’s domestic roles and passivity are in contrast with the more dominant characteristics of men. Men have a much stronger physical body and can protect women. This depiction is emphasized in the Legend of the Horn of Alam story as a male character who comes to save a female character from being kidnapped (Samsuni, 2019). Similar stories are also found in several other stories. In this construction, men become patrons for women who nurture and protect.

Conclusion

This study aims to understand how women are depicted in Eastern Indonesian folktales. This understanding is mainly related to the objectification of female figures. Based on the analysis conducted on eleven folktales, it is found that many female characters in Eastern Indonesian folktales are subject to objectification. The objectification of female figures is carried out in the form of women as objects of sexuality, as a medium of exchange of power, and as being passive and working in the domestic sphere. This finding shows that the folktale of Eastern Indonesia cannot be separated from patriarchal ideology. These stories show that women in the imagination of the Indonesian people still occupy an inferior position compared to men. Furthermore, the female characters also experience objectification and inequality as found in the folktales of Western Indonesia. The patriarchal point of view in the folktales has deep roots and spreads in Indonesia. Research proves that the ideology of folktale is not always in harmony with the ideal values ??that exist in society. It takes a critical attitude towards the selection of stories that will be conveyed to children.

Declaration of Conflicts of Interests
The author(s) declared no potential conflicts of interest.

Funding
The authors would like to thank the Directorate of Research and Community Service – Directorate General of Research and Development Strengthening – Ministry of Research, Technology and Higher Education of the Republic of Indonesia for funding this research.

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From White Supremacism To Black Liberation: Harry S. Truman, Lynching and Racial Justice

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Giovanni B. Corvino     
University of Turin. ORCID: 0000-0002-8191-3500. Email: giovanni.corvino@edu.unito.it

Rupkatha Journal, Vol. 14, Issue 2, April-June, 2022, Pages 1-16.  https://doi.org/10.21659/rupkatha.v14n2.06x

First published: June 19, 2022 | Area: Cultural Studies | License: CC BY-NC 4.0

(This article is published under Volume 14, Number2, 2022)
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From White Supremacism To Black Liberation: Harry S. Truman, Lynching and Racial Justice

 Abstract

President Truman transitioned from an initially more conservative policy advocated by white supremacists to a more progressive one that promoted a fairer social justice in the United States society, hitherto seldom heard. Through constitutional articles and debates, editorials, institutional records, and speeches in response to some of World War II’s black veteran lynching cases, this paper aims to explore Truman’s civil-political commitment to ending the frequent episodes of racial violence.

Keywords: Harry S. Truman, lynching, Isaac Woodard, Isaiah Nixon, racial violence

Introduction

The presidential administrations of the civil rights era addressed the issue of racial equality through the necessity and political gain afforded by espousing, or fighting, the African American cause (Murphy, 1984). Internal factors such as continuous racial and mob violence, as well as the political influence of majority parties, undermined the promulgation of any civil rights laws that could safeguard the constitutional rights of citizens, regardless of their skin color. Indeed, despite being proposed over 100 times to Congress between 1882 and 1951, the anti-lynching law never won the support of the political majority as it would have impacted the racial status quo upon which the post-XIII Amendment U.S. society was based (Corvino, 2021; Waldrep, 2000).[1]

As evidential from the American presidential historiography, presidential choices regarding civil rights – albeit considered of moral importance – were mostly aimed at not shaking the political equilibrium on which the current administration was established. Even Franklin D. Roosevelt’s New Deal did not really help improve African Americans’ living conditions in the short term (Valocchi, 1994). While blacks did receive economic aid in a time of unprecedented crisis, Roosevelt was careful not to clash with prominent white politicians who did not look favorably on racial integration. Indeed, numerous requests from the NAACP addressed to him were never heeded, for example, the sponsoring of antilynching legislation and involvement in the prosecution of lynching crimes.
The effects of the Great Migration after the 1920s did, however, make the President understand that African Americans would soon become a significant ballot pool. Unquestionably, blacks now lived in more tolerant cities where resistance against their political involvement and ability to vote was becoming much less frequent. Nevertheless, African Americans were reluctant to politically support those who did not “speak out in favor of federal anti-lynching legislation and poll tax repeal bills” (McMahon 2010, p. 101). For this reason and in order to obtain black votes and greater control over the Democratic Party, Roosevelt proposed FBI intervention, regardless of southern conservatives’ support, to resolve all lynching cases, sometimes condemning – even publicly – the brutality of racial violence (McMahon, 2010).

It is in this socio-political context that Harry S. Truman was elected as Roosevelt’s vice president (January 20, 1945 – April 12, 1945). He was considered the best possible moderate choice while the President dealt with his health concerns and at a time when fear loomed over the country’s political future. It was as early as 1911 when Harry Truman wrote a letter to his future wife Bess, expressing his racial prejudices:

I think one man is just as good as another so long as he’s honest and decent and not a nigger or a Chinaman. […] the Lord made a white man from dust, a nigger from mud, then He threw up what was left and it came down a Chinaman […] I am strongly of the opinion Negroes ought to be in Africa, yellow men in Asia and white men in Europe and America (Hampson, 1991).

Despite this, he quickly realized that the voting power of African American communities would change the political landscape in subsequent elections. Almost one million African Americans had migrated to the North between 1941 and 1944, increasing the weight that cities like Chicago or Detroit potentially had in the 1944 presidential elections. Here, blacks could exercise their right to vote, contrary to what had been precluded in the southern states. For this reason and with the aim of confirming his victory in the 1948 presidential election against Republican candidate Thomas Edmund Dewey, Truman promised the NAACP a more concrete commitment to the defense and promotion of civil rights. This was to be accomplished whilst avoiding publicly any open clashes with the white supremacists and thus risking their votes (McCullough, 1992). After achieving his goal, he ultimately distanced himself from previous racial policies and kept his commitment to a fairer society.

Less than a month after his appointment, Truman met NAACP executive secretary Walter White. He assured him that he would support a permanent Fair Employment Practices Committee (FEPC) to fight racial discrimination in the workplace, a commitment he tried to maintain over the following years.

According to many scholars, the decisions taken in that period by President Truman on the advancement of civil rights had an impact on the promotion of social justice which heavily affected the constitutional principles of anti-discrimination, even after the end of the mandate (Juhnke, 1989; Garth, 1999; Sklaroff, 2009). Current historiography however has failed to explain why the lynching of black veterans played a significant role in Truman’s presidential decisions. There are two episodes particularly worthy of importance to understand in more detail how the fight against lynching in small towns became a national event that could undermine the credibility of the U.S. image abroad and consequently Truman’s presidential leadership. Furthermore, these two cases allow us to explore issues related to maintaining the post-abolitionist racial status quo. The extension of black voting eligibility can then be explored in a society where the citizenship rights of those considered racially inferior were not yet fully recognized.
Indeed, the lynchings of Isaac Woodard and Isaiah Nixon, which occurred in 1946 and 1948, are significant not only for the extreme racial violence itself, which expresses the modus operandi of mob violence conveyed by post-colonial racial resentment, but also for the fact that the victims were veterans of World War II with the right to vote. The War did, in fact, change the perception of the African American issue in the U.S. both domestically and internationally. Black soldiers were an essential part of the U.S. Army engaged in war across the world. As Walter White, NAACP executive secretary, clearly explained:

World War II has given to the Negro a sense of kinship with other colored – and also oppressed – peoples of the world [. . .] the struggle of the Negro in the United States is part and parcel of the struggle against imperialism and exploitation in India, China, Burma, Africa, the Philippines, Malaya, the West Indies, and South America (White, 1945, p. 144).

Therefore, the internal anti-racist campaign became intertwined with the anti-colonialist movement that followed the war during this period (Bloom, 2015). The five most prominent black organizations in the United States were now looking at the discrimination they fought for years from an international perspective.[2] As Walter White wrote in 1945: “Allied nations must choose without delay one of two courses […] to revolutionize their racial concepts and practices, to abolish imperialism and grant full equality to all of its people, or else prepare for World War III” (White, 1945, p. 154). Thanks also to the role played by the mass media, racial problems became a topic of international politics linked to decolonization. President Truman soon understood that his country’s international public image was in danger of being damaged by the internal diatribes of conservatives and progressives over civil rights advancement and the condemnation of racial violence. Thus, the international context of World War II and its legacy contributed significantly to Truman’s clear stance in supporting the NAACP’s demands since there was a risk that the black press would compromise U.S. image abroad.

In the light of the above considerations, Isaac Woodard’s and Isaiah Nixon’s cases prove to be of fundamental importance in understanding how the concepts of social justice, due process, and racial fairness changed following presidential intervention in the wide-ranging fight against racial discrimination, both in the courts and in everyday life. Woodard’s and Nixon’s lynching were two examples of extreme mob violence, but they also became representative of prejudice and stereotypes in the courtrooms. By analyzing the impact these cases had in governmental circles, this paper intends to contribute to that literature, which means reconsidering President Truman’s role in changing the political agenda toward African Americans’ civil rights. From 1946, the lynching of Isaac Woodard and the official institution of the President’s Committee on Civil Rights, a turning point took place in the recognition and expansion of citizenship rights for all Americans. The presidential struggle for a society free of racial discrimination was still in its infancy, but it allowed Truman to lay the foundations for a “second Reconstruction” (Goldzwig, 2005, p. 104). This is observable from the stories of cases in which the sheer level of violence had shocked public opinion, such as the little-known death of Isaiah Nixon, occurring in the years where African American lynching had decreased due to presidential intervention via Federal Government and FBI investigation.

Analysis of the two lynching cases cited above has never before been treated together in a paper, allowing us to contribute to filling the academic gap and transitional period between the interest of President Truman in supporting the advancement of civil rights and his desire to guarantee himself a second presidential term with the votes of African Americans, to whom he had promised greater social justice by condemning lynching and furthering prosecution.

Isaac Woodard’s and Isaiah Nixon’s lynching

Isaac Woodard’s and Isaiah Nixon’s cases present similarities and differences that allow us to explore in-depth the influence that the lynching of African Americans had on the political choices made by Truman after his first presidential election. Both Woodward and Nixon were former war veterans who had fought for the honor of the United States during World War II. While Woodard’s lynching occurred in South Carolina in 1946, that of Nixon took place in Georgia two years later. After the end of the nineteenth century, both states had approved laws to sentence lynching perpetrators to up to twenty years in prison if the victim had died during the process. Nevertheless, these laws often resulted in a lack of conviction due to the absence of witness testimony. The sense of solidarity in local communities also compromised the integrity and conduct of investigations by not serving due justice to the victims. From small counties like Montgomery County (Georgia) in the Nixon case to larger counties like Aiken County (South Carolina) in the Woodard case, promoters of lynching enjoyed the support of their fellow citizens. On the other hand, African Americans who knew about or were forced to witness this violence were so terrified of the repercussions their testimony could bring that they preferred to remain silent. As a result, many newspapers found themselves unable to draw satisfactory conclusions to their investigations and ended up rarely allocating any space to incidents of racial violence. The cases of Woodard and Nixon however, unlike many others, did gain wide press attention thanks to the NAACP’s decision to investigate the lynching of these two war veterans. The organization’s intervention led to the Federal Government and President Truman’s involvement and opened the door to resolving lynching-related issues, such as access to a fair trial and the opportunity to vote.

 The first case of the two to which the NAACP devoted itself and requested the FBI presence was that of Isaac Woodard. Originally from South Carolina, Isaac Woodard was a United States Army veteran who, at 23, was drafted to fight in the Pacific Ocean theater of World War II against the Empire of Japan. He received several medals for his service, guaranteeing him an honorable discharge. After his stay in Japan and about to board a bus back home to his family, he asked the bus driver if he could wait a few minutes while he visited the toilet. According to Woodard’s court testimony, this resulted in a small quarrel and some hostility from the driver. The bus eventually departed with no further incident as the driver put in a call to the local police, requesting intervention at the next city. Not long after, Woodard was forced to exit the bus as the driver (falsely) complained about the young war veteran’s behavior, which he said to the police was irascible. As Woodard was removed from the vehicle, the young African American was savagely beaten until he lost his sight.

As Woodward’s case clearly shows, not even African American war veterans were exempt from racial violence. Indeed, the very recognition of their military service had been a source of social tension, often resulting in acts of extreme physical violence just like this.

Since the end of Reconstruction, African American participation in military service had been considered a threat to maintaining the racial status quo. White supremacists wanted to keep blacks in a position of subordination to preserve the antecedent hierarchical dominance of the slavery period but giving such a veteran an honorable discharge would make him a holder of honor equal to that of a white fellow citizen. Many incidents of racial violence, including lynching, served to affirm white superiority and eliminate black social prestige and self-respect.

It took months before Woodward’s case became widely known and thanks to popular black newspapers, The Lighthouse and Informer of South Carolina, the news found its way to well-known radio broadcaster and actor Orson Welles. The case then reached President Truman’s ears after being discussed in all major newspapers and thanks in no small part to NAACP’s nationwide tour with Woodard, publicly exposing the effects of racial violence. According to Frederickson: “Because Woodard was a veteran, because he was maimed, because his attacker was an officer of the law, and because he survived, he became an emblem of what was terribly wrong with the South” (Frederickson, 1997, p. 184).
The National Emergency Committee Against Mob Violence was created in August 1946 on the orders of President Truman in response to the event, in an attempt to shed light on lynching cases in southern states, but it was not enough. Truman requested the intervention of the Justice Department to investigate the Woodard case, following the reluctance of local law enforcement and pressure from the NAACP to find the culprits. However, it did not take many days to find Woodard’s assaulters. Because the violence had taken place at a bus stop and the land was federally owned, not to mention the victim being clothed in military uniform, the case was heard at the U.S. District Court in Columbia.

The trial, much like many others at the time, turned out to be bogus, and the bus driver was the only one to be heard by the judge and jury. No other witnesses were contacted. Sheriff Lynwood Shull was the main accused. He admitted to repeatedly hitting Woodard in the eyes, but only in self-defense, because the African American – according to him – had become short-tempered and disrespectful. According to The Canberra Times: «Shull struck him with a blackjack for answering “Yes” instead of “Yes sir.”» (The Canberra Times, November 7, 1946, p. 1). Despite his confession, the violence inflicted was considered proper by the jury. As a result, Shull was acquitted entirely by the all-white jury after only 15 minutes of confrontation (The Canberra Times, November 7, 1946, p. 1). Still, loud applause ensued in the courtroom following the verdict (Kluger, 2004, p. 298).
Apparently, the resolution of this case was not significantly different from that of other previous ones, so much so that it ended without a conviction. Its great importance was that it took place at a time linking substantial social changes to the consequences of world conflict. The awareness of African American veterans (now conscious of their national importance), the NAACP’s consolidated strength, and the presence of a new president eager to win the next elections made Isaac Woodard – who survived the lynching – the symbolic figure of the black resistance and struggle against racial injustice in those years.

Despite the importance of Woodard’s case in presidential decisions supporting African American civil rights advancement, the incidents of lynching did not cease. Even President Truman’s speeches failed to curb racial violence. Another Afro-American, Isaiah Nixon, was then lynched in Georgia on September 8, 1948. He had voted in the Democratic primary on that very same day (Bernd, 1982; Campney, 2011).

Given the participation of black war veterans in major civil rights advancement organizations, such as the NAACP, the end of World War II led to a rethinking of voting rights. Specifically, the decision made by the Supreme Court in Smith v. Allright (1321 U.S. 649, 1944) was considered unconstitutional as it violated the XIV and XV Amendments. The court ruled that it was unlawful for any state to dispute its authority over elections or allow discrimination to be practiced by parties. Despite this ruling, many southern states did not follow the federal directive, continuing to violate the voting rights of African Americans. In this regard, the 1946 primaries in Georgia were invalidated by the U.S. Court of Appeals for the Fifth Circuit (Chapman v. King, 2154 F. 2d 340, 1946), as they violated the Fifteenth Amendment, which condemned the exclusion of voters for reasons related to race or color. Subsequently, African Americans had a better chance of voting in the political elections that followed. However, there were frequent episodes of violent intimidation to curb, if not outright exclude, black political participation, as Isaiah Nixon’s lynching clearly showed.

This was not an isolated case, as the Ku Klux Klan regained strength and support in the South following its peak popularity in the 1920s, when its affiliates numbered about six million. Even though their size had reduced, the clan adopted a new strategy and began perpetrating racial terrorism, especially in rural towns, where white supremacism was stronger. In these places, the network of organizations for the advancement of civil rights could not fully engage in protest and social awareness actions as efficiently as it could in large urban centers where any violence would immediately attract press and law enforcement attention. Thus, the Ku Klux Klan managed to commit lynching in these small towns of few inhabitants, where community silence guaranteed impunity. The death of Elbert Williams, secretary of the NAACP in Tennessee, was one example. The murder was carried out after Williams’ attempt to register black residents of Brownsville (Tennessee) in the electoral roll. The KKK lynched him in June 1940. The lynching of Isaiah Nixon had also taken place in a small town like this (Campney, 2020; Horwitz & Anderson, 2009; Pierce, 2016; Schaefer, 1971; Wood, 1906).

The clan and the white supremacists feared that the hierarchies of racial dominance in the southern states would fall by giving African Americans the opportunity to vote. Racial terrorism relied on politicians’ willingness to stop the African American political rise, and black voting risked undermining the continuation of the racial status quo. For example, during these years, Georgia governor candidate Herman Talmadge was in favor of the use of violence and never hesitated to express it publicly. During an open meeting, Samuel W. Roper, a KKK member, asked him what he thought was the best strategy to adopt in not to allowing blacks to vote. In response, Talmadge, who later became governor of Georgia and then U.S. Senator, wrote unequivocally on a piece of paper one word: “pistols” (as quoted in Quarles, 1999, p. 87).

Despite President Truman’s socio-civil commitment to Woodard’s case, nothing changed. The racial brutality, investigation, and the perpetrator’s confession did not find justice, contrary to what the Constitution supposedly guaranteed. As a result, a presidential policy followed; a clear directive aimed at improving the living conditions of all African Americans on U.S. soil. This led to harsh internal clashes with white supremacists who had voted in favor of Truman during his first election. In December 1946, he established the President’s Committee on Civil Rights “PCCR” with the aim of prosecuting all those “who take the law into their own hands and inflict summary punishment and wreak personal vengeance” (Executive Order 9808, December 5, 1946), violating constitutional laws.

Regarding the lynching of Woodard and others of that period, Truman stated: “I can’t approve of such goings on and I shall never approve it, as long as I am here. […] I am going to try to remedy it and if that ends up in my failure to be reelected, that failure will be for a good cause” (Truman, 1948). A few days after this mission statement, Nixon’s lynching occurred.

U.S. racial violence certainly caught the President’s attention as one of his country’s most serious problems and as something “[…] close to my heart” (David K. Niles Papers, 1945-47) but what strategies did he adopt to face the new political scenarios that threatened to undermine the success of his presidential re-election? Furthermore, how could he reduce lynching cases and at the same time allow African Americans to safely vote and get their official support as a promoter of racial equality?

Truman’s commitment against lynching and in support of black’s rights

The brutal episodes of racial violence involving the two army veterans shook Truman to the point that he cited the cases on many occasions as an example of aggression against members of minority groups. Following these and other reports, he understood that it was necessary to “determine whether and in what respect current law-enforcement measures and the authority and means possessed by federal state and local governments may be strengthened and improved to safeguard the civil rights of the people,” regardless of skin color (Executive Order 9808, December 5, 1946). Consequently, the President required all executive agencies to actively engage in working in conjunction with the PCCR with the aim of enforcing the laws and condemning “the action of individuals who take the law into their own hands and inflict summary punishment and wreak personal vengeance” as had happened for decades in the cases of lynching.
Notwithstanding this significant achievement for African Americans, not all the black press agreed with Truman’s commitment to prosecuting racial violence by establishing a presidential committee. There were many prejudices about his genuine interest in condemning mob violence which also involved white politicians as perpetrators. The Chicago Defender wrote with a hint of irony: “If the committee is not hampered in its inquiry and if its recommendations are not circumvented by a welter of administrative procedures, the results should be far more consequential to us than anything that has happened in the United States since the abolition of slavery” (as quoted in McCoy & Ruetten, 1973, p. 31); this thought was also supported by other major black newspapers such as the Afro-American and the Call – Kansas City.

In the meantime, it is to be considered that the NAACP reached a high level of social influence in most of the United States during those same years. Hundreds of cases, mainly from the South, were reviewed and defended by the NAACP Legal Department, which paid particular attention to the violations of the right to a fair trial, the discrimination against African Americans during jury selection, and the role of law enforcement in attempted lynching cases. The organization mainly worked on cases where blatant violations of constitutional rights occurred, such as Sections 51 and 52 of Title XVIII of the Federal Criminal Code. According to Section 51, conspiracy acts aimed at intimidating or injuring any citizen must be prosecuted, as they are considered crimes. Isaiah Nixon’s lynching incident occurred to intimidate the black community from voting, but above all, the murder of an American citizen took place. As a result, this section was clearly violated. Instead, Section 52 had a double meaning. First of all, it condemned the deprivation of rights guaranteed at the federal level, such as due process, which often did not occur when a court case concerned an African American, as in the case of Isaac Woodard’s appeal. Black citizens were normally excluded from the jury, allowing an all-white jury to decree a verdict that could have been different if there had not been only people in favor of white supremacism and protection of racial hierarchies. By leveraging the violation of these two Sections and, when possible, the Amendments’ violation, the NAACP fought in the courtrooms for an equal society (Niedermeier, 2019; Watson, 1993). [3]

The NAACP also gave more consideration to the media image of the violence, describing lynching as brutally barbaric and far from the civilized modern ideal that the American Nation wanted to show (Wood, 2009). This helped attract international attention as they became renowned for openly denouncing incidents of racial violence (Blaque, 2012; Feimster, 2009).[4] Consequently, the presidential administration could no longer ignore or limit the presence of such racism toward African Americans in the national political space. Furthermore, Isaac Woodard’s lynching was used by the NAACP to nationally denounce the atrocities of racial violence and the federal failure to guarantee constitutional rights for all its citizens, black or white. As a result, action by the presidential administration that was not limited to federal investigations, which often resulted in the acquittal of the accused, was therefore needed.

The President of the United States had to personally express his endorsement in the struggle for the advancement of civil rights if he did not want to lose black votes in the coming elections. Giving a speech to Congress on February 2, 1948, Truman became the first president to turn to the NAACP and strongly support African American civil rights (Sylvia, 1995; Sitkoff, 1971). His President’s Committee on Civil Rights (PCCR) published the first government report in which the oppression of blacks was widely documented, and a civil rights reform was recommended in order to avoid other tragedies like Woodard’s lynching. Indeed, Nixon’s lynching occurred only seven months after the report, corroborating the President’s concerns and suggestions. The latter also submitted statements to the Supreme Court to support desegregation, thus attempting to end lynching (Fagelson, 2018). In addition, he issued executive orders aimed at creating racial equality in the hiring of federal personnel to affirm equal rights for whites and blacks. As quoted by the Chicago Defender, President Truman requested the intervention of the Federal Government in respect of all-American citizens, without any distinction:   

We can no longer afford the luxury of a leisurely attack upon prejudice and discrimination. […] We cannot, any longer, await the growth of a will to action in the slowest state or the most backward community. […] Recent events in the United States and abroad have made us all realize that is more important today than even before to ensure that all Americans enjoy these rights (The Chicago Defender July 05, 1947, p. 1).

With a promise to remove all barriers and difficulties confronting citizens, he asserted that «there is no justifiable reason for discrimination because of ancestry, or religion, or race, or color» (Truman, 1948). Although, contrary to his words, Jim Crow laws were still in force, his contribution to a more inclusive society had been considerable.
Early on, on June 29, 1947, in his speech at the Lincoln Memorial in Washington, D.C., he argued that racial discrimination was unjustifiable and without valid grounds. The wife of former President Roosevelt and other prominent personalities also attended the event. On that occasion, Truman stated:

Mr. Chairman, Mrs. Roosevelt, Senator Morse, distinguished guests, ladies and gentlemen: I am happy to be present at the closing session of the 38th Annual Conference of the National Association for the Advancement of Colored People. […] But we cannot be content with a civil liberties program which emphasizes only the need of protection against the possibility of tyranny by the Government. We cannot stop there. We must keep moving forward, with new concepts of civil rights to safeguard our heritage. The extension of civil rights today means, not protection of the people against the Government, but protection of the people by the Government. […] There is no justifiable reason for discrimination because of ancestry, or religion, or race, or color (Truman, 1947).

With these words, the President condemned incidents of racial violence, school segregation, the lack of work according to skin color, low political participation of African Americans beyond their control, as well as embraced the need for fair trials and black participation in juries. Furthermore, he gave his word that he would do everything possible to ensure these would be upheld under his presidency:

Many of our people still suffer the indignity of insult, the narrowing fear of intimidation, and, I regret to say, the threat of physical injury and mob violence. Prejudice and intolerance in which these evils are rooted still exist. The conscience of our Nation, and the legal machinery which enforces it, have not yet secured each citizen’s full freedom from fear (Truman, 1947).

This was the first time a president had ever attended the NAACP conference, and the civil rights event gained immense publicity. Truman’s speech attracted over 10,000 viewers, coverage on the big four national radio networks, as well as many independent stations and overseas media outlets. The President’s words did not end that day either. The speech was recorded and re-transmitted throughout cinemas for anyone who wanted a second opportunity to listen (Garth, 1999).
Despite these efforts, the discussion did find general agreement in the white population. According to Pauley, the leading international newspapers such as the New York Times and the Washington Post, did not pay particular attention to the event. A complete transcript of the speech was seldom provided, or even commented on (Garth, 1999 p. 233). These newspapers, headed by whites, were sure not to devote any importance to Truman’s words or adversely influence the opinions of its pro-white readers. On the contrary, newspapers headed by African Americans did not hesitate to celebrate such an important event in recognition of civil rights. One of the black historical newspapers, The Kansas City Call, wrote:

Truman so strongly denounced race prejudice and discrimination based upon race, creed, color, and national origin that even his enemies were convinced that the Missourian in the White House had left behind him Missouri’s tradition of second-class citizenship for Negroes (as quoted in O’Reilly, 1995, p. 145).    

In the wake of Truman’s re-election and general Afro-American approval, black anti-colonialists pressed the President to adopt a civil rights defense, exploiting the tension between him and the white supremacists. They relied on the votes that he would receive if there were full socio-political support on his part.
On January 7, 1948, Truman decided to send a special message to Congress, showing the African American population that he would be committed to achieving a more inclusive society if he was re-elected. His committee would request legislation against lynching since other similar cases had occurred after Woodard, which unfortunately had not resulted in justice. Furthermore, it would allow all blacks, including those who lived in the South, to vote without risk of consequences. The President declared:

I recommend that the Congress amend and strengthen the existing provisions of Federal law which safeguard the right to vote and the right to safety and security of person and property. These provisions are the basis for our present civil rights enforcement program. […] A specific Federal measure is needed to deal with the crime of lynching—against which I cannot speak too strongly. It is a principle of our democracy, written into our Constitution, that every person accused of an offense against the law shall have a fair, orderly trial in an impartial court. We have made great progress toward this end, but I regret to say that lynching has not yet finally disappeared from our land. So long as one person walks in fear of lynching, we shall not have achieved equal justice under law. I call upon the Congress to take decisive action against this crime (Truman, 1948).

Truman’s recommendation was based on Title XVIII of the Constitution, which offered protection to all American citizens, regardless of skin color. According to him, this right should also be extended to everyone who lived in the United States, even non-citizens. Furthermore, Title XVIII had a major limitation. It only applied if there was a conspiracy of two or more people to harm the life of another individual. Hence, it had to be extended to incorporate racial violence in which one acted individually, for example, in the event of personal revenge. It followed that section 52 of Title XV also had to change, as it was too general in its form. This section offered protection to people according to their federal rights. Unfortunately, it was often the case that violation of these rights originated from those who were serving to protect, essentially police officers who failed to intervene or intervened in an improper way, standing by the belief that they were doing their job correctly. The lynching cases involving law enforcement were examples of Woodard’s blindness and Nixon’s murder. Hence, the President proposed to establish several principal rights to be protected by this section, explicitly condemning violations and including appeals. Truman publicly denounced the restriction of citizens to vote, even though it was their right, something which had resulted in Isaiah Nixon’s lynching. He expressly referred to acts of intimidation like assault or similar acts of violence, which prevented many African American citizens from being able to vote. Poll taxes were also a subject of debate. At the time, as many as seven states required economic contribution, and many blacks could not afford to spend the little money they had on voting. The President proposed that Congress make the right to vote free from any tax constraint so that the exercise of one’s rights was not subjected to economic power, affirming:

Under the Constitution, the right of all properly qualified citizens to vote is beyond question. […] We need stronger statutory protection of the right to vote. I urge the Congress to enact legislation forbidding interference by public officers or private persons with the right of qualified citizens to participate in primary, special and general elections in which Federal officers are to be chosen. This legislation should extend to elections for state as well as Federal officers insofar as interference with the right to vote results from discriminatory action by public officers based on race, color, or other unreasonable classification (Truman, 1948).

Being governed and controlled by the white majority for centuries, acts of racial discrimination would continue to perpetuate themselves until there was a change in the political sphere. The most effective way to bring about the change desired by blacks and civil rights advocates was the greater political participation of African Americans through voting. Only in this way the social equilibrium could be changed.
The President’s speech aroused a consensus among African Americans. He harshly criticized the lynchings, suggesting increased federal protection, condemning the inability of many to vote, and proposed a series of legislative maneuvers to improve the social conditions of blacks and minorities living in the U.S. With such important promises, Truman secured victory. The NAACP did not hesitate to congratulate him in November 1948, recalling the promises he had made to achieve this victory:

Your triumph, achieved over both the extreme right and extreme left, is a mandate under which you and the new Congress can proceed to carry out the program you outlined so clearly and courageously to the people, including housing, labor legislation, civil liberties inflation, all of which were cavalierly rejected by the 80th Congress. We especially urge you to continue to maintain your forthright position, by giving your full and complete support to your legislative and administrative program for civil rights (Atlanta Daily, 1948, p. 1).  

A few months after this NAACP statement – in July 1948 – Truman desegregated the U.S. armed services by executive order (Lautier, 1948, p. 2). He also created the President’s Committee of Equality of Treatment and Opportunities in the Armed Services to defend all cases of discrimination related to race, color, religion, or national identity reported by black American citizens serving in the army. In the same year, the President asked Congress to create a permanent Fair Employment Practice Committee[5] – FEPC (Collins, 2001; Henderson, 1976; Reed, 1980), initiated by his predecessor Roosevelt, to continue helping African Americans enter industries, companies, and jobs that they otherwise could not get. The House of Representatives approved a permanent Fair Employment Practice Committee two years later, but as expected, the Senate opposed it and won this time too. Regarding racial violence, Southern Democrats still had a strong influence over Congress, so much so that they rejected the request for an anti-lynching law without difficulty.
Overall, these measures had positive results, as in the 1950s, civil rights movements reached a broad social consensus (Aldon, 1999; Blumberg, 1990; Shattuck, 1995), thanks also to the media’s role (McElroy, 2013; Lott, 2017). Connecticut, Massachusetts, New Jersey, New York, and Ohio established their own state-level FEPC laws to counter the Senate’s decision (Kersten, 1994).

Conclusions

With proper political support, new economic opportunities, and a more significant Federal Government presence across the territory, lynchings became less frequent during the second half of the twentieth century. On the other hand, death sentences increased in the courts and were rarely successfully appealed. This saw a move from “rough justice” (Pfeifer, 2006) to a false due process, often supported by forced confessions and no respect for FBI investigation (Niedermeier, 2019).
The efforts expressed by Truman simultaneously constituted a political opportunity for a new action movement, which was evident in the Federal Government’s support of the Brown vs. Board of Education case (September 1952 – May 1954) up until the beginning of Eisenhower’s presidential term in 1953 (Dadisma, 1994; Lester, 2004; Ward, 2004). Accordingly, it is undisputed that President Truman contributed significantly to a fairer, equal social justice. He is credited with desegregating the armed forces thanks to the prohibition of discrimination in the civil service that not only allowed blacks to feel part and parcel of the United States by serving in the military, but also provided many of them access to financial gains which would have been hard to come by in states where racial dogmas remained dominant. Truman supported African Americans socially through public speech, political proposals, and new legislative actions, fighting for the abolition of poll taxes, economically desegregating public administration places, and allowing equal employment. Above all, he did everything possible to keep the election promises that led him to victory over the Republicans in 1948.

Unquestionably, the historical period of his presidential term did not play entirely in his favor. After the end of World War II, he had to make crucial decisions whilst trying not to upset the balance of his greatly divided party, where conflicting ideas bounced between progressives and conservatives from the South. He had to do everything in his power to maintain the consensus of the southern conservatives on which his first election was based whilst also satisfying the demands of the progressives, securing their votes for future elections. Truman was initially cautious in seeking a meeting point between the two opposing political thoughts – like Roosevelt towards the end of his term – listening to the demands of African Americans and avoiding clashes with white supremacists. Despite this, his role in advancing civil rights was more significant than his twentieth-century predecessors, especially his support for allowing all citizens to vote, regardless of skin color, while simultaneously fighting to end lynching.
The relationship between lynching and voting access is still being studied and analyzed today and requires further investigation. According to Williams: “Using county-level voter registration data […] southern counties that experienced a higher number of historical lynching have lower voter registration rates of blacks today,” (Williams, 2017, p. 1), but the lynching did not impact political participation of other minority groups or among white Americans. As proof of this criticality, the 2019 Voting Rights Advancement Act aims to provide a broad in-depth review of all voting changes that have occurred nationally in the various jurisdictions to understand whether electoral discrimination measures have historically occurred as denounced by African American historiography.
Already the 2015 version of the Act highlighted blacks’ under-representation in political participation in important government decisions, such as new human rights laws like the federal anti-lynching law. Specifically, the Act denounced the effects that nineteenth- and twentieth-century racial violence still have today in dissuading blacks’ political participation through voting. Cases of lynching such as those of Nixon and Woodard have shaken the black community so much that even today, many African Americans living in those states where there has been a high rate of lynching in the previous two centuries do not participate in voting – and political life in general – for fear of experiencing painful racist experiences. Consequently, the interests and needs of African Americans are not carefully considered today, as the decisions that the current Government makes are based on registered voters, i.e., a white majority.
Therefore, further investigations into the effect that lynching had on black political participation choices are necessary. It can help promote new inclusive policies aimed toward a greater expression of African American thinking and help implement the measures needed to attain a truly equal society. This is what President Truman was aiming for over his two presidential terms.

Notes

[1] This essay defines «lynching» as an act of group or mob racial violence perpetrated by at least two or more people against a single person, often resulting in a murder.

[2] They were the National Association for the Advancement of Colored People, the National Urban League, the National Negro Congress, the National Council of Negro Women, and the March on Washington Movement.

[3] Unfortunately, although the organization increased social consensus, it was not ready to assist all the South African American defendants who asked for its help as victims of racial bias or forced confessions following torture. As a result, a greater selection of cases was needed, so much so that the NAACP would only support cases where the accused was a victim of racial prejudice, and on these bases, there was reason to believe that he/she was actually innocent. Moreover, it seems that the organization opted for the decision of not defending those who were potentially guilty of rape, attempted murder, or other crimes by fearing damage to the public image of the NAACP. Aiming at greater political feedback, they could not afford a negative antecedent.

[4] Many newspapers, especially black and southern ones, began reporting lynching cases in great detail and trying not to convey any thought, remaining as loyal as possible to the objective account of what happened. In this regard, the work done by the black journalist Ida B. Wells was fundamental. She used her newspaper “Free Speech” to provide another version of the lynchings stories that were being told. Indeed, she shed light on dozens of cases based on false accusations and racial prejudices. In this way, she raised awareness in the black community in the U.S. and abroad in standing against racial violence.

[5] It was established by President F.D. Roosevelt in 1941 to ban discriminatory employment practices.     

Primary Sources

“Draft of statement by president with reference to the President’s Committee on Civil Rights,” Jan. 7,1947, Box 26, Civil Rights/Negro Affairs File, 1945 – June 1947, David K. Niles Papers.

Harry S. Truman to E. W. [Ernie] Roberts, Aug. 18, 1948, Folder C, Box 306, President’s Secretary’s Files, White House Central Files, HSTL.

Executive Order 9808, “Establishing the President’s Committee on Civil Rights,” Box 26, Civil Rights/Negro Affairs File, 1945-June 1947, David K. Niles Papers.

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Intermedial Postmodernism in Art: Concepts and Cultural Practices

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Irina Aleksandrovna Urmina1, Kristina Konstantinovna Onuchina2, Natalia Dmitrievna Irza3, Irina Anatolievna Korsakova4 & Ivan Alexandrovich Chernikov5

1Russian State Social University, Moscow, Russia
2Russian State Social University, Moscow, Russia
3Russian State Social University, Moscow, Russia
4Moscow State Institute of Music named after A.G. Schnittke, Moscow, Russia
5Military Training and Research Center of the Air Force “The Air Force Academy named after Professor N. E. Zhukovsky and Yu. A. Gagarin” (Voronezh) of the Ministry of Defense of the Russian Federation, Russia.

Corresponding author: Irina Aleksandrovna Urmina. Email: n.yushenko@list.ru

Rupkatha Journal, Vol. 14, Issue 2, April-June, 2022, Pages  https://doi.org/10.21659/rupkatha.v14n2.02

First published: June 18, 2022 | Area: Aesthetic Studies | License: CC BY-NC 4.0

(This article is published under Volume 14, Number2, 2022)
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Intermedial Postmodernism in Art: Concepts and Cultural Practices

Abstract

The study analyzes the existing and developing ideas of and approaches to the study of the multilevel concept of intermediality and its different aspects, forms, and phenomena considering the existing approaches and definitions. The study aims to reveal the capabilities of intermediality as a potential of innovative artistic creation. Research is conducted using sociocultural research methods including a comparative study of the recently proposed typical intermediality models, analysis of descriptive texts about the factually present models of art synthesis, as well as the context pointing to the presence of lack of correspondence between a particular fragment of text (the content of activity) and the real conditions in which activity is carried out. In the framework of an interdisciplinary comparative study, the emergent field of intermediality and its relationship to cultural practices in different spheres, including education, are defined at the qualitative level. The subject field of the study of intermediality as a key concept of modern culture is evaluated and its specific features in art, including music, are identified. The problems of the formation of synthetic media arts as a reflection of the postmodern perception of the world under the new conditions of digital technology, which transforms any creative cultural text into another type of information, usually of a quoted and multiple nature, are presented for discussion. It is proposed to pay special attention to the formation of “intermedial competence” – the ability to understand and interpret the process of the generation of new meaningful content, which occurs within the semantic modalities and communicative registers. The latter is only possible within the framework of the competence-based approach enshrined in the foundations of the universal system of European, including Russian, two-level higher education.

Keywords: Art, intermediality, theatre, communication. 

  1. Introduction

Sociocultural reality in the conditions of the greatly accelerated spread of visual culture determines the specific problems in the formation of a person’s world image. Visual forms, which dominated mass culture throughout the 20th century, have now become basic in the context of the active expansion of the media space created by means of new mass communication media. As a result of the qualitative changes in the ways of influencing mass audiences, a new generation was brought up on the ubiquitous use of modern visual technology, which drastically differs from the traditional social and cultural forms of communication that have existed for centuries but only partially allow to maintain the connection with the experience of previous generations today. Modern mass culture has become almost exclusively visual and categorically offers ready-made images, depriving people of the ability to imagine and independently form individual perceptions of their surroundings. Even W. Benjamin, a German philosopher, cultural theorist, aesthetician, literary critic, essayist, and translator, emphasized the growing nature of the entertainment function of mass culture: “The mass is a matrix from which all traditional behavior toward works of art issues today in a new form. Quantity has been transmuted into quality: the greatly increased mass of participants has produced a change in the mode of participation” [Benjamin 1996: 61]. The philosopher also indicates that the wide availability of works of art leads to the loss of the uniqueness of artwork, and a cult character is replaced by a consumer and commodity character.

The expanding presence of art in public life is undoubtedly due to the development of technical means, the duplication (copying) of works of art, mass production of works of fiction, reproductions of paintings, sculpture, and architecture. The qualitative technical and technological shifts in the digital sphere and the advancement of information and communication technology allow for the reproduction of virtually all forms and types of artistic products in the video and audio format on a mass scale. This list now also includes the phenomenon of virtual reality, which became a logical continuation of the methodological evolution of visual communication through media. The communicative potential of electronic and digital technologies has presented the entire society with new prospects for their use in social and cultural interaction. Thirty years ago, the German poet, writer, playwright, essayist, and translator H. M. Enzensberger wrote:

“The new media are oriented towards action, not contemplation; towards the present, not tradition <…> That does not mean to say that they have no history or that they contribute to the loss of historical consciousness. On the contrary, they make it possible for the first time to record historical material so that it can be reproduced at will. By making this material available for present-day purposes, they make it obvious to anyone using it that the writing of history is always manipulation” [Hans Magnus Enzensberger 1986: 104-105].

The American film critic and theorist B. Nichols writes the following about the works of culture in the age of cybernetic systems: “Instead of reproducing, and altering, our relation to an original work, cybernetic communication simulates, and alters, our relation to our environment and mind” [Bill Nichols 1996: 128]. The very process of simulation and the phenomenon of a hypertrophied model of reality was revealed by French sociologist, cultural scientist, and postmodern philosopher J. Baudrillard in the concept of simulacra, which has become a representative model of modern culture:

“It is no longer a question of imitation, nor duplication, nor even parody. It is a question of substituting the signs of the real for the real <…> A hyperreal henceforth sheltered from the imaginary, and from any distinction between the real and the imaginary, leaving room only for the orbital recurrence of models and for the simulated generation of differences” [Jean Baudrillard 2002: 181].

The phenomenon of art synthesis made its appearance in the earliest periods of art development. In the first half of the 20th century, there emerged an urgent need to create synthetic works that could have a complex effect on the viewer and listener by transferring the properties of one art form to another. For example, the Russian artist and fine art theorist V.V. Kandinsky created several stage compositions including “Green Sound”, “Purple Curtain”, “Black and White”, and “Yellow Sound”, the composition of which was intended to harmoniously combine music, color, plasticity, and word. Kandinsky believed that the combination of the means of various arts “can only be successful if it is not external, but principled. This means that one art must learn from the other how to use its means; it must learn in order to then apply its own means according to the same principle” [Kandinsky 2016: 17]. Russian composer and pianist, teacher, and representative of symbolism in music A.N. Scriabin was the first to use color in the performance of music, introducing a new concept of light music. In the musical poem “Prometheus”, he “sought parallelism – I wanted to strengthen the impression from sound with light”, but this also ceased to satisfy him: “now I am no longer satisfied with this. Now I need light counterpoints… Light goes its own melody, and sound its own…” [Sabaneev 2014: 239].

With the development of the information space, by virtue of the improvement of mass media, the established relationships between the visual and the verbal in public life were distorted in favor of the visual (the so-called visual turn). Art, in general, became part of the daily life and was attributed utilitarian meaning. At the same time, the borders of art were being blurred in structuralism, poststructuralism, postmodernism viewing the world as text and the works of art as “artifacts”, and in the development of constructivism in art. All this gave rise to multidisciplinary research not only on the interaction between particular types of art but also with other sciences and, later on, on the concept of intermediality primarily in the media-technological sense. Research practically split into two branches: technological and semiotic. The former is associated with the concept of “medium” or “media” consistently used as a material concept of “means of communication” or “technical means of publication,” and “communication channel”. The latter refers to the content aspect when media acts like a sign system or a sign code, and the interaction between the sign systems (languages) of different types of art generates the integrity of artistic and aesthetic perception.

In a broad sense, “intermediality” is now understood as a special type of relations emerging between media. The concept itself, however, generally has multiple meanings (in various scientific disciplines, there are no less than ten definitions [Khaminova, Zilberman: 2014: 39]), therefore, both the nature and the mechanism of the interaction of media also vary. For instance, in art, intermediality is the perception and experience of a different type of art, their juxtaposition, providing for a fundamentally creative movement and unpredictability of future states. Contacting media not only merge in a common space, but also influence, modify, and even transform one another (theater as a combination of plastics, action, music, images, etc.). It should be borne in mind that media is, first, a means of communication (a way of transferring information), second, a means of mass information, and third, a certain sign or code system. Then, in the interaction process, that is, in the process of intermediality, there emerges a polyartistic environment, in the space of which cultural codes are born, aesthetically developed, and translated through various cultural codes (for example, in various types of art). Here we would like to emphasize that the concept of intermediality started to appear in the terminological apparatus of such sciences as philosophy, philology, and art history only in the last decade of the 20th century coming to be the intersection of the concepts of “intertextuality” and “interaction of the arts” (interart). Such a split of the term into two separate sections calls for a double comparison with each concept. Intertextuality in literature and art refers to a special principle of citing previous works in a new philosophical and artistic context. The interaction of arts becomes their synthesis, which forms an independent interference environment that contains many different cultural texts.

Thus, by means of the new computer (digital) systems for transferring mass information via telecommunication networks (the Internet media), mass media or the means of mass information carry out the multichannel transmission of all types of information contained in the cultural texts of different types of art. In the postmodern era, the entire world can be viewed as cultural texts, conceptions, motifs, and cliches, which are distinguished into the uniform (homogeneous) and non-uniform (or intermedial, synthetic, heterogeneous) types. From this point of view, creation is a conscious or unconscious reference to its predecessors, hence modern art is reference art.

It is important to mind the fact that the technically electronic media of the last century (which appeared at the same time as print media), i.e. sound recording, radio, cinema, and television, used analog systems. As stated by D. Hesmondhalgh:

“…in analog broadcasting, the main components of communication and cultural expression – words, images, music, other sounds, etc. – were transferred to a continuous medium (radio waves), which in one way or another reproduced the form or appearance of the original performance, image, etc. <…> The radical innovation associated with the development of digital electronic methods of data storage and transmission is that the basic components of cultural expression – words, images, music, etc. – are converted into binary code (sequential series of zeros and ones) which can be read and stored by computers” [Hesmondhalgh 2018: 327-328].

It is believed that intermediality takes a special place in art by virtue of the interpenetration (synthesis) of its different directions reflecting the author’s emotional perception of events expressed in cultural texts. Semantically, however, people only perceive the part of a cultural text (as a reflection of the current worldview) that is stereotyped, recognizable, and does not require interpretation or multi-dimensional decoding of meanings. Therefore, the formation of modern individuals’ “intermedial competence” – the active ability to understand and interpret the process of the generation of new meaningful content, which occurs within the semantic modalities and communicative registers, to use various symbolic systems, scientific and general discursive practices for this purpose – becomes relevant. Effective development of such skills and abilities within the framework of the existing competency-based approach in the institutional system of higher education is a logical continuation of the development of a modern person in the digital age.

  1. Methods

At present, there is a strong conviction of the need for interdisciplinary research in virtually all fields of science, including the humanities. “Accordingly, it has become appropriate to combine different theoretical models to solve certain social science problems. A condition for this combination is the compatibility of the models and not the strict correspondence to the commonly accepted provisions of the general theories that spawned them” [Orlova 2008: 290]. The methodology of intermediality is also based on interdisciplinarity [Tishunina 2001: 149]. The common ground for all classifications of this concept is the ways and forms of media exchange. Since the intermedial process, from a sociocultural perspective, is the communicative exchange of information generated by a person or a group of people and transmitted through different cultural codes, there arises the need for identifying the basic foundations for the study of such a multilevel concept comprising a wide range of humanitarian disciplines (communication theory, sociology of culture, cultural and intercultural studies, philosophy, theory of literature and music, art history, film, theater, etc.). Of primary importance, in this case, is the study of the aforementioned process in the conditions of a dynamic intersection, interpenetration, and interference of these disciplines generating new forms of artistic innovations, which rapidly spread in the virtual space and are with little comprehension used as the carriers of innovative education practices. What can become the primary method for the study of such a phenomenon is comparative analysis, which includes quite a wide array of particular techniques of analysis. However, the intermediality subjected to research today inherited the problematics of the long-known concept of “interaction of the arts”, and at a time when the concept of “cultural text” had become one of the leading ones in the humanities. Nonetheless, the broadened concept of text does not cover the peculiarities of the interaction of the “voices”, “languages”, “codes”, “textual units” of various arts. The more problematic becomes their interdisciplinary qualitative analysis – particular methodological principles of research in literature, the fine arts, music, theater, cinema, etc. have been developing for centuries. Such theoretically substantiated monomediality divides these special areas, which in practice have very successfully merged into new synthetic forms. It remains to select a common methodology for studying these innovations. The heterogeneity of types of individual arts united in new semantic manifestations should be levelled in the general methodological foundations of studying the process of interaction of these arts.

What unites them is the obvious anthropocentricity reflecting in the historical time the centuries-old social and cultural practices of human communities as the reflection of the world image, the reproduction of the present reality in artistic images. It is methodologically possible to determine the basic foundations for the analysis of these practices. Such methodological foundations emerge with the combination of the sociological and cultural-anthropological ways of cognition within the problem field, where it is necessary and possible. The problem field of intermediality research can be defined as the semantic intersection of mutually complementary and compatible sociological and cultural-anthropological concepts. It is also clear that such interdisciplinary research can utilize classic scientific methods:

– the functional method, which allows determining the significance of a specific and stable sociocultural interaction of individual social units for individuals and society;

– the structural method, which allows identifying stable bonds between symbolic objects;

– the semantic method allowing to study and evaluate the symbolic representedness of the content of sociocultural life in iconic and symbolic form;

– the dynamic method, allowing to determine the causes, forms, and driving forces of the occurring sociocultural changes and processes;

– the systemic method, which allows studying such cultural units as traits, patterns, and themes, as well as the possibility of logical links and transitions between them, at the level of theoretical conceptions.

It has to be noted that “at present, there are all conceptual grounds for the integration of sociological and cultural-anthropological knowledge into a common theoretical and methodological model of research that can be called sociocultural. First and foremost, both sciences are logically compatible. They have a common fundamental basis: both the social and cultural dimensions of human coexistence are considered as derivatives of people’s organized interaction and communication” [Orlova 2008: 300]. Particular attention should be paid to the analysis of the dynamic aspects of people’s life together, which are reflected in the processes of their communication and interaction, including in the sphere of art. Time will tell how this will be taken into account in research on intermediality.

  1. Interpretations of the concept of intermediality in art

It can be argued that the digitalization of any creative cultural text transforms it into a different type of information, one of reference and plural nature. What then happens to such a text transformed into a cultural product in the qualitative sense? Let us more closely examine the process of transformation of cultural texts in the intermedial space of art starting from basic definitions.

The concept of intermediality is generally defined in our sign and multimodal culture as the interaction and mediation realized in texts. In essence, all contemporary social, cultural, and educational practices are carried out exactly in the field of intermediality. Without diving too deep into the analysis of historical and theoretical preconditions for the emergence of the phenomenon of intermediality, we will only note that as early as in the 19th century, it was showing itself in the interaction of different types of art, either within one type or crossing its borders and generating various synthetic forms. At present, such synthesis has become an active and commonly occurring phenomenon of artistic culture making use of the latest digital technology. Irina Rajewsky points to the fact that the concept of intermediality has been an umbrella term for different approaches from the very start and each time, intermediality is associated with different attributes and distinguishing characteristics. The specific objectives in different spheres (for instance, in medieval studies, literary studies, sociology, film studies, art studies, etc.) of intermedial research are constantly changing [Rajewsky 2018: 43-63]. As a result, there rises the need for deep additional study of both the methodology and lexical techniques of intermediality.

In art, intermediality presents the perception of another form of art as if from a distance, a kind of figurative empathy involving not only possible communications but also future joint interactions. It is in this exact case that different forms of media exchange come to be. For example, “transformative intermediality – the representation of one medium by another, the transition of an artifact into a different sign system, which it becomes part of, the relationship of manifestations of the same plot in different types of art; ontological intermediality as the ontological dimension of culture based on the inherent commonality of various media that does not rule out their differences (for example, the musicality of poetry, the cinematography of prose); conventional intermediality – the medial diversity of forms of artworks, a special type of interrelations inside text and interactions of cultural codes of different arts; normative intermediality – the same plot is developed in various media and each new era assesses the art of the previous ages differently – new thoughts and feelings arise, requiring new methods (mediums); referential intermediality – the text of one medium referencing the text of another” [Sinelnikova 2017: 808].

Without a doubt, intermediality has been showing itself in art in different forms since the 19th century, since the author of a work presents their unique image of the world with the means of communication available to them [30].

As noted above, not only works of various arts but also the very space of culture can be considered text. The concept of semiosphere or the semiotic space proposed by the Russian literary scholar, culturologist, and semiotician Iu.M. Lotman [9] best describes the conditions necessary for carrying out communication in this space. It is, however, also important to consider the fact that any cultural text or statement in the sphere of art exists within different semiotic (sign) systems, which are the works of literature, art, and culture as a whole. This problem has been analyzed by Iu.M Lotman and many other researchers in works on the semiotics of the space of culture [9; 21]. Essentially, they all rely on the idea of the world as text proposed by structuralists, including the French philosopher, literary scholar, aesthetician, and semiotician R. Barthes [Barthes 2016]. At the same time, the text can also be considered within the framework of discursive practice [10, 11, 21, 30].

  1. Intermediality in music

The English essayist and art historian P. Walter pointed out that “all art constantly aspires towards the condition of music. For while in all other kinds of art it is possible to distinguish the matter from the form, and the understanding can always make this distinction, yet it is the constant effort of art to obliterate it” [Milian 2019: 1].

What can be considered a manifestation of intermediality is ekphrasis as a doubled statement in a cultural text in different semiotic codes. For example, the interaction of literary fiction and music has been a topical subject of communication and creative interaction of composers, writers, musicologists, historians, and literary theorists for centuries. The aesthetic connections between literature and other arts have been discussed since Antiquity, particularly concerning the link between literary works and musical pieces. This discussion concerns the phenomenological musicality of prose associated with the two-fold structure of an artistic text as a correspondence between the material and form, the plot and the composition. According to the Soviet psychologist L.S. Vygotsky, “the very essence of the impact of art on us” resides not in the depiction of events but in the “processing of the perception that comes to us from the events”. An important role in this processing is played by the “plot composition,” “the organization of the writer’s speech itself, their language, the structure, rhythm, and melody of the story” [Vygotsky 2016: 202-203]. What comes as a result of ekphrasis is a strong emotional impact on the listener (an emotional explosion). “The moment of explosion is at the same time the point of a sharp increase in the informativeness of the whole system” [Vygotsky 2016: 135]. This occurs by virtue of the interpenetration through the genre and type borders – in the literal sense, a textual literary work expands its semiotic boundaries at the expense of other art forms. This results in intermediality. Since the problem of ekphrasis is closely linked to the issue of the interaction between literature and other art forms, M.I. Nikola [Nikola 2009: 25-26] alongside fine art, sculpture, and architecture identifies such types of ekphrasis as literary and musical, A.N. Taganov lists the literary, musical, and theatrical types [Taganov 2005: 140-149], and D.V. Tokarev mentions musical, fine art and musical, and cinematography ekphrasis [12: 93-95].

The semiotic principle of the division of arts, which made a particularly strong appearance in the 19th century, draws a distinction between the pictorial and non-pictorial (or expressive) types of art. “Pictorial arts (fine art, sculpture, graphics, photography, literature, theatre, and cinema) use the ‘language of real-life impressions, recreating before the eye or imagination objects and phenomena of the real world as one perceives them in one’s practical experience’. The non-pictorial arts (music, dance, architecture, applied arts, design) diverge from ‘the form of a sensual image that emerges in the experience of a person’s daily life’” [Bochkareva et al. 2012: 5-6]. Different models of transition and interaction form between them inescapably. What we are primarily concerned with is the contemporary aspect of intermediality in music. In this sense, “a vivid example of ekphrasis is the musical “The Phantom of the Opera” based on the novel of the same name by Gaston Leroux, a legendary and world-famous masterpiece by composer Andrew Lloyd Webber, which has not left the stage of the world’s theaters for almost 30 years” [Bigvava 2018: 34].

It is worth disclosing the concept of intertextuality, which was introduced by Iulia Kristeva based on “the discovery first made by M.M. Bakhtin in the theory of literature: any text is constructed as a mosaic of quotations, any text is a product of absorption and transformation of some other text” [Kristeva 2000: 429]. Kristeva operates with the terms “alien word”, “dialogue”, “multivoiced”, “polyphony”, etc., which Bakhtin used in relation to the texts of fiction. R. Barthes [Barthes 2013], specifying the definition of intertext, once again emphasized that in any text (intertext), other texts are inevitably present as fragments of cultural codes, formulas, rhythmic structures, fragments of social idioms, etc., absorbed and mixed in this text from the preceding linguistic culture [Bochkareva et al. 2012: 7].

Various methods for the analysis of literary works (mythological, biographical, comparative-historical, cultural-historical, psychological, formal, structural, sociological, culturological, narratological, semiological, etc.) have been developing in the sphere of literary art as the totality of any and all texts for decades, whereas the problems of analyzing the non-verbal (non-word) artworks remain unresolved to this day. Of most relevance appears to be the method of intermedial analysis, although it cannot be applied to all literary works since, at the very least, it requires defining the categories, levels, and common techniques of analysis universal for the works of different types of art.

Numerous definitions and approaches to the study of the concept of intermediality generate a wide array of intersecting and sometimes contradicting versions of seemingly the same thing. This is especially apparent from the works on the systematization of intermediality research by Lars Elleström [27, 31] who believes that all media are multimodal and intermedial in the sense that they contain a multitude of basic attributes and can only be considered in the general field of other types of mass information means.

Based on the formal method developed in structuralism, narratology, semiotics, communication theory, and interpretation, there are semiotic methods [1, 9, 21], which can be considered intermedial in a broader sense, meaning by that the analysis of relations and forms of interaction of the textual languages of different arts. This was indicated by the Italian scientist, philosopher, specialist in semiotics and medieval aesthetics, cultural theorist, and writer Umberto Eco in his book “Interpretation and Over-interpretation” [26]. The same idea is argued by Patrick Milian, who proposes four intermediate configurations of intermediality as the basis for interpreting the relations between different types of art [Milian 2019]. Milian himself relies on the work of Peter Dayan [Dayan 2011], who states that these relations rest on the fundamental incommensurability between the individual arts: the visual arts can never affect and communicate as music does, music does not come close to poetry, and poetry – to the visual arts. Nevertheless, there is the concept of transposition, which allows the author to represent another kind of art, its, so to speak, environmental peculiarity, which has recognizable signs of measurability and scientific repeatability. Thus, it becomes possible to maintain the existence of truth in art as a whole, to use the iconic features of one type of art in combination with the expressive features of another.

At present day, due to the lack of universal criteria and a terminological system for the study of the concept of intermediality, the search for a universal method for analyzing any work of art remains a topical issue.

“The main problem is that in different arts, the same terms refer to substantially different phenomena: the composition of a painting or a musical piece is not the same as the composition of a literary text. Different types of art arrange artistic time and space differently and use varying means of creating an artistic image. An example of this is the artistic image and the means of creating it in music, fine art, and literary works” [Chukantsova 2009: 140].

Since the artistic image is defined as a way of mastering and transforming reality [16, p.42], it is possible to identify the means used by music, fine art, and literature to the same degree. One of the primary tools in these arts is composition [18; 20; 21], which presents a system consisting of elements or components that are in specially organized relations with each other and can be distinguished by some formal attribute. Compositionally, these elements are the parts of an artwork that can be considered essential for its structure and content and are subdivided into external and internal [16, p. 216–223]. The external components or elements of a literary work can be individual chapters, stanzas, or phrases, stylistically isolated moments, as well as an introduction, conclusion, and epilogue. The internal components include the plot, theme, and individual characters of a literary work in their textual associations. The components or elements of the composition of musical and literary pieces can match or differ in terms of structure. For example, both types of works (cultural texts) are formally divided into parts, yet in music, this division is based on intonation as the foundation of musical thinking and communication. On the other hand, intonation is the unity of sound (the sound shell of a word) and meaning, same as words. The word, however, comprises a limited number of phonemes, whereas musical intonation uses the entire range of sound with different tempos, rhythmic patterns, volume levels, etc. The parts of a work are often marked by theme, motif, and leitmotif. Theme refers to the main idea of an artistic work lying at its basis and developing throughout its course. The motif is the semantic unit of any artistic text, including musical ones. The motif can be represented by a recurring word, phrase, situation, object, idea, image, or character. A leitmotif is a theme or motif that is associatively linked to a certain situation, character, or idea in a musical piece. In music, the leitmotif is a prominent, vivid, melodic phrase used to characterize a certain character, phenomenon, idea, or experience and repeated many times in the course of the plot development, i.e. it takes on the function of the motif of the artistic text. The main distinguishing feature of leitmotif in literary works is continuous reappearance in different qualities: as a word, gesture, action, image, idea, and so on.

It can be argued that multimediality emerging from the interaction of different arts describes the integration of semiotic operations and meaning modalities in a common phenomenal space. At present, such symbiosis has generated a vast space of intermedial artworks, new synthetic media-arts, in which importance is attributed not to the cultural texts themselves but rather their relations that form new meanings.

  1. Discussion. Intermediality in the context of total digitalization

Intermediality “as the interference of the arts, particularly the verbalization of nonverbal art forms within fictional genres, is under serious pressure from the modern technological landscape, the main challenge of which should be considered the digitization of any content (music, video, photos, audio files, etc.)” [Zagidullina 2017: P. 60]. The era of panmediatization has brought about the transformation of both participants in communication in the sphere of art (the creator and the consumer), the channels of communication between them (as a condition for the existence of an artwork itself), and the nature of works of art. Same as many other technological innovations, digitalization generates immediate and delayed effects. The immediate effects can be considered to be the aforementioned transformations of any creative cultural text into another through interference with cultural texts from other art forms and the convergence of polycode structures in the space of an artwork, or even into another art form through changes in the very ways of forming the postmodern image of the world as a set of cultural texts. Finally, interactivity at the moment of communication or interaction between the creator of an artwork and its recipient (today, the consumer of a cultural product). Modern polycoding differs from the already existing accompaniment of text with video, audio, or photographic inclusions (the so-called longreads) because it relies on hybridization based on the possibilities of a protocol as a way to digitally replicate any work of art. Here we refer to the technologies allowing to convey color through sound and emotions through color, to the opportunity of describing a person’s state through musical composition. As an example, the British musician and artist Neil Harbisson who suffers from a disease that only allows him to distinguish the shades of grey, and who has expanded his ability to perceive color and became the world’s first officially recognized cyborg – with an antenna implanted in his skull and dental implants that can allow Harbisson to send messages over the Internet by clicking out Morse code with his teeth. This may be an isolated case, but the mass acceptance of synthetic art is not that far away. Moreover, as soon as digital technology becomes simple enough, art will immediately respond by creating new syncretic forms. As for the delayed effects of digitization, we should pay attention to the rapidly spreading hybrid forms of cultural texts in virtual space (newslore, medialore, journallore, netlore, etc.), new polycode genres (pins, instas, photoshop battles, memes, longreads, etc.), and new forms of language.

Considering the contemporary sphere of musical art, there is the rise of song culture as a polycode literary and musical genre, in which the meaning of a hybrid cultural text is formed through the synthesis of the meaning of the word itself and the image generated by the melody. It is melody and not the word that becomes primary in this synthesis of two arts – the meaning of words in a foreign language can be unclear, or the song itself can be deliberately arranged so that the lyrics are difficult to hear. The technical opportunities are extraordinary – smartphones and headphones allow any person to dive into the world of art “on the go”. Thus, the seeming easiness of perception creates the illusion of the simplicity of creating an artistic work, which results in a greater number of authors writing music and song lyrics and their demonstration on the Internet. Mass cultural practices have already generated the profane culture of the 20th century. Now, we propose to discuss what is to come in the near future.

A. Petho indicates the following: “‘intermediality’ has proved to be one of the most productive terms in the field of humanities, generating an impressive number of publications and theoretical debates. This popularity of intermedial researches was prompted by the incredibly accelerated multiplication of media themselves that called for an adequate theoretical framework mapping the proliferation of media relations. The other factor that propelled ‘intermediality’ to a wider attention was most likely the fact that it emerged on an interdisciplinary basis that made it possible for scholars from a great number of fields (theories of literature, art history, music, communication and cultural studies, philosophy, cinema studies, etc.) to participate in the discourse around questions of intermediality” [Petho 2010: 40]. This statement cannot be argued with since it is relations and not the meaning content of each of the interacting arts that have become the most topical subject of discussion today. The part of a cultural text (in the broad sense) that ends up perceived today is that which is stereotyped and recognizable and does not require interpretation or multidimensional decoding of meanings.

What comes to the fore then is a kind of “intermedial competence” as the ability to understand and interpret the process of generating new meaningful content, which takes place within the semantic modalities and communicative registers, the ability to use different symbolic systems, different disciplines, and general and scientific discursive practices for this purpose. For this ability to be developed, it is not enough to merely use the information and communication opportunities of the digital environment of the virtual space, it also calls for the exchange of knowledge of the entire sphere of culture. The conceptual content of culture, the management of knowledge, and the practical use of the enormous amount of information generated on the World Wide Web are immanent to education, science, creativity, innovation, education, upbringing, and everything that shapes both citizenship and identity of individuals. The rapidly advancing digital technology and intermedial discursive practices have started to play a special role in the development of modern educational and cultural policy and practice. The interactive nature of Internet communication networks, which attracts users looking for obtaining a cultural identity, also reveals the dark side of this activity – the more the users engage in information search, the less they seek social solidarity. The increase of mobility resides in the greater individualization it creates, since people can communicate and interact at distance regardless of their physical location, and individualization entails social passivity. The global nature of this problem is apparent today and manifests in all spheres of human life, including education.

On the Internet, especially in the creative field, a sense of belonging to the creation of something new, or even mutual exchange and cooperation, is formed. However, in reality, this rarely happens due to differences in the basic professional competencies of individuals, even if they have talent. Even in the professional sphere (for example, music), excessive use of network technologies can tear an individual away from active real life with its obligatory resulting interactions and information exchange. Network individualism is clearly manifested in the virtual space, where instead of the expected globalization, people have many changing sets of glocalized connections due to many changing cultural preferences. At the same time, through the Internet, people get access to the public sphere and the opportunity to express their personal opinions, which may not at all correspond to public information and professionally formed media. Thus, bloggers have appeared who consider themselves specialists in any field of everyday activity, and in the field of music – practically professionals. As a result, an imaginary community space is formed, in which the space of information flows replaces real life in the geographical space of places. Against this background, there is an obvious decrease in a person’s sense of social and personal responsibility to others, but real society may not forgive this (an example is cancel culture).

It is the sphere of education as a stable social institution that can use the growing volume of virtual network communications using forms of intermediality to represent reality as a dynamic process in which a person (as a formed personality) is defined in a variety of times and cultural spaces – genres, languages, groups, etc. The dynamics of culture then appear realized in discursive pedagogical practices and creative projects. The globalized virtual context with all its interactive forms is combined with glocalized training programs that consider the cultural and historical heritage, forming general cultural competence. It is already impossible to imagine it without understanding intermediality as a necessary component of the creative process of generating something new. This is especially evident in the field of culture and, in particular, art, when the teacher acts not only as a teacher-methodologist but also as a teacher-technologist, who forms an actively creative person who will continue to need an independent constant search for new knowledge and professional skills. This requires the teacher themself to be fully immersed in the changing context of the socio-cultural environment, as well as to master intermedial technologies in relation to the current life situation in society. In the field of art, various artistic trends, synthetically uniting in multidisciplinarity, have been creating new visual forms for more than a century (Russian modernism is an example). Disciplinary boundaries are being pushed but whether intermediality will become the basis of all humanities outside the realm of art is not yet clear. Discursive practices allow an art teacher, together with students, to form new professional competencies. At the same time, students also manifest the social position of citizens of a particular country. This is the function of the education system in any state – the formation of a general cultural and professional worldview of competent and responsible citizens. Hypothetical global cultural unity is hardly achievable today; rather, intermediality contributes to the expansion of knowledge in the field of culture as a dynamic content basis of social life (considering modern technological and technical achievements). Manifested in the media-technological, cultural-aesthetic, and socio-cultural-communicative trinity, intermediality is in the process of forming a new semiotic system as a result of the interaction of arts. This dynamic also corresponds to the educational process of forming general cultural and professional competencies in the field of art.

  1. Conclusion

Youth as a special socio-demographic group occupies a special place in the reproduction of labor relations, i.e. in the market of the social division of labor. The atmosphere of the simultaneous presence of numerous opportunities and their inaccessibility is further aggravated by the fact that the only social model supported by ideological imperatives in any state (inviolability of private property, the prestige of people of science and education, tolerance, national dignity, etc.) has led the younger generation to strive for greater freedom of action and movement, to become aware of the value of their own private life as greater compared to corporate values in labor, and to seek creative self-realization. The model of success that had been viewed as the only possibility for decades no longer brings satisfaction to individuals. This means that the a priori desired “happiness”, a cultural concept closely related to the concept of “success” in this case, is not achieved. It should be noted here that the basis for modern youth’s self-identification became the orientation on understanding and not cognition and gaining knowledge.

Today, education has become, in the first place, a crucial socializing factor. Self-determination in life is viewed as a person’s active assertion of their position in relation to the social system of values (moral, social, communicative, aesthetic, professional, etc.), which allows them to manifest themselves in various life situations. This is directly associated with the competency-based approach enshrined in the foundations of the universal system of European, including Russian, two-level higher education. The formation, or, more precisely, the design of general cultural and professional competencies has become a demanded result of the educational process in higher education. It is possible that the development of intermedial competence has to become another component of this vital process.

References

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Sentiment Analysis for a Humanist Framework: How Emotions are Recognized and Interpreted in the Age of Social Media

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Rafael Guzman Cabrera
Department of Electrical Engineering, University of Guanajuato, Mexico. Email: guzmanc81@gmail.com

Rupkatha Journal, Vol. 14, Issue 2, April-June, 2022, Pages  https://doi.org/10.21659/rupkatha.v14n2.01

First published: June 18, 2022 | Area: Aesthetic Studies | License: CC BY-NC 4.0

(This article is published under Volume 14, Number2, 2022)
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Sentiment Analysis for a Humanist Framework: How Emotions are Recognized and Interpreted in the Age of Social Media

Abstract

Language is in constant evolution – this theory has been demonstrated most aptly and comprehensively by Marshall McLuhan. Specialisation in the different areas of knowledge, especially technology, has contributed to this process. Technological advances and the development of so-called intelligent devices allow interaction through voice interfaces, text, or gesture and in its most advanced forms by means of the incorporation of artificial intelligence-generated linguistic communications in human-machine interfaces. In recent years, the ways of communication or watching news have changed, now we do it by means of the internet and through different options of the social networks. We interact with people and react to their communications by means of divergent ways of language formation. It is increasingly common to express opinions through social networks and the internet. So much so that now we know that it is possible to analyse a person’s sentiment from his or her communications of opinion issued in social networks? The question is, can we determine, for example, whether the opinion has a positive or negative emotive charge only by analysing the written or inscribed texts of such formats of communication? This paper presents a brief description of how technological evolution has created an x-factor of language, that is expressed, appropriated and re-used in machine learning modules, artificial intelligence, and automatic sentiment analysis.

Keywords: Artificial intelligence, Language evolution, Sentiment analysis.

  1. Introduction

The evolution of the human language is one of the most important and interesting post-humanist questions about the human ability to think and interact with the world and the environment (Nowak, Komarova, & Niyogi, 2002). The earliest records of language come from the Denisova cave inhabitants of southern Siberia, some 175,000 years ago (Barnard, 2016). We don’t know if they spoke or developed a language or protolanguage. A protolanguage is a language reconstructed on coincidences and common features of a family of original languages. There are several theories about the first stages of protolanguage (Tecumseh and Donald 2010). Generally, four models are recognized for a protolanguage template: lexical, musical, mimetic and gestural. Again, every language, whether spoken or written, evolves to have grammar as a defining feature. Grammar is essentially syntax: the part of language that lies between the sound system that makes up speech (phonology) and the part that carries meaning and is called semantics. Heine and Kuteva (2007) propose a six-stage scheme for the evolution of grammar: nouns, verbs, adjectives and adverbs, pronouns, and demonstratives and finally negations. Their model further suggests that language evolved gradually, and that the lexicon evolved before syntax.  Since the early 1990s, there has been an increasingly productive study of language, with advancements in many different sectors, and an encouraging increase in exchange and interdisciplinary collaboration (Fitch 2005). Currently we normally see the way we interact with other people, in our communications includes not only the older methods of communication that were available to humanity for thousands of years but also forms or signals derived from communications technologies, some of which include communications across formats like social networks or e-mail correspondences. But what kind of technologies did we leave behind to get here? When did we stop using other ways to communicate? Where did postal mail go, and telegrams and faxes that even relatively recently were used on a daily basis?

We have witnessed a technological revolution that has put our reach of technological resources far in advance so that we have changed our way of interacting with others in so many ways. As a consequence of this change there has also been a change in the nature or structure of language (especially inscription); now we can use emoticons or abbreviations that literally say nothing, but we still use them to express ourselves. The paper mode of communications has changed from paper material surfaces or inscribable surfaces to digitally simulated platforms or screens. Surprisingly, we went from talking on mobile phones to writing text messages through social networks in platforms that we now call social media. Yet it also suggests a new medium of communication such as some of those that McLuhan had barely begun to identify (McLuhan 2003). When we actually talk and interact with a person, either in person or by means of using some technological resource, we also perceive their mood or their “sentiment” either by looking at their gestures, expressions, modulation, and tone of voice, or a whole range of other characteristics that we use to express ourselves. The big question is: is it possible to perceive such feelings from a written text-format alone, like a text that incorporates not just words, but extra morphological semantics like those engendered through emoticons, GIFs, memes, visual codes, digits etc, or new sets of phraseology? The rest of this paper tackles the question of the languages in the latest media, specifically social networks, which constrain us to meet and interact with people by looking at the textual equivalent of their emotions and not at their physical bodies. What are the written expressions and resources that help us to identify the feeling of a person through a written expression? This question also leads us to directly understand how a systematic classification and understanding of emotional cues might be undertaken so that machine learning modules can predict these emotions?

  1. Artificial Intelligence

The evolution of technology had a decisive impact on the way we live today, particularly the development of computer hardware. Just 70 years ago, researchers wondered if a machine could ever think for itself. Over time the question was changed to whether it could come to think by being manipulated by physical symbols sensitive to the structure that they had. In those times they managed to understand the great power of systems that were governed by established rules, but what if the systems were automated? Automation could turn a reading process from being an abstract computational system into a real physical system (Fernández-López, 2011). To determine if a machine uses artificial intelligence or to put it in simple words if a machine is intelligent, Alan M. Turing’s proof was taken as a reference (Millican, 2021), which indicates that any recursively computable function can be calculated in a finite time by means of a machine that manipulates simple symbols. This was Turing’s universal machine. A Turing machine is a device that negotiates with symbols on a strip of tape according to a table of intervening rules. Despite its simplicity, a Turing machine can be adapted to simulate the logic of any computer algorithm and is particularly useful in procuring the functions of a central processing unit within a computer. This implies that a symbol manipulating machine should be able to have intelligent consciousness, where positive results could be obtained since these machines could perform a series of cognitively intelligible activities, as for example the solution of algebraic problems, or of arithmetic, or engagement in meaning interpretative human dialogue or games like checkers and chess. Thanks to the emergence of larger hardware memories, we could evolve more efficient and faster machines that could go ahead and engage with human language systems.

For its part Hubert L. Dreyfus, one of the main characters who argued against the fact that a machine could have its own consciousness, published a book in the 1970s where he criticised the modules of machine cognition (or interpretation) and mentioned that the consciousness was reserved to the capabilities and common sense that people possess, Dreyfus didn’t deny that a machine could be made to think, but said that this could be based only on the manipulation of symbols, that is, by means of programs (Su & Luvaanjalba, 2021). In the 80s Jon Searle proposed a thought experiment called ‘the Chinese room’ which posits that a machine is incapable of thinking, since the human mind doesn’t function like a computer program, nor can a computer program behave like a human mind (Tabares Cardona, 2021). The Chinese room consists of a room, isolated from the outside, in which there is a person who doesn’t know the Chinese language but who, through a hole, can receive sheets of paper with texts written in this language, and if inside the room the person has manuals and dictionaries with which he is able to relate the characters to write a response, without having to study the language but applying rules then, for each set of input characters, the person would be capable of issuing an answer without understanding the language. In the same way, a machine will work with inputs and obtain outputs, even if it doesn’t ‘understand’ them. Therefore, a machine that applies rules is incapable of having consciousness, but we humans can also be, retroactively arguing, a Chinese room full of rules.

The main objective of the Chinese room is to deny that the mind is similar to a computer program, demonstrating that a machine can perform an action without understanding what it does and why it does so, since its logic only operates with symbols without understanding the content involved. Such a machine could easily pass the Turing test by pretending that the machine understands the language. Artificial intelligence consists of a simulation of some activities of the nervous system by means of machines: this refers to the fact that some of the processes that are performed in the brain can be analysed as computational processes. An example would be that rule-guided machines wouldn’t have the distractions of goals to be achieved- as it happens to human beings who are always faced with emotional distractions and destinies of their interactions. These destinies may be simple happinesses from a stream of pain or simple tirednesses. The interface between the brain and the computer allows measuring brain activities, processing and creating communication channels with the environment. We can define a system capable of translating aspects of the nervous system into a model of interactions with the virtual world.

  1. Machine Learning

Learning refers to a broad spectrum of situations in which the learner increases his knowledge or skills to accomplish a task. Learning applies inferences to certain information and constructs an appropriate representation of some relevant aspect of reality or some process (Moreno, 1994). A common metaphor around machine learning – within Artificial Intelligence – is to consider problem solving as a type of learning that consists – once a type of problem has been solved – in being able to recognize the problematic situation and react using the learned strategy (Klahr & Kotovsky, 2013). A classic example is the problem of the farmer, who, accompanied by a fox, a goose and a sack of grain must cross a river on a barge in which there is only the and one more, but if he leaves the goose with the fox, the fox will eat it and if he leaves the grain with the goose, the goose will eat it. Here the problem must be recognized, and decisions made that allow everyone to reach the other side of the river. In this sense, we have different classifications or types of learning, we will briefly describe the most used in the state of the art: supervised, unsupervised, and deep learning.

Supervised learning (Nguyen Cong, Rivero Pérez, & Morell, 2015) has the purpose of obtaining a distance metric function, usually represented mathematically as the Mahalanobis distance between two instances and their corresponding classes for a specific application, and based on using information from the training set. Most algorithms that learn a distance function try to solve an optimization problem with constraints. On the other hand, unsupervised learning (Tello & Informáticos, 2007) obtains a model that fits the observations, because there is no a priori knowledge. A usual problem of this type of learning falls on decision-making itself, and whether they are correct or not, for this, grouping techniques with logic are used. Data collected is like other data, and thus can be treated collectively as a group. Clustering is a form of unsupervised classification where, in contrast to the supervised group, the class labels are not known (there are no previously defined classes) and the number of groups may not be known either. Fuzzy clustering is a method frequently used in pattern recognition (Fan, Zhen, & Xie, 2003). In recent years, deep learning has been widely used. It consists of a set of algorithms that attempt to model high-level abstractions using computational architectures. Such structures may support nonlinear and iterative transformations of data expressed in matrix or tensor form. In simple terms, deep learning implies the mastery, transformation, and use of this knowledge to solve real problems (Valenzuela Granados, 2021). Independently of the type of learning, the objective is the same: to have a system that is capable of learning from experience and one that can include the conditions of the environment to successfully perform its task. When we talk about the identification of sentiments in written texts it is important, in this sense, to have instances manually labelled by an expert, that allow machine learning techniques to identify trends, associations, patterns, and collocations in the text that allow associating these features with the type of sentiment labelled in the instance under study.

  1. Social Networks

Currently, microblogging websites have become digital spaces of varied information, where users post information in real-time and opinions are expressed by means of texts that implicitly carry an emotional charge. Statements thus become a positive or negative opinion about people, products, or services. Several companies, organisations and institutions have made use of this type of media to obtain feedback, promote themselves, or to turn the opinion of users into an improvement network (Rani, Gill, & Gulia, 2021). Being able to know the opinions of the users of a product or service will guide the decision-making to achieve an improved sales profile of a company, by identifying areas of opportunity and improvement within it. Twitter in recent years has recorded a growth in the so-called “social panoramas”, used in a transmission system, as well as conversation tools. Twitter is the social network that is currently used for the development of numerous investigations of sentiment analysis (also known as opinion mining), where sentiment analysis is defined as the process of determining opinions based on attitudes, valuations, and emotions about specific topics. In this context, an opinion is a positive or negative evaluation of a product, service, organisation, person, or any other type of entity about which some feeling can be expressed (Cambria, Xing, Thelwall, & Welsch). Due to the importance of sentiment analysis for business and society, it has been extended from computer science to management and social sciences (Coba, Barrera, & Sánchez, 2022). Since, if opinions on the network are successfully collected and analysed, they allow not only to understand and explain many complex social phenomena, but also to predict them. The emotions that users express in Tweets are related to the person’s sentiment, and the polarity (positive, negative, and neutral) is the measure of the emotions expressed in a phrase.  Generally, the polarity goes from negative (-1) to positive (1) through neutral (0), where this last value means that no sentiment or opinion has been expressed.

  1. Sentiment Analysis

Khamphakdee & Seresangtakul (2021) describe sentiment analysis as a task that is responsible for identifying and classifying different points of views and opinions about something without being specific: it can be an object, a person, an activity, etc.  Analysis is based on Natural Language Processing (NLP). The main objective is the analysis of opinions and their classification based on the identified sentiment: positive or negative. There is also the possibility that they don’t exist and would be classified as neutral. The possible applications can be as useful as they would be different. In recent years such analysis has been a very attractive and interesting field of research, creating a classification set that can be performed in the polarity of sentiment as mentioned above added to this can be added a classification of primary sentiments such as joy, sadness, anger, fear, and others. Antonakaki and colleagues (2021) present some techniques used for the review of sentiment analysis, such as those which will help us to automatically determine the emotional polarity in a text with Artificial Intelligence, i.e., develop programs or learning algorithms and knowledge generation capable of learning to solve problems.

The authors in Jiménez-Zafra, Cruz-Díaz, Taboada, & Martín-Valdivia (2021) tell us about the ways of adapting a semantic orientation system to be able to perform the analysis of sentiment in a new language, building support vector machine (SVM) classifiers. We must bear in mind that a classification system, used to find ‘feelings’ in written expressions, based on machine learning, can be trained in any language. Another technique used for sentiment analysis review is Semantic Orientation, which oversees extracting opinions (Appel, Chiclana, Carter, & Fujita, 2021). Appel and colleagues explain that the semantic orientation of a word can become positive when it is shown with praise words, or negative when a criticism-word is identified. Semantics uses a learning technique that doesn’t necessarily need to be supervised since it doesn’t require initial training. This type of unsupervised learning uses different lexical rules in sentiment classification.

There are also 3 levels of classification for sentiment analysis:

  • Document-based
  • Sentence-based
  • Word/phrase-based.

The first level is document-based, where the document is understood in a unique way and the whole document is thus classified according to a feeling for the whole document. The sentence-based level is responsible for classifying each sentence in a document or text: machine learning is generally used to detect subjective sentences. Finally, the word/phrase level is essential since the word is the smallest unit containing meaning in the entire text and is therefore indicative of the most detailed of the levels. In the Sentiment Analysis method, a machine learning approach based on a training and testing, using one set of collections to differentiate between text features (training) and another for classifier accuracy (testing) may be used. Our research has repeatedly used such techniques. Some of the classifiers we have used were Support Vector Machine (SVM), Nayve Bayes (NB) and Maximum Entropy (ME). Nayve Bayes is a classifier commonly used to classify text documents based on a probability model, for estimating the probability of a given group with a text document as input. The Support Vector Machine (SVM) classifier is also proposed for solving problems in pattern recognition. It is a learning model with algorithms that is responsible for data analysis. The two classifiers were top-rated in the machine learning approach to data mining and sentiment classification.

Sentiment analysis starts with the collection of data on a website or social network, mostly by taking advantage of the data that already exists publicly. The data can be classified according to the input of information from such sources as forums, blogs, articles, news, or social networks. For forums, the research is based on publications, and for this data collection is based on the access information of the users since they must be registered to be able to participate in them. A main advantage here is that most of the forums are dedicated to a single topic. Reviews focus a lot on opinions that describe good and bad attributes whether in products or services, such as movies. In social sentiment analysis classification depends a lot on the use of keywords in the texts. To finish with this part of the methodologies implemented to carry out sentiment analysis in texts, I want to refer to two projects in which I had the opportunity to participate. In Sánchez, Cabrera, Carrillo, & Castro (in preprint 2022) we conducted analysis of sentiments, with a methodology that allowed us to identify the polarity of a text in Spanish according to the emotion of its authors: this polarity could be identified with 3 labels: positive, negative, and neutral, and the emotions that could be identified being of 5 kinds: anger, fear, joy, sadness and love.

As the first point of the methodology, use is made of the corpus labeled SemEval 2018 “Task1: Affect in tweets”, first a cleaning process of the tweets is performed, eliminating: emoticons, punctuation signs and special signs to subsequently separate the tweets into words, and using POS (part of speech), we place a label and word lemma (base form of the word). With this information a text classification model is created. This model receives (matches with input signal) an instance and categorizes it as: anger, fear, joy, sadness, or love, corresponding to the emotion that was identified for each instance. This is possible because the training corpus is labelled according to the emotion and can be used to train the system; once the system is trained it can receive new instances and identify the emotion. Once the emotion has been identified, polarity identification is performed, whose objective is to obtain a positive, negative, or neutral classification. This stage is performed through the extraction of the POS tags, here a search is performed for each lemma within the ML-Senticon lexicon, to obtain its respective positive or negative classification. Another research (Guzmán Cabrera & Hernández Farias, 2020) presents an exploration of diverse lexical resources that support the task of sentiment analysis. For the development of the methodology as a first point a series of experiments based only on the content of the tweets was presented in our projects. For this we used five configurations, in each one the pre-processing to be performed was increased, the first of them was without performing any type of pre-processing, the second consisted of tokenizing the text, eliminating empty words, conversion to lowercase and to terms that exceed a frequency threshold. Two approaches to lexical resources were used, the first one was a basic approach based on the creation of lists of terms associated with two polarities: positive and negative. And the other approach labelled a word with a score that reflects its value with respect to a particular aspect. The authors in our group selected a set of fourteen lexical resources divided into two main groups, those that include information strongly related to sentiment and emotions and those in which psycholinguistic information was also considered. It is undoubtedly a very exciting area of explorations and there is much more to write about. The important thing is to show that both the identification of sentiment and polarity can be performed in written texts and that these resources become necessary given the popularity of social networks and the daily posting of opinions on them. Surely language will continue to evolve, and, in a few years, everyone would be discussing some other strategies for performing sentiment identification.

Conclusion

Computational sentiment analysis betokens a process that helps us determine the emotion with which a series of words is defined, and it consists of evaluating attitudes and opinions from word-tokens to obtain information that helps in identifying the reaction of users for a product or service, or by extension any piece of communication. In general, the idea of sentiment analysis was partly elaborated for the development of better products and services, based on the opinions that were found in the different areas of communications. Yet a lot remains to be discovered. But the final take for any interpretative process is to understand how any thinking entity, b it a machine or human arrives at the meaning of texts, what kind of flow chart is really relevant and expedient and how such insights change our notion of interpretation in the academic theoretical literature. What do machines teach us about reading?

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