Category: Culture

  • History’s Dead Hand on the Middle East

    Last month’s opening of the U.S. embassy in Jerusalem served to re-ignite Palestinian rage against what many there regard as a latter-day ‘Crusader’ state, a term with particular resonance in that region.

    Krak des Chevaliers, Crusader Castle, Syria. Photo: Frank Armstrong, 2003.

    No other city juxtaposes such piety and passion as Jerusalem. It is sacred to the three great monotheistic faiths of Judaism, Christianity and Islam, and located close to the birthplace of civilisation itself. All the dominant empires of the Mediterranean and western Asia have battled for possession of this strategic gateway to three continents, and on it goes.

    With Europe enjoying a long, and increasingly complacent, holiday from its bloody history, and with the U.S. finding itself in ‘united states of amnesia’, the past is often forgotten; but in the Middle East – a heavily-laden term itself – a symbolic inheritance smoulders and crackles.

    Thus, when Islamic State, or Daesh, burst into Iraqi and Syrian politics and declared a short-lived Caliphate in 2014, they claimed they were destroying the despised Sykes-Picot border. These ‘lines in the sand’ (somewhat altered after the war) demarcating post-colonial states were the product of a secret alliance between the Allied Powers to carve up the Ottoman Empire in 1916, against the claims of Arab nationalists.

    The reason this latest gesture of U.S. support for the Israeli government of Benjamin Netanyahu – and nod to a domestic Christian fundamentalist audience – is a cause of such outrage lies in the profound meaning attached to the ancient city, which, ironically, derives its name from a Bronze Age ‘pagan’ deity Shalem; the preceding ‘Jeru; is a corruption of the Sumerian word ‘yeru’, for ‘settlement’ or ‘cornerstone’.

    For Jews it is an historic capital, and site of the First and Second Temples, of which only the Wailing Wall survives after its destruction during the Great Jewish Revolt against Roman Rule (66-73 CE). The city also has profound associations with Christianity, as the site of the trial and crucifixion of Jesus Christ; furthermore among the Evangelical Rapture movement it is believed that the rebuilding by the Jews of their Temple will anticipate the Second Coming, which explains the devotion of many U.S. Republicans to the cause of Israel.

    Islam is also deeply-embedded in the city. Many Biblical traditions contained within Judaism and Christianity were accepted by Muhammad in the Qur’an, although he explicitly denies the doctrine of the trinity (though, surprisingly, not the virgin birth) in verse 171 of the 4th Sura: Do not say, ‘Three’. Stop. It is better for you, Allah is but one God. He is far above having a son. This doctrine of tawhid or ‘oneness’ is crucial to any understanding of Islam, especially the Sunni variant.

    Above all the Muslim presence in Jerusalem is located in the shimmering Dome of the Rock completed by Caliph ‘Abd al-Malik in 691 CE on the site of the Second Temple after the Islamic conquest in 638 CE.

    The Dome of the Rock. Photo: Frank Armstrong, 2003.

    In the The Crucible of Islam G. W. Bowersock points to a Qur’anic verse inscribed on the north door of the structure in which Muhammad condemns polytheism. This was a charge that could be leveled against Christians with the trinity in mind. Bowersock argues this did not augur well for future sectarian relations: ‘Abd al-Malik’s Dome of the Rock arose on ground that was shared by the great monotheisms, but it proclaimed only one of them and offered no path to coexistence with the other two(1)’.

    This lapidary statement of intent contrasts with the relative benignity of the lightning conquest by the followers of Muhammad of a great empire stretching from the Iberian peninsula to Persia. As Bowersock puts it: ‘Archaeological evidence which has been cultivated for this period in recent years confirm the lack of any substantive impact of the Muslims on local populations.’

    Adherents of other monotheistic religions in that region simply had to pay jiza – a head tax – and a tax on land known as kharaj. Despite their initial opposition, and alliance with the Sassanid Empire in Persia, Jews were far better treated under their Islamic lords than their co-religious under ‘Christian’ rulers in Europe. Those who appeal to history in the Middle East, on all sides, tend to be selective in their recollections.

    II ‘Middle’ or ‘Near’ East?

    The term ‘Near East’ was coined at the end of the nineteenth century to describe the Ottoman Empire and its successor states, while the expression the ‘Middle East’ was used for the area that intervened between the ‘Near’ and ‘Far’ ‘East’. With the demise of the Ottoman Empire, however, the ‘Middle East’ migrated westward and came to include the ‘Arab’ states that had emerged from the Ottoman Empire. This, in turn, heralded the emergence of ‘Central Asia’ to describe what had been the ‘Middle East’.

    This has given rise to the argument, advanced in particular by Edward Said, that the term should be expunged from use. Said was reacting to an enduring European discourse used to justify imperialism, often treating the region as a special case requiring tutelage.

    According to a contemporary ‘Orientalist’ Bernard Lewis (d.2018): ‘The Middle East as an area of study for scholars in the western world presents peculiar problems different from those of most other areas. It is different than a situation in which we study a part of our own society. That I think is self-evident.’

    Western imperialism did not cease with the end of the British and French mandates in Iraq, Jordan, Syrian and Lebanon whose borders are the legacy of Sykes-Picot. The presence of vast oil reserves has given rise to constant meddling. David Frum, formerly a speech writer of George W. Bush, who coined the phrase ‘axis of evil’, records that Bernard Lewis was invited to the White House in November, 2001, ‘to explain his views’.

    Frum approvingly noticed ‘a marked up copy of one of Bernard Lewis’s articles in the clutch of papers the president held(2).’ The extent to which archaic Orientalist opinions retain their appeal, and more importantly a propaganda value, emphasising a distinction between ‘democratic’ West, and ‘tyrannical’ East, lends credence to Said’s thesis that: ‘the vindication of Orientalism was not only its intellectual or artistic successes but its later effectiveness, its usefulness, its authority(3).’

    Does the term the Middle East to describe a great swathe of territory from Morocco to Iran retain any usefulness therefore? Nikki Keddie argues the term retains an explanatory usefulness for ‘an uneasy but still adapted blend of pastoral nomadism and settled life’ in the region(4).

    This has roots in the ideas of the fourteenth-century Arab historian Ibn Khaldun’s who pointed to a perpetual conflict between badu (nomadism) and hadar (urbanites) in the region. He claimed the superior ‘asabiyya (group solidarity) of the badu brought successive victories against hadar. However, after a number of generations this ‘asabiyya is corrupted by the more luxurious of life in the city, and the cycle continues(5). Even today one can see certain of these dynamics playing out in conflicts from Syria and Iraq.

    Palmyra, Syria. Photo: Frank Armstrong, 2003.

    Today, the term the Middle East approximates with the region subjected to the first wave of Muslim conquest (the Iberian peninsula apart), and arguably that legacy is still evident. This is not, however, to equate the region with the ‘Islamic World’, or more vaguely ‘Islamic government’, since ‘Muslims in power’ took on varying forms in places such as in India during the Mogul Empire, where it was the minority creed.

    Nazih Ayubi argues that the jizya and kharaj taxes imposed by the original ‘Islamic’ state were the basis of a ‘tributary’ mode of production, involving wealth being extracted by the politically and socially superior from the politically and socially inferior. This survived into the Ottoman Empire (1299-1922), under whom all land was owned by the state, and where until the seventeenth century, armies were composed of slaves requisitioned from the populace(6).

    European colonisation, especially after World War I, dragged much of the region into the world economy, sweeping away political structures in the process, but underlying cultures endured, and the architectural inheritance of the region serves as an important reminder.

    Thus, the shared historical experience of much of the Middle East, under the original ‘Islamic State’ and especially the Ottoman Empire, in combination with enduring nomadic social structures suggests a regional congruence. Colonialism had a significant impact, and distorted borders, but the region is also a product of a far longer history, which encroaches heavily on the present.

    III Israel’s Iron Wall

    Contrary to the image of a technologically-advanced, forward-looking society, the ghosts of history also exert a magnetic pull on Israeli society.

    The conduct of the Israeli authorities reflect the ideology of the Likud Party, now led by Netanyahu, which has been the dominant political force in Israel since its foundation in 1977 under Menachem Begin.

    The Arab-Israeli wars which greeted the foundation of Israel in 1948 (known as al-nakba – the catastrophe – to Palestinians) brought a succession of Israeli victories, especially the 1967 Six-Day War which effectively neutralised Gamal Abdel Nasser, the erstwhile champion of Arab Nationalism.

    Their ascendancy in the region was affirmed by the demise of the Soviet Union, and establishment of the U.S., Israel’s Cold War patron, as lone Superpower. The Palestinian case was further weakened by PLO support for Iraq before the first Gulf War in 1991, and the invasion of Iraq and toppling of Saddam Hussein in 2003.

    But despite accords with neighbouring Egypt and Jordan, Israel faces perpetual conflict as most Arabs have a fixed view on her as a colonial, oppressive presence in the region. Only continued autocratic rule in Egypt and Jordan (maintained by vast U.S. ‘development’ aid) keeps these sentiments in check.

    The Israeli electorate has consistently favoured leaders unwilling to countenance concessions, and the expansion of settlements is a fixed policy. Withdrawal from Gaza in 2006 was a strategic realisation that it was untenable to maintain 10,000 settlers inside a grossly over-populated strip of land containing over a million and a half Palestinians. Better to focus on shoring up the fertile parts of the West Bank, and Jerusalem.

    To explain Israeli intransigence it is necessary to explore the basis of Likud ideology, which can be traced to three principle sources: first, the writings of Ze’ev Jabotinsky; second, the experience of the Holocaust; and third, the emergence of religious Zionism after 1967.

    Zev (Vladimir) Jabotinsky.

    Ze’ev (Vladimir) Jabotinsky (1880-1940), a Russian born Jew, is generally viewed as the spiritual founder of the Israeli Right. In 1923 he wrote an influential article entitled ‘On the Iron Wall (We and the Arabs)’ in which he asserted that a ‘voluntary agreement between us and the Arabs of Palestine is inconceivable now or in the foreseeable future’, since, every indigenous people ‘will resist alien settlers as long as they see any hope of ridding themselves of the dangers of foreign settlement.’

    In response to resistance Jabotinsky advocated ‘an iron wall’ of military might which ‘they [the Arabs] will be powerless to break down.’ Only then ‘will they have given up all hope of getting rid of the alien settlers. Only then will extremist groups with their slogan ‘No, never’ lose their influence, and only then will their influence be transferred to more moderate groups.’ At that point he envisaged limited political rights being granted.

    Jabotinsky’s metaphorical “iron wall” was given literal expression by Ariel Sharon’s construction of a ‘security fence’ in 2003 cutting through the West Bank, although the anticipated acquiescence of the Palestinians, in Hamas at least, has not materialised.

    The second major influence on Likud, and Israeli society in general, is the trauma of the Holocaust experience. The collective memory of passivity in the face of genocide mandates a policy of fierce reprisal in response to the taking of Jewish life. Restraint is characterised as appeasement.

    In his book A Place Among the Nations (New York, 1993) Benjamin Netanyahu dwelt on the lessons of appeasement of Nazi Germany, and the betrayal of Czechoslovakia. Arabs are likened to Nazi Germany, Palestinians to the Sudeten Germans, and Israel to the small democracy of Czechoslovakia, the victim of Neville Chamberlain’s 1938 Munich Agreement with Hitler.

    This Holocaust motif was also harnessed by opponents of Yitzhak Rabin after he signed up to the Oslo Accords in 1991. Inside the Knesset (Israel’s parliament) two Likud deputies proceeded to open black umbrellas comparing Rabin’s deal to Chamberlain’s Munich capitulation, while effigies of Rabin dressed in SS uniform were set alight at right wing demonstrations.

    The ferocity of Israel’s response to Hamas, however, works against the moderate leadership that Jabotinsky’s model requires. Likud policy exceeds the methodology of the ‘iron wall’, and perpetuates conflict.

    The last major influence on Likud is religious Zionism, especially that generated by the optimism of the 1967 victory. Those enormous territorial gains were interpreted as a sign of divine favour, and settlement of the land became a religious imperative.

    Its force was demonstrated by the assassination of Yitzhak Rabin in 1995, which effectively de-railed the Oslo Peace Process. Rabin’s killer was a young extremist by the name of Yigal Amir. During his trial Amir told the court that according to halacha (Jewish law), a Jew who gives his land to the enemy and endangers the life of other Jews must be killed.

    IV The Wahhabi Formula

    Alongside uncritical support of Israel, the other plank of U.S. Middle Eastern policy has been a long-standing alliance with the Al-Saud family, who gave their name to the country of Saudi Arabia in 1932. As Guardians of the Holy Cities of Mecca and Medina to which all Muslims are called on to make a pilgrimage hajj at least once in their lifetime, the hand of history lies heavily. The ruling family have used a Wahhabi blueprint to project their power both internationally and domestically

    The writings of Muhammad Abdel Al-Wahhab (1703-1792), a religious scholar brought up in the strict Hanabali school, repudiate unorthodox practices such as saint veneration. This was common among the Shi’a (faction), which had broken with the dominant Sunni – faithful custodians of Muslim practice (sunna) – after the murder of the fourth caliph Ali in 661 CE.

    Al-Wahhab exalted the doctrine of tawhid: ‘God’s uniqueness as omnipotent lord of creation and his uniqueness as deserving worship and the absolute devotion of his servants’, which is reflected in the inscription on the Dome of the Rock.

    In 1744 Al-Wahhab entered into an accord with the tribal lord Muhammad Al-Saud. The politico-religious alliance generated vast conquests in Arabia as previously warring tribes were once again united under the banner of Islam. In exchange for ideological justification and recruits for the conquests, shari’a, religious law, as interpreted by the ulama, the religious scholars, was imposed on the territories.

    In his writings Al-Wahhab emphasised that obedience to rulers is obligatory even if the ruler should be oppressive. The commands of the ruler (the imam – ‘commander of the faithful’) should only be ignored if he contradicts the rules of religion.

    The Kingdom of Saudi Arabia adopted this Wahhabist formula once again at the beginning of the twentieth century, but a shift in the balance of power has seen the temporal authorities, bolstered by oil wealth, largely dictate to the ulama. This led Helen Lackner Lackner to opine that ‘the fiction of Wahhabism which has lost its real roots with the destruction of the age old desert culture can only be maintained by an intellectual petrification.(7)’

    However, by the 1970s Islam had become according to Kostiner and Teitelbaum ‘a two edged political instrument – as the kingdom’s primary medium of self-legitimisation, and as the main venue of protest for opposition elements.’ Given how formal political protest, in the shape of political parties, had never been tolerated, unsurprisingly, opposition emerged from the religious milieu, culminating, arguably, in Osama bin Laden and Al-Queda.

    State application of Wahhabism also leaves the Shi’a as a persecuted minority (5-10% of the overall Saudi population) perpetually at odds with the regime, and subject to repression.

    Mohammed bin Salman with U.S. President Donald Trump, March, 2017.

    Just as history imprisons the Israeli government in their tyrannical treatment of the Palestinians, similarly Saudi Arabia is bound by its inheritance. The current Crown Prince, thirty-two-year-old Mohammed bin Salman, courts Western approval by granting women the right to drive, but has done nothing to alter the male guardianship system, where male relatives or husbands have control over almost all aspects of women’s lives.

    More meaningful is Saudi participation in the Syrian and Yemeni civil wars, which serve as bloody proxies for internal contradictions. The age-old conflict with Persia/Iran is, similarly, linked to a battle to preserve conformity in the country itself.

    V Monotheism v Polytheism

    No one cause explains the complex origins of conflict in the Middle East. Moreover, arguably violence is inherent in the human condition, and those of us living within the relatively peaceful confines of Europe and America are perhaps living through a golden age of relative peace. Nonetheless, it is apparent that the wars of the Middle East have boiled with almost unmatched intensity since the end of the Ottoman caliphate in 1922.

    Oil wealth and vast military arsenals have played a role, as does the proximity to Europe which bequeaths embroilment in destructive alliances. But a society that had been so dominated by the instructors of a monotheistic faith now appears devoid of leadership, while the other two that emerged in the region also claim dominion. It seems in the nature of each one to suggest that the other is intolerable, despite the obvious similarities.

    For centuries the Ottoman Empire imposed an orthodoxy that brought relative tranquility, but this was predicated on exploitation by social superiors. The popular appeal of Arab nationalism faded with Nasser, and failed to alter the social structures to forge genuinely fair societies. Political Islam appeared as ‘the answer’ in the late 1970s, but it has often been the only avenue for the expression of discontents, and contains within its inheritance repressive tendencies towards competing belief systems, including atheism.

    Palmyra, Syria. Photo: Frank Armstrong, 2003.

    In 2015 the world looked on in horror as so-called Islamic State set about destroying the remains of the Hellenic city of Palmyra, which I had the pleasure to visit in 2003. One may have assumed it was vandalism on a grand scale, but its destruction appears to have flown from the doctrine of tawhid. The disorder of the present was viewed through the prism of pre-Islamic Arabia, as Bowersock explains:

    The tribes, clans and gods of Arabia at this time worked to the advantage of external powers. It was precisely this diversity and disunity that would be a threat to Muhammad when he first began to receive his revelation from Gabriel and would be resolved only as the Islamic movement gathered strength(8).

    No rival could be allowed to stand before submission (Islam) to one God.

    One of the pantheon of gods worshipped at Palmyra is called Allat (earlier known as Ailat). She is often depicted as a consort of another pagan god Allah, whose name Muslims appropriated for the one God of Islam. A Jungian analysis would suggest a symbolic severance from the eternal feminine, which gives rise to enduring conflict; the vehemence directed at the so-called Satanic Verses, purportedly featuring a dialogue between Muhammad and that deity, are revealing.

    Jewish monotheism is not only characterised by one god but also by one people deserving of God’s intercession, which could explain the single-minded attitude of Israel towards the rest of the world. Nor has the idea of a tripartite Christian deity diluted a singular conviction legitimating the destructive colonisation of most of the planet, in the name of God. All of the monotheistic faiths are characterised by a disjunction with the feminine, and perhaps Nature itself.

    Aqaba, Jordan. Photo: Frank Armstrong, 2003.

    The wounds of the Middle East continue to fester, with no end in sight to the conflicts in Israel, Syria and Yemen. Religion continues to play a divisive role and forgotten are the days of the first Islamic Empire when individual conscience appears to have been respected, at least beyond Arabia. One fears that calamities will continue until a radical reappraisal of our religious traditions occur.

    Frank Armstrong completed a Masters in Islamic Societies and Cultures in the School of Oriental Studies (SOAS) in 2004, and lived for a period in the Middle East.

    Feature Image: Kevin Fox, all rights reserved.

    (1) G. W. Bowersock The Crucible of Islam (London, 2015), p.158

    (2) David Frum, The Right Man: The Surprise Presidency of George W. Bush, (New York, 2003) p.171-175

    (3) Edward Said, Orientalism (New York, 1978), p.128

    (4) Nikki R. Keddie, ‘Is the a Middle East’ International Journal of Middle Eastern Studies Vol. 4 (1973) p.269

    (5) Nazih Ayubi, Over-stating the Arab StateState Politics and Society in the Middle East, (London 1995) p.30

    (6) Ibid, p. 39

    (7) Helen Lackner, A House Built on Sand – A Political Economy of Saudi Arabia, London, 1978 p.217

    (8) G. W. Bowersock The Crucible of Islam (London, 2015), p.158

  • In the Place Of Sound

    In and between these lines I will explore aspects of the fascinating and dynamic relationship between music, identity and place. Reflecting on my own musical ventures, as well as turning to secondary sources discussing theoretical concepts on the topic, I will point to various ways in which one’s relation to a place is both reflected in, and actively imagined and reinforced with the help of music.

    I will also discuss the idea of music as a place in itself. Representing a world that seems to lie somewhat apart from our everyday life, the entrance into this ‘parallel world’ can give a strong sense of connection to our surroundings, to the world, and not least to our selves. For the travelling musician, it can serve as a place they can carry around with them and thus feel at home wherever they go.

    A child’s venture into a parallel world

    This piece is inspired by my own experience of living and musicking abroad: turning my Austrian ear and heart to traditional musics from Ireland, which has been my home for the past 12 years, and gradually planted seeds for the creation of tunes and songs that would combine elements of Austrian and Irish music traditions. At the same time, North Indian ragas, odd meters and Swedish polska rhythms – which I came across on my travels – started to extend the palette of colours with which I paint on my musical canvas.

    Upon reflection it became clear to me that the practice of combining different musical elements, standing in connection to particular places and peoples, allow me to reconcile multiple new identities and connections to new places without losing a strong connection to the place and culture within which I grew up.

    Furthermore, forming neither entirely part of the here nor the there – neither Austria nor Ireland or elsewhere, this music seems to present a place in itself that instills me with a sense of connectedness. It provides a place I can retreat to wherever I am in the world. In this music, I feel at home.

    II

    In September 2005, seeking to learn Irish tunes in their ‘natural environment’, I accidentally emigrated to Ireland. It had been my intention to spend a year abroad after finishing secondary school. But when the time came to return to Austria I simply stayed put, having fallen in love with the West of Ireland: its beautiful shades of green; the wild Atlantic; the mountains; rivers; the people and their music.

    Prior to moving to Ireland, I had been forced to rest my hands for an extended period due to a bout of tendonitis. In my newly found home of Sligo I took up playing the violin again, under the guidance of my friend Rodney Lancashire.

    A ‘session’ in Foley’s Bar, Sligo.

    Beginning anew, I left behind everything else I had learnt, fully immersing myself in Irish traditional fiddle playing. Only later, over the course of academic studies at UCC, did I slowly reconnect with my earlier musical identities. These lay largely in European Classical music, which I had studied on various instruments since the age of five, and Austrian traditional music, which I got involved with through local folk festivals during my teenage years.

    Next to Irish traditional music, I started to practice diverse musical traditions, including North Indian Classical music, which I studied intensively during a three-month stay in India, shortly before I enrolled in UCC.

    Moreover, I made first attempts to compose my own music. One of the first pieces I wrote was ‘Austrindia’: its melody is based on, but doesn’t entirely stay faithful to, the scale used for Raag Charukeshi, an early evening raag I had studied under Pt. Sukhdev Prasad Mishra, in Varanasi, India.

    Yodeling on top of BenWiskin, Sligo.

    I experimented with singing the melody in a yodelling style, a vocal technique derived from Austrian traditional singing practices in which notes are approached in a direct way from the chest to the head voice, causing a distinctive breaking noise characteristic of this type of singing.

    This first attempt to bring my different musical worlds together brought a strong sense of fulfilment, inspiring further compositions in a similar vein, including ‘Like Lisa’ and ‘Jodlfunk- Da Alma Zua’. These also feature yodelling techniques like ‘Austrindia’; this time, however, the yodel is set to modal scales, more typical of Irish traditional music.

    Both ‘Like Lisa’ and ‘Jodlfunk- Da Alma Zua’ include sections carrying elements of Irish traditional music: the middle part of ‘Like Lisa’ is a tune in g mixolydian. Although adhering to the scheme of two underlying rhythmic cycles of seven bars of 7/8 and one of 5/8, and three bars of 7/4 and one of 6/4, the phrasing of the bow and ornamentation such as cuts and rolls is strongly reminiscent of an Irish reel or jig.

    III

    Upon reflection I realise that, in their various different ways, all of these compositions strive to unite my home place of Austria with my newly found home in Ireland, as well as other places such as Varanasi in India, which are close to my heart.

    Playing in Hampi, India.

    This, as I became more and more aware during the course of my research for a dissertation project, provides me with a sense of continuity in what I do and who I am, helping to express myself authentically as a musician and individual. It provides me with a certain stillness. I can be true to myself, and avoid feeling that I have to ‘hide’ or ignore any one part of me.

    I further realised that what I conceptualise as ‘place’ is much more than a specific landscape, cityscape or physical environment. It also includes certain sounds, memories and, more than anything, the people I associate with that place.

    Moreover, it became apparent that diverse places don’t merely co-exist in my music: at the moment of performance, they form an entirely new place, without any fixed geographical position. This place has no literal geographical basis, though it does foster a ‘placeness’ of a different order, in the realm of the sound, to which I can retreat whenever I play.

    When I perform my own music, or music with which I am at home at the same level, I feel a strong sense of being transported to this ‘parallel world’. This develops a bond with a higher form of truth, that lets me go a step beyond everyday reality.

    As a musician adhering to a modern vagabond lifestyle, music offers the possibility of entering this place no matter where I am. It is a constant in ever-changing surroundings that enables me to bring my home with me, wherever I go.

    IV

    Place may be conceptualised as far more than a mere geographical location: like everything else we experience, our concept of place is tied to the mechanisms of perception. Thus, incoming stimuli from the outside world are taken in and consequently matched up with our cognitive frameworks.

    These in turn are crafted with the help of our knowledge, previous experiences and memories. It follows that our concept and perception of place is a construct of mind that only partly relies on certain physical surroundings, a land- or city- scape.

    Alpine Austrian music session outside hut.

    Similarly, when discussing America’s ‘invisible landscape’, folklorist Kent C. Ryden describes places as ‘fusions of experience, landscape and location.’ Quoting geographer Yi-Fu Tuan he explains how ‘the feel of a place is registered in one’s muscles and bones’. For Ryden, the kind of feeling that we get for a place when we get to know it better constitutes ‘a unique blend of sight, sounds, and smells, a unique harmony of natural and artificial rhythms such as times of sunrise and sunset, or of work and play.’

    Issues of place and identity are more and more relevant in an increasingly globalised world. Moving from country to country is becoming a regular and normalised activity for many, if not most of us. As a consequence of our vagabond lifestyles, many different places form parts of our identities. It can feel like we are at home in a number of places, or in no place at all.

    Rapport and Overing explain that anxious advocators of an ‘idyllic past of unified tradition’ express their concerns that ‘individuals are in transit between a plurality of life-worlds but come to be at home in none’.

    At the same time as feeling a connection to more than one place or experiencing a sense of homelessness, it can appear that we are literally in more than one place at the same time, or indeed in no place at all. This is often due to modern technology, which may lead to a perception of a virtual reality lying beyond any objective or physical reality.

    In his discussion of the consequences of modern life, Giddens explains how through the advent of modernity, space became disconnected from place. Through the invention of maps that would represent the world from a universal and objective viewpoint, we came to conceive of something Giddens refers to as ‘empty space’ as an entity in itself that is no longer connected to a specific physical setting. The existence of space as something that has no boundaries or specific meaning recalls Stilgoe’s definition of ‘landscape’ that stands in opposition to natural ‘wilderness’:

    a forest or swamp or prairie no more constitutes a landscape than does a chain of mountains. Such land forms are only wilderness, the chaos from which landscapes are created by men intent on ordering and shaping space for their own ends (Stilgoe, 1982).

    Music is an effective means of inscribing meaning onto space and express a relationship to it. According to Jaques Attali, our very distinction between music and noise reflects the distinction between ‘culture and nature’. Through engagement with music we erect boundaries that define if something is a ‘place’ or ‘space’; if something is ‘home’ or ‘foreign’; or if something belongs, or does not. Consequently, social, individual and geographical borders are reflected in music, which inform a sense of place.

    Music can be used to differentiate between different places and people, but it can also serve to expand boundaries linking ‘homeland’ to what Mark Slobin refers to as ‘hereland’. It creates bonds between different countries, and links to any place one wishes to be at or belong to.

    Moreover, it has the potential to give us a sense that we are all connected to all places, at all times. This appears to be the spirit behind so-called ‘Ethno festivals’ happening all over Europe, which bring together young people that exchange their folk musics.

    Ethno-in-Transit.

    Individual musicians, groups and entire nations link and separate themselves, their places and people with the help of music in various different ways. We sing, play, compose, listen and dance to music that carries references to specific locations, or indeed travelling or being ‘on the road’, in the form of song lyrics. We engage with, and create music that contains imitations of sounds that occur in particular places, or as Zuckermann points out, the frequencies of a physical environment.

    Slobin states that we ‘domesticate’ what to our ears is foreign music and adapt it to make it our own according to commonly shared agreements of what our own music is. We engage in what Slobin refers to as ‘code-switching’ in order to shift between a number of different musical styles or to layer different styles of music on top of each other in one and the same piece. We share and associate ourselves with music that to us reflects the feel, the shape, and the people of a place.

    V

    Given that any space can be turned into a place through the assignment of meaning to it, it can feel like the involvement with music – be it through listening, playing or dancing to it – creates a place of its own.

    Victor Turner explains how as part of our ever-repeating social dramas we enter a ‘liminal’ space, a kind of parallel world that he describes as ‘neither here nor there […] betwixt and between the positions assigned and arrayed by law, custom, convention, and ceremonial’. According to Turner, it is this period in which we are somewhat apart from our everyday life that both mirrors the nature of our artistic involvement and is advanced by it. This place has its own rules, its own reality and its own time: that of the present moment.

    Alfred Schutz explains how music, due to its polythetical structure, is conceived of step by step rather than as a whole: a time zone apart from quotidian time. He explains how music unfolds in what he refers to as ‘inner time’. Thus, when we perform, we share our own ‘stream of consciousness’ with that of the composer: ‘two series of events in inner time, one belonging to the stream of consciousness of the composer, the other to the stream of consciousness of the beholder, are lived through in simultaneity, which simultaneity is created by the ongoing flux of the musical process.’

    Claudia Schwab and Matija Solce.

    When we play music together, we equally tap into each others’ streams of consciousness and together ‘live through a vivid present’. In addition to sharing ‘inner time’, the music is lived through in ‘spatialised outer time’. Thus Schutz says both ‘share not only the inner durèe in which the content of the music played actualizes itself; each, simultaneously, shares in vivid presence the Other’s stream of consciousness in immediacy’.

    When Schutz explains the musical process of ‘inner time’ he adds that ‘when for one reason or another the flux of inner time […] has been interrupted […]’, the performers might have to fall back on devices measuring ‘outer time’ in order to play together.’

    Pleasurable as it is, not every musical performance brings with it the experience of dwelling in a parallel world: a more intense and lasting experience of entering a different place seems to be related to the ability of staying in the present moment.

    The psychologist Mihaly Csikszentmihalyi conceptualises flow as ‘the state in which people are so involved in an activity that nothing else seems to matter’. He explains how ‘in the flow state, action follows upon action according to an internal logic that seems to need no conscious intervention by the actor […] there is little distinction between self and environment, between stimulus and response, or between past, present and future’.

    *******

    Claudia Schwab (photo by Peter Crann).

    Place, with all that belongs to it, including memories of home, connections to certain peoples and their music or the impression of distinct landscapes, undoubtedly plays a fundamental role in our understanding of self. A strong connection to a place creates a sense of belonging, and thus of home. Furthermore, the experience of entering a form of parallel world that lets us be aware of a higher plain of existence speaks for the fact that music can be seen as place. In this place, we can find a deep connection to ourselves. We can feel the togetherness with others, satisfying our innate need to be understood and to be with other people. It is a place that we can carry with us, that can make us feel at home wherever we are in the world, and glimpse an alternate form of reality. This has certainly been my experience of gallivanting around the world as a musician.

    This article is based on Claudia’s thesis, completed in September 2013 while studying for a Masters in Ethnomusicology in University College Cork.

  • Big Plans in Little Jerusalem

    June 1985: I was at work in my garden shed, when I heard someone talking. I looked out and saw a man with a sub-machine gun. He was guarding the back of the old synagogue, that had become the Irish Jewish museum. President Chaim Hertzog, who was raised in Dublin, was opening it that fine day. Security was stronger at the front, and an ambulance with its engine running was at the door. Mr Hertzog did his duty and was whisked away.

    There were few of his faith left in this quarter once known as Little Jerusalem. Their national school around the corner had closed, and its contents thrown into a skip. There I found old ledgers, listing those who had donated money to Jewish refugees from Germany. I gave the ledgers to the museum. It was a small place, but visited by people from all over the world whose parents and grandparents had lived here. The neighbours were proud of it.

    Almost thirty years later, I was again in my garden shed when I heard men talking at the back of the museum. Plans were afoot to enlarge it; the Office of Public Works was apparently in charge. I wrote to the OPW, asking if that was so. Soon afterwards I received a call from the museum’s new board, bothered by my concern.

    When the plans were reluctantly displayed, the whole neighbourhood was concerned. The old synagogue ‒ the last one in the city – along with five adjoining houses would be demolished, and rebuilt in pastiche. A theatre would be built underground. The back gardens would be built over, to house an archive, a Holocaust memorial and restaurant. It would be guarded by bomb-proof concrete, shatter-proof glass, security lights, sensors and cameras.

    This would enlarge the original museum by 600%. It seemed wrong to shove all this into one of Dublin’s smallest residential streets. We suggested that it be built on a bigger site. There was one vacant down the street opposite the Jewish bakery. Why not there?

    Suggestions and objections were not welcomed. Residents hung out banners, but these were torn down, or slashed with knives at night. Cars were keyed, eggs thrown at windows. Local protest meetings were arranged by email; mysteriously, the emails were hacked.

    In 2013, the year of the Gathering, the museum hosted a week of lectures, which the Israeli ambassador came to attend. Mysteriously, I could not receive BBC Radio 4 that week. When the lectures ended and the ambassador had gone, my reception returned. Presumably, the Long Wave had been blocked. It felt like the West Bank. The new chairman was from Israel, and seemed baffled by us. What was our problem? Planning permission had been granted. They had won.

    The residents’ appeal was heard at An Bord Pleanala’s grimy building in Marlborough Street that same year. The museum’s lawyers, from London and Tel Aviv, exuded confidence ‒ rightly so. They had the OPW on their side, and a letter of approval from the Taoiseach. The appeal was refused.

    A neighbour, recently retired from the higher ranks of the Civil Service, felt free to divulge the obvious truth. The government of Israel wanted a stronger voice in Ireland, to counter support for the Palestinian cause. The word was given to our government, who passed it on down the line. Planning permission was to be granted, and if locals didn’t like it, well, tough.

    But the pesky residents persisted. The museum board’s crudeness and misjudgement backfired. The expected millions in US dollars did not materialise. The inflated project was abandoned. The old museum is still there, a small place that tells the story of a small community. May it flourish.

  • Spirit Animals

    ‘I had a dream about you last night.’

    Sarah, stuffing wet tuna into pitta pockets and wondering if she could just put the same tangerine, uneaten from yesterday, back into Noah’s lunchbox, stiffened. The now-familiar tightening of her neck, shoulders and arms at the sound of Juliette’s voice went through her like one of those lock-and-load scenes in shoot-em-up movies; a rippling of ‘click, click, click’, on and on until everything tensed.

    ‘Me?’ Noah said. He put down his spoon. ‘What dream?’

    ‘I dreamed first of a snow fox, then of a snow wolf.’

    Sarah could hear Juliette settling into herself, into her dream and her visions. She leaned closer to the little boy. Her voice dropped; mysterious, revelatory. ‘The snow fox was running and leaping through deep, white snow, glad to be alive. Then the snow wolf appeared and at first it hunted the fox, but then they became one and together they were more powerful than before.’

    ‘Where was I?’ Noah asked. ‘In the dream.’

    ‘You were the snow fox, but then, when the wolf came, you were the wolf too. So I know now – a snow wolf is your spirit animal.’ She paused, for drama. ‘And Noah, it’s an incredibly powerful spirit animal. It means you have an appetite for freedom.’

    Sarah wished there was a polite way to tell someone who sat in your kitchen, lived in your house, to shut up. Not someone though, Juliette. Juliette, who had the word ‘fearless’ tattooed on the inside of her arm, and ‘I was not built to break’ in curly script under her hipbone. Juliette, who marked herself before life could do it for her. As if that could stop anything.

    Juliette. She had been christened Juliet, had added the final ‘t’ and the ‘e’ herself, ‘because it sounds better,’ she had once explained to Sarah.

    ‘But they’re silent,’ Sarah had protested.

    ‘Not entirely,’ Juliette had said, smugly. ‘They draw the sound out at the end, just enough.’

    Enough for what Sarah had wondered? Enough to be incredibly annoying?

    That was before Juliette, after yet another failed relationship, another failed attempt to live ‘a meaningful life’ – meaning she seemed to find only in weird diets and crystals, Sarah noted, never in work or anything useful – had come to live with them. Now, Sarah tried not to remark on anything she said, in case doing so prolonged conversations she didn’t want to have.

    Are you finished in the bathroom? Can I change the channel? Those were the realms where she wanted conversation with Juliette to stay.

     

    ‘What is a spirit animal?’ Noah asked, not unreasonably Sarah thought. She closed the lunchbox with a snap.

    ‘Noah, finish up. You need to hurry,’ she said.

    ‘Your spirit animal is the shape of your soul,’ Juliette said, ignoring the urgency in Sarah’s voice, the urgency of a Wednesday morning, with school and work and time-pressure – all the things Juliette had decided not to bother with. ‘It’s your guide and helper, in this world but also in the other world.’ She dropped her voice low on ‘other’, drawing it out long.

    ‘Noah, come on.’ The irritation Sarah felt seeped into her voice, making it sharp, so that Noah looked up too fast and said ‘What’s wrong?’ too loudly.

    ‘Nothing. Nothing’s wrong. Just that we’re going to be late.’

    ‘Ok.’ Then, ‘what’s your spirit animal,’ he asked Juliette.

    ‘A black panther,’ Juliette said.

    ‘Of course it is,’ muttered Sarah to herself as she grabbed Noah’s coat. Of course it bloody is. Funny the way no one ever had a mouse or a rat as a spirit animal. Or remembered past lives in which they were filthy, flea-ridden serfs; always Egyptian pharaohs or high-born ladies. Was it only the very powerful who reincarnated, or did every crackpot suffer pathetic delusions of second-hand grandeur?

    ‘We’re off,’ she called from the front door. ‘See you later.’ She wondered would Juliette clear away the breakfast things, or leave them there for Sarah to do when she got back from work. It could go either way, she knew.

     

    ‘She’s supposed to be looking for a job,’ Sarah had complained to Brian only the day before. ‘But all she ever does is meditate and cook horrible desserts made with barley malt and cocoa powder.

    ‘I know,’ he had said, rueful, but not angry, ‘I buy the ingredients. They cost a fortune.’

    ‘So stop buying them. Say we can’t afford it. She can buy her own. We’re already not making her pay rent, because she’s your sister and you feel sorry for her.’

    ‘Sarah, she can’t afford to. You know she can’t,’ Brian had said gently. ‘That’s why she’s here. I know it’s hard, but it’s only for a while, until she gets herself sorted out.’

    ‘It’s been months, and she doesn’t show any signs of ever leaving.’

    ‘Just give her time. She’s good with Noah. He loves having her here.’

    ‘That’s the worst of it. She fills his head with nonsense. She talks to him about such rubbish – his aura, the healing power of the mind, how he can do anything if he visualises it.’

    ‘But he likes it.’

    ‘Maybe, but it’s not good for him. He pays it too much attention. You know he does.’ They didn’t talk about Noah that way, so she veered off. ‘He should be outside, playing with other kids, not in with her painting pictures of his aura.’

    ‘It won’t be for much longer,’ Brian had said.

    ‘You keep saying that.’

     

    In the car on the way to school, Sarah tried to do what the teacher had suggested to her at their last talk: prepare Noah for the day ahead so that he understood what he would be doing. In its own way, she saw, this wasn’t unlike Juliette and her ‘visualising.’ Except that this was practical. Had purpose. And so it was nothing like Juliette.

    ‘You’ve got your hurl and helmet,’ she said. ‘It’s hurling practice today.’

    ‘Yes.’

    ‘And you’ve got reading in the morning, before Little Break. You’ve done your book report for that.’

    ‘Ok.’

    ‘And I’ll pick you up, same as usual.’

    ‘Ok’

    Every day, his resignation hurt her more. She felt she was driving a small, scared prisoner who had learned not to thrash or fuss. Had learned that no help was coming. She imagined him counting hours the way prisoners counted days in the old films; vertical lines scratched on a wall: one-two-three-four-five-six then a diagonal line through them for seven; another week gone. Noah, counting hours until she came to pick him up: first the morning session, then Little Break, then the middle bit, then lunchtime where the trouble might come, then the last bit, then home.

    Every day, he was waiting for her, bag hoisted on his shoulders. Around him, other kids played, wrestled, jeered each other cheerfully, begging for five more minutes to play. Not Noah.

    ‘Let’s go,’ he said.

     

    ‘Juliette says my spirit animal is a snow wolf,’ he said now, proudly. ‘And hers is a black panther. What’s yours?’

    ‘I have no idea,’ Sarah said airily. ‘I don’t really believe in that stuff. It’s just stories.’

    ‘But if they’re true?’ he persisted. ‘What would you be?’

    ‘I don’t know, maybe a chicken.’

    ‘You wouldn’t be a chicken,’ he said, offended on her behalf. ‘Maybe Juliette knows what you are.’

    ‘It’s just stories,’ she said. ‘Juliette doesn’t know.’

    ‘Juliette has pink hair,’ he said then.

    ‘She dyes the front of it pink, yes,’ Sarah said. Then ‘You have art today as well. You like that.’ Even though she knew he didn’t. Not in school anyway. It was one of the ‘relaxed’ classes where children were free to wander around the classroom. Wander and linger and question and prod. ‘Your smock is in your bag.’

    ‘Ok.’

    At the gates, she slowed down. ‘Do you want me to park and come in with you?’ she asked. ‘Carry your helmet?’

    ‘No thanks,’ he said.

    ‘I love you, darling, see you later. Have a good day.’

    ‘See you later.’ He never said he loved her at the drop-offs, although he was vocal about it at other times, especially before he went to sleep. ‘I love you so much mummy. You’re the best mummy in the world.’

    ‘And you’re the best son in the world,’ she would answer, rubbing his nose with her nose.

    But in the mornings, he wouldn’t play that game. Instead, he started shutting down as soon as they left the house, so that by the time they got to school he was the silent, reluctant child his teacher described.

    She watched him now, squaring his thin shoulders beneath the heavy bag as he walked across the playground. She wanted to run after him, grab the bag from his back and say ‘not today! Let’s not go today. Let’s go somewhere else, just us.’ She wanted to hold him tight; be the person who protected him, instead of the person who abandoned him every morning to a fate she pretended she didn’t understand. How much longer would they give it, she wondered as she drove on to work, lurching from red light to red light, speeding up, slowing down, stopping, going. Another month? A year? Til he was in First Class? And then what?

    ‘He’ll settle,’ Brian had said, after that first awful meeting in junior infants, where the school suggested they have Noah “assessed” so they could “give him the support he needs”. ‘He just needs time,’ Brian had said. ‘He’s young for his age.’

    Sarah had agreed ‘Of course he will. He’s nearly the youngest in the class…’ even though she knew that Brian didn’t understand that it wasn’t just being babyish that set Noah apart. It was something else, something that was in him. A weakness the other children sensed through smell or instinct, that made them turn and want to hurt him, not help him.

     

    ‘Let’s go,’ Noah said that afternoon. He was, as she had known he would be, waiting. But before they could escape, Ms Ryan was upon them.

    ‘Can I speak to you quickly before you go,’ she asked, a hand out towards Sarah’s arm.

    ‘Yes, of course.’ Sarah’s heart sank. ‘Noah, wait here for me, I won’t be long.’

    The classroom smelled of chalk and feet and cheap disinfectant. The smells of Sarah’s childhood. More and more, the smells of Noah’s childhood.

    ‘There was an incident during hurling practice,’ Ms Ryan began quickly. She looked shifty, so that Sarah decided that this one would be complicated. Sometimes they were, sometimes they weren’t. ‘I didn’t see how it started,’ Ms Ryan said, ‘But Noah hit another boy with his hurl.’

    Complicated.

    ‘I see.’ Sarah waited. Experience had taught her that it was better to wait. Let them fill in some of their own blanks.

    ‘As I say, I didn’t see what happened first, and Noah did say that the other boy started it, but I asked the other children, those who did see—’

    The officious little girls, Sarah was willing to bet. The ones who brimmed over with ‘Miss Ryan, Miss Ryan, Noah spat his lunch at me.’ ‘Miss Ryan, Noah said Johnny was a pig.’ ‘Miss Ryan, Noah isn’t doing his work, he’s just drawing pictures on his copybook.’

    ‘—and they said that the other boy didn’t do anything physical.’ No, Sarah thought, he wouldn’t have to. Not at this stage. The groundwork had been so effectively laid.

    ‘Noah wouldn’t hit anyone without provocation,’ Sarah said. ‘Even then, there would have to be considerable provocation.’

    ‘I’m sure that’s true,’ Ms Ryan said, ‘but at this school we have a policy of no tolerance for hitting.’ Of course you do, thought Sarah. Anything easy, you have a policy for. Where is your policy for protecting a child for whom every day in your care is confusing and lonely, and now dangerous?

    ‘I was wondering,’ Ms Ryan continued, ‘if you had thought any more about an assessment?

    ‘I haven’t.’

    ‘Perhaps you should. At the moment, I am left with no choice except to take action in accordance with the school’s code.’ Give me an out, she was clearly saying. Give me an excuse, a piece of paper that says ‘spectrum’ or ‘disorder’ so that I can use it and spare us all from this.

    ‘I’ll think about it,’ Sarah said.

    And she would have to, she knew. Even though she didn’t believe that whatever it was about Noah could be pinpointed by an ‘assessment,’ or helped by bending the school’s policies in the light of it.

    Whatever it was about Noah, it was more, and less, than could be detected by the kind of process they described.

    ‘Let’s go.’ She took his hand on the way to the car because the playground was empty now, and he let her. She led him to the car, hand held tight, wondering would he ask what Ms Ryan had wanted. He didn’t but he was more silent than usual on the drive home. Normally, the self that he put away on the journey to school – the funny, curious boy who chatted to her about what he saw and thought – would slowly re-emerge on the trip back. But today he stared out the window and said nothing until they reached the house. Then ‘what day is it today?’ he asked.

    ‘Tuesday,’ Sarah said. ‘Why?’

    He didn’t answer, but she knew he was calculating in his head: if it’s Tuesday then tomorrow is Wednesday, then it’s Thursday and then Friday, and then the weekend.

    It was what he did. Broke his week into bits so that he could manage it, always striving forward towards weekends and holidays.

    They went into the kitchen where Juliette was baking. She had cleared the breakfast bowls but there was cocoa powder on the pale wooden countertop and some of those red goji berries that she ate. They stuck in her teeth, like she’d been gnawing on raw meat.

    ‘I’m making chia brownies,’ she said, to both of them. Then ‘do you want to help?’ to Noah.

    ‘Yes please,’ he said. ‘Can I stir the bowl?’ She pulled a stool out for him and lifted him onto it.

    ‘Of course you can stir. It’s hard work, because of the chia seeds but they’re incredibly good for you. They have loads of protein to make you strong.’

    Sarah watched them, the boy’s head bent over the bowl, wooden spoon in his hand as he stirred the thick mixture. It looked disgusting, she thought, with bits of black in it like flecks of soot, and was clearly thick as mud because he could hardly get the spoon round. But Juliette put her hand over his, to help him, and together they stirred the sludgy mixture.

    ‘That’s good, Noah,’ Juliette said. ‘You’re getting so strong.’ And Sarah, just as she had known that the concern in Ms Ryan’s voice was fake, heard that the love in Juliette’s voice was real.

    ‘Tell me more about Noah’s spirit animal,’ she said suddenly. ‘It’s a snow wolf, right? So what does that mean?’

    ‘It’s a really powerful sign,’ Juliette said. Noah stopped stirring and turned his head to look at her.

    ‘Go on,’ Sarah said, pulling out a stool.

     

    Emily Hourican is a journalist and bestselling author. She has written features for The Sunday Independent for 15 years, as well as for Image magazine, Conde Nast Traveler, Time Out and Woman and Home. Her first book, How To Really Be A  Mother was published in 2013, followed by The Privileged in 2016 and White Villa in 2017. Her latest novel, The Blamed, is out in June 2018. Emily grew up in Brussels, where she went to the European School, then studied at UCD. She lives in Dublin with her husband and three children.

  • Ibrahim Mahama: Negotiations of spaces

    Ibrahim Mahama grew up in Tamale, north Ghana, where he was in daily contact with objects and materials that developed a double meaning for him. His artwork began as a collage and patchwork of items surrounding his daily life, without being explicitly political.

    Out of his own lived experiences he re-contextualises spaces and working processes, capturing the body and skin of functional tools.

    From a point of crisis Ibrahim starts and develops his artwork.

    Used jute sacks sewn together in Ibrahim’s artwork are the skin, containing Ghana’s main export commodity, cocoa beans. Consumed and re-purposed for carrying rice and other commodities across borders, their final use is usually to transport charcoal.

    The artist, however, involving local collaborators, revives these in creative re-composition. He began by covering some of his country’s public buildings, which are often out of sympathy with the surrounding lives and spaces.

    Now his works cover walls and palaces all over the world, and bring together local collaborators from different cities. The creative process itself is part of this negotiation of spaces, with the collaborators jointly sewing every sack, reviving a use for them after carrying charcoal.

    Global transactions and capitalist structures are an important reference, but Ibrahim Mahama has a greater motivation: he intersects occupation and coexistence in creating a new language of objects and signs, revealing their own reasons and story.

    Ibrahim’s work develops a new convivial shape, an architecture in dependence, as he called one of  his latest exhibitions, inspired by Sarah Ladipo Manyika’s book by that name, which is a 1960s love story between a young Nigerian who had moved to study at Oxford, and the daughter of an ex-colonial officer.

    Shoe-shining boxes, used to carry tools to repair and polish shoes, are the tiles of Ibrahim’s new mosaics, a massive assemblage that recalls rural workers migrating to Accra, the capital of Ghana, and their role in the local economy. The boxes, like the sacks, incorporate a personal dimension of life and character, their bodies are covered with stickers and names, just as the sacks have printed codes, the skin of immigration in political tattoos.

  • LA RÉSISTANCE

    Missiles flashed, and it was beautiful—
    flares in the darkness of a fallen world
    where Satan plays the good guy in a wig.
    I’m in my safe space, a battered easy chair,
    swearing at the laptop, at the stream
    of video and voices, overlaid
    on top of breakfast. Coffee’s gone lukewarm,
    the trail’s gone cold. The woman on TV
    hasn’t realized it yet. Her show
    is sub-LeCarré trash, the waking dream
    of self-styled cells in Williamsburg, Crown Heights,
    Bushwick, even Windsor Terrace now.
    They’ll surely man the barricades some time
    after the co-op shift, when work slows down
    and the app is live and making NASDAQ bank.
    The cast of Hamilton will sing a song—
    a poem by Ocean Vuong now set to music
    by some ex-junkie from the punkoisie
    while bombs explode, bigger than before,
    to make a new crater in Afghanistan.

     

    Quincy R. Lehr’s most recent poetry collections are The Dark Lord of the Tiki Bar and Heimat. He teaches history in Los Angeles.

  • Against the Muses: Dragana Jurišić

    I first came across Dragana Jurišić’s work in the National Gallery of Ireland, when her ‘Tarantula’ was displayed as part of the ‘After Vermeer’ exhibition in 2017. ‘Tarantula’ was a contemporary response to the Vermeer exhibition, which featured a series of photographic self-portraits of overlapping dancing figures. Jurišić says she was ‘immediately struck by the two main subjects of Vermeer’s paintings: ‘women in domestic settings and the light’. Depiction of women in Vermeer’s portraits led Jurišić to consider the female condition, and ‘pre-conditioning’ more generally, in terms of the rules women must follow in life; their pensiveness and meditative status, which gives way to a mesmerised storm.

    Jurišić recalls the main character of Nora in Henrik Ibsen’s A Doll’s House, first performed in 1879. Nora leaves her designated role in life, daring to partake in the dancing ‘struggle for life’. Similarly the mythical Tarantati women of Italy, once bitten by the spider, succumb to ‘trance-like dancing’, as the only way to access the euphoria of free expression. Jurišić’s dance, without resorting to provocative suggestions or techniques, traces a visual experiment that almost fulfils the lines of a classical figure, a preparatory drawing disclosing the artist’s creative process. As in Michelangelo’s sculpture ‘The Dying Slave’, these are unfinished sculptures, undressing themselves in the social marble, liberating their true shape from a carcass, not fully, but without shame, while displaying the melancholy and conflict of the process of self-cognition. Vermeer’s women are stuck in a composed, but not acquiescent pose, which recalls contemporary anxieties. Jurišić untangles Vermeer’s forms and empowers the female, and herself as a woman, unmasking the muses, symbols that still inform contemporary culture appreciations.[i]

    Some months later I walked through Jurišić’s latest exhibition, ‘My Own Unknown’, at the Gallery of Photography in Dublin’s Temple Bar, which recalls women who wanted to free themselves from patriarchal constraints. Into Jurišić’s personal story is sewn the mysterious life of her aunt Gordana Čavić. Čavić, like Ibsen’s Nora, disappeared from her assigned role, and native country, Yugoslavia, in the 1950s, dying in Parisian exile in the 1980s: ‘A life shrouded in mystery, it involves tales of multiple identities, illicit sex and espionage’. Out of Jurišić’s archival photographs, the artist recreates a diary of a personal rebirth from a cryptic loss, defining her life as woman and artist:

    My initial questioning of this statement took me to Paris to commence an exploration on L’Inconnue de la Seine, the name given to a young woman whose body was allegedly recovered from the River Seine, and whose death mask was cast in a bid to identify her. Her serene and quiet beauty became a muse for artists.

    The mask and idealistic form is an object of veneration: the fake perfection of a muse, veiled by cultural layers, and detached from any real process of accomplishment. Jurišić’s own undressing, displaying her true ‘body’, provides an unflinching interpretation of her own form.

    What Jurišić knew for sure was that Gordana Čavić was made of much harder stuff than L’Inconnue de la Seine:

    Suddenly I was back at 11 years old, looking at a funeral procession that was beyond extravagant. … Who was she? I asked my grandmother, She just shuffled uncomfortably in response. Behind me I could hear whispers of two men from down the road.

    L’Inconnue de la Seine represents the inspiring  perfection ‘protecting’ the viewer from experience of the real body; the ‘other woman’, which could alter the common sense experience, and reinforce devotion to old beliefs. Who is she? Who is Gordana Čavić, Nora, or the artist Dragana Jurišić?

    In Ibsen’s Women Joan Templeton observes the muse’s path through the centuries. Her powerful analysis of femininity recalls Jurišić’s artistic ambitions: ‘For Gilbert and Gubar … the lady is our creation or Pygmalion’s statue. The lady is the poem.’[ii] The lady is the sculpture, the statue Pygmalion carved and fell in love with, like L’inconnue de la Seine. This is a cast and frozen idealization of femininity. Templeton approvingly cites Simone de Beauvoir:

    But women exist without men’s intervention and thus while ‘woman’ incarnates men’s fantasies, women proves the falsity of the fantasies … Man’s need for woman to remain always the Other. … Woman is necessary to the extent that she remains an idea into which the man can project his own transcendence; but she is danger as an objective reality existing for herself and limited to herself.

    A more urgent consciousness is emerging in our daily experience, beginning with many women’s revelations of sexual violence during the #MeToo movement, and willingness to alter a passive condition of acceptance. Contemporary women are fighting back against an old, still unresolved disadvantage: their objectification as muses.

    Why is ‘the woman’ still an ideal, mythical presence, her real body still censored by intangible projections? Why do many men feel an inadequacy in front of real presences, to the extent of displaying hostility or aggression – real or unconscious – towards that which is not a fantasy? Why are artists still confronting opposition to representations of real existing forms, from ludicrous rules against displaying women’s nipples on social networks, to outright censorship of nudes in exhibition advertisements, while at the same time, our visual environment is filled with sexualised content? Are these taboos veils that hide the truth? Is it the ideal of the muses we are still battling against?

    Not only is the idea of woman in need of revolution, our concept of masculinity needs to be reappraised. According to Dr Arne Rubinstein in The Making of Men: ‘in the healthy man’s psychology, a man sees himself as part of the universe, not the centre of it; he takes full responsibility for his actions, he deals with his emotions and he looks for a healthy relationship with the feminine.’ But ‘the role-modelling and mentoring for boys and teenagers is very poor, and the messaging is terrible.’[iii] Rubinstein’s organization attempts to reconcile the masculine and feminine in men.

    In her 1929 novel A Room of One’s Own Virginia Woolf endeavoured to awaken awareness of gender inadequacy. She suggested society should reconsider and re-educate our basic perceptions of sexuality, and the condition of women in the world, beginning with the artistic and creative processes:

    For certainly when I saw the couple get into the taxi-cab the mind felt as if, after being divided, it had come together again in a natural fusion. The obvious reason would be that it is natural for the sexes to cooperate … But the sight of the two people getting into the taxi and the satisfaction it gave me made me also ask whether there are two sexes in the mind corresponding to the two sexes in the body, and whether they also require to be united in order to get complete satisfaction and happiness?[iv]

    In the last part of her exhibition ‘My own Unknown’, Jurišić explores her self-portraits and diaries, concluding the exhibition with a previous work made in Dublin in 2015, employing the same technique as ‘Tarantula’, but overlapping photographs of one hundred women posing as nude muses in front of her. They direct their own poses using a chair and a veil, each identify themselves with one of the nine muses of Greek mythology: Calliope, Clio, Euterpe, Erato, Melpomene, Polyhymnia, Terpsichore, Thalia and Urania.

    One of the final portraits is ‘The Mother’, an overlap of all the muses. This is Mnemosyne, mother of all the Muses, goddess of memory. On top of one another the bodies look like layers of negatives, memories overlapping into a majestic image. This conveys a scribble, an incomplete creative process, an operation of cognition in the ‘struggle for life’. Jurišić writes:

    The idea of the muse often evokes images of a male artist and a passive female muse. The female muse is often depicted as nude in visual art. And in turn “the nude” – one of the biggest clichés of Western art tradition, is a genre predominantly inhabited by male artists. At the beginning of April 2015, I began the task of photographing 100 female nudes over a period of five weeks.

    A powerful expression of ourselves is still needed, not only a female view on female gaze, but an entire recreation of feminine and masculine interpretation. An ‘ownership over their body’.

    Gordana knew that she came to Paris to survive. Survive at any cost. Shed her skin. Shed her past. Forget about the people she left behind. Or not. But she is not going back. She will never go back.

    The goddess mother of all the muses is the goddess mother of a faded memory, like Jurišić’s aunt Gordana Čavić who ‘was so beautiful, like she was her own creator.’[v]

    [i] National Gallery of Ireland, ‘Dragana Jurisic: Tarantula’, https://www.nationalgallery.ie/dragana-jurisic-tarantula, accessed 15/11/18.

    [ii] Joan Templeton, Ibsen’s Women, Cambridge, Cambridge University Press, 2001, pp303-305

    [iii] Quoted in: David Leser, ‘Women, men and the whole damn thing’, Sydney Morning Herald, 9th of February, 2018, https://www.smh.com.au/lifestyle/the-great-sexual-reckoning-how-did-we-get-here–and-what-happens-now-20180124-h0npcc.html, accessed 23/11/18.

    [iv] Virginia Woolf, A Room of One’s Own, London, Hogarth Press, p.113

    [v] Dragana Jurišić ‘My Own Unknown’, 2014, http://www.draganajurisic.com/my-own-unknown/4587594312, accessed 15/11/18.

    Dragana Jurisic, ‘Tarantula’. Archival pigment print, 2017. © the artist.

     

    L’Inconnue de la Seine, http://draganajurisic.com/my-own-unknown/458759431
    Dragana Jurisic, Erato. © the artist.
    Dragana Jurisic, Euterpe. © the artist.

     

    Dragana Jurisic, The Mother. © the artist.
  • Venezuela Sinks in the ‘Excrement of the Devil’

    It is as if anyone writing about Venezuela must pass through the red channel, for all have something to declare. The competing narratives of Left and Right offer ideologically-tainted accounts, often saying more about any commentator’s domestic politics than Venezuela’s predicament. But even diehard supporters of the country’s charismatic former President Hugo Chávez cannot deny that Venezuela is now facing a humanitarian disaster under his incumbent successor Nicolás Maduro, with a refugee crisis in train, and rampant inflation amid reports that nearly nine in ten of the population have difficulty purchasing food, while three out of four have lost weight – an average of nineteen pounds in 2017 alone.[i]

    I determined to find out for myself what has happened to a country that was a beacon of hope for the Left. Thus far, my main interaction with Venezuelans has been as a teacher to those wealthy enough to study in private colleges in the U.K.. Perhaps unsurprisingly, I cannot think of any one of them who displayed affection for the country’s charismatic former President Hugo Chávez, who died in 2013, having held the presidency, with one brief interruption, since 1999. Chávez built a political movement out of marginalised sections of that society, which sought to use the country’s fabulous oil wealth to develop a socialist state. With Cuba’s Fidel Castro as a father figure, he reprised his countryman Simón Bolívar’s ultimately vain pursuit of Latin American unity.

    Naturally, I arrive at an analysis of Venezuela with my own set of assumptions, such as that oil wealth, which depends on little toil or ingenuity, corrupts all but the most ordered of societies (like Norway); and that central to the U.S.’s long-standing Monroe Doctrine – claiming Central and South America as a U.S. ‘sphere’ of influence – has been the development of a comprador class of go-betweens, often working to the detriment of their own societies. I endeavour to avoid doctrinaire assumptions, however, as I am aware how apparently socialist regimes often breed apparatchiks, who plunder the resources of the state and commit human rights abuses. Indeed, Antonio Gramsci, the great Marxist Italian political theorist, recognised that ‘(t)he prevalence of the bureaucratic in the State indicates that the leading group is saturated, that it is turning into a narrow clique which tends to perpetuate its selfish privileges by controlling or even stifling the birth of oppositional forces.’[ii]

    A trip to Cuba in my twenties disabused me of the notion that Caribbean Socialism brought any kind of utopia. The level of prostitution at the time was staggering: as European males we were accosted by women who were clearly desperate for money, rather than for us. Moreover, notwithstanding the reputation of its health services, we found anecdotal evidence of Cubans being unable to afford basic medicines. Also, major cities were in an advanced state of dilapidation, which can be charming for tourists but less enchanting in a tropical storm. Much of that poverty can be attributed to the American embargo at the time, but equally Uncle Sam could be used as an excuse for petty corruption and repression. Nonetheless, what Cuba has achieved in terms of life expectancy and a low-input agriculture compares favourably with most of the failing post-colonial states in the same region, all of which share a legacy of genocide against native communities, slave plantations and attendant ecological destruction, along with over two centuries of self-motivated U.S. interference.

    Venezuela shares much of this inheritance with its Caribbean neighbours, but its history since the early twentieth century bears the influence of another salient feature: oil. Venezuela has greater reserves even than Saudia Arabia, making it ripe for investment, and outside interference. Oil exerts a profound effect on the entire social fabric. According to Miguel Tinker Salas: ‘Like a lubricant coating the various parts of an internal combustion engine, oil literally permeates every aspect of Venezuelan society in ways that are not apparent to an outsider.’[iii]

    While acknowledging that any commentary arrives via individual bias, we tend to place more trust in the dispassionate analysis of august publications such as The New York Review of Books. After reading its March 8 – 21, 2018 edition, however, my confidence was somewhat shaken. I am referring to the article by Enrique Krauze on Venezuela entitled ‘Hell of a Fiesta’ which appeared on the front cover. Krauze states that between 2013 and 2017 the country’s GDP fell more precipitously than that of the U.S. during the Great Depression, or in Russia after the end of Communism, but he omits to emphasise that in that period the price of oil, overwhelmingly Venezuela’s main export, more than halved in price. Krauze is building a case, and by giving such prominence to his article The New York Review of Books appears to be endorsing his stance.

    Krauze points to the serious current humanitarian crisis brought on by government mismanagement – which appears largely indisputable – as well as evidence of repressive measures taken to curb dissent, all of which cohere with Gramsci’s account of a bureaucratic state at saturation point. But to say: ‘The full responsibility lies with the Chávez and Maduro regime … which for fifteen years had a windfall of petroleum resources comparable only to those of the major Middle Eastern producers and yet wasted that income recklessly’, accords no relevance to the legacy of Venezuela’s troubled history, and ignores entirely the progress that had been made in alleviating poverty.

    For Krauze Venezuelan history appears to have begun at about the point the historian Francis Fukuyama made the outlandish claim that history had come to an end.[iv] Krauze’s critique recalls the great U.S. writer Gore Vidal’s description of a ‘United States of Amnesia’, where the past is wilfully forgotten. Vidal identified striking similarities in media accounts of ‘democratic’ elections in post-invasion Iraq, and the coverage of events in Vietnam forty years earlier. An editorial in The New York Times in 1967 might have appeared in response to that later conflagration:

    U.S. encouraged by Vietnam vote: Officials cite 83 percent turnout despite Vietcong terror… A successful election has long been seen as the keystone to President Johnson’s policy of encouraging the growth of constitutional processes in South Vietnam.[v]

    There exists a similar suspended reality to U.S. coverage of Venezuela, heightened by the presence of the key strategic asset of oil. Crucial to U.S. success has been the projection of ‘soft’ power, especially of a middle class wedded to U.S. consumer lifestyles. Advocates of U.S.-led globalisation, such as Krauze, trumpet the need for ‘free’ elections, and ignore gross inequalities. If human rights abuses are committed by regimes supportive of the U.S., these tend to be forgotten, or absolved as ‘a son-of-a-bitch but our son-of-a-bitch’.

    Krauze is a Mexican public intellectual, and apparently a liberal, a term that means very little any more. He has advocated privatising the extraction of oil in his home country, for reasons of efficiency, and in pursuit of shale oil and gas[vi]. In an article in 2015 he described Chávez’s attempt to emulate Cuba politically as an ‘an inexcusable choice.’[vii] But considering the dire poverty and inequality in Venezuela when Chávez came to power, describing his socialist policies, which would not be out of place in Norway, as “inexcusable” seems rather an extreme assertion. Krauze conveniently overlooks how by the end of his tenure Chávez had cut poverty in half and reduced extreme poverty by more than seventy percent.[viii]

    Little now remains of Venezuela’s indigenous civilisations. As is the case across the Americas, the native population was almost wiped out by a combination of conquest, enslavement and contagious diseases. Perhaps the most stirring cinematic depiction of that period is Werner’s Herzog’s 1972 film Aguirre Wrath of God, starring Klaus Kinsky as a deranged conquistador in search of El Dorado – a land of gold that has given way to ‘Oil Dorado’.

    The origin of the name of the country is subject to controversy. The best indication is that the explorer Amerigo Vespucci (whose own name survives in two continents) was reminded of Venice by the thatched palm-covered residences erected on wooden poles over lakes by the native Arawak people. Later the humanitarian writer Barolomé de las Casas is credited with using the term ‘little Venice’ on a map he sketched after visiting the area. By 1528, the name ‘Venezuela’ had appeared on another map used by the Spanish Crown.[ix]

    With the native population all but wiped out, creole settlers chose to import African slaves to work on their plantations, especially chocolate and coffee. Slavery was carried over into a state, which first declared independence in 1811, with lasting repercussions. Venezuela’s most famous revolutionary son was El Libertador, Simón Bolívar (1783-1830). His Irish aide-de-camp Daniel Florence O’Leary noted in his memoirs that Bolívar’s ‘imperious and impatient temperament would never tolerate the smallest delay in the execution of an order.’[x] Gabriel Garcia Marquez’s 1989 novel The General in his Labyrinth paints a picture of an exiled leader driven to the edge of reason by the enormity of his ambition to reform the post-colonial society he inhabited. According to Tinker Salas: ‘the wars of independence may have resulted in a rupture with Spain, but they did not produce a social revolution that altered pre-existing class relations or redistributed wealth.’[xi] Ultimately Bolívar would despair: ‘I blush to say this: independence is the only benefit we have acquired, to the detriment of all the rest’, but his legacy of attempting to bring unity to the region remains an intoxicating elixir to his heirs.

    The ‘peculiar institution’ of slavery was not abolished in Venezuela until 1854, and leaves an enduring legacy, as elsewhere, of exclusion, racism and sense of entitlement among elites. In 1918 ‘non-white’ immigration was prohibited, while Europeans continued to be encouraged to settle in the country. There were no segregation laws, however, and miscegenation was common. In 1944 the poet Andrés Eloy Blanco coined the term café con leche to describe the Venezuelan racial makeup.[xii] Nevertheless, Hugo Chávez was subjected to racist taunts over the course of his rule.

    Social exclusion and the low education levels of so much of the population meant democracy in Venezuela could not take root throughout most of the twentieth century. The first peaceful handover of power by one regime to another only occurred in the 1960s. Gramsci believed that ‘democracy by definition cannot mean merely that an unskilled worker can be skilled, it must mean that every citizen can ‘govern’ and that society places him, even if only abstractly, in a general condition to achieve this.’[xiii] Likewise, any understanding of Venezuelan democratisation must recognise that the low level of development in the country has created disorders that ‘free’ elections do little to cure. What is more, mere technical education is insufficient to incubate the capacity of any Venezuelan citizen, in theory, to govern.

    After tapping into oil wealth, Norwegians drew on the austere historical experience of a homogenous society on the polar frontier of human habitation, and a ‘Protestant’ work ethic including a strong educational tradition, to develop an egalitarian democracy. Norwegians believed themselves to be the equal of one another, permitting, abstractly at least, any Norwegian to govern another. Venezuela, on the other hand, after the discovery of oil, was saddled with hierarchies of wealth and race, and a tropical climate, which makes labour challenging. Equipping the poor with technical skills, as Chávez’s government sought to achieve, did not instil a capacity to govern. Moreover, mutual trust evaporated in the class war which at times he appeared to foment. True democratisation is a process that usually takes decades, or even centuries, to engender a stable and representative political system. The material improvements Chávez brought to the lives of the poor could only be a precursor to the real adjustments, in education in particular, that any society requires in order to develop harmonious governance.

    Looking back, the exploitation of oil, which began in earnest in the 1920s, created a stratum of society susceptible to the corruption associated with unearned wealth, allowing US oil companies to get along with the job of extracting the black gold. The windfall led to the country becoming a net food importer by the 1930s,[xiv] which served to diminish food sovereignty, reflected in the high prices of staples today. Especially after World War II, radical, including Communist, ideas filtered through to the Venezuelan people, leading to periodic outbreaks of violence. In response oil companies formed an ‘Industrial Security Council’ to coordinate security with the American embassy and its military attachés. Tinker Salas claims that the Pentagon was behind a coup d’etat in 1948.[xv]

    Awareness was growing among the wider populace of the incredible wealth the country possessed, and that this was not being devoted to the betterment of the population at large. On the international front, Venezuela was one of the founding members of OPEC in 1960, and domestically pressure mounted on the government to nationalise reserves. U.S. attitudes to the country are epitomised by a Newsweek cover from 1964 entitled ‘The Promise and the Threat’, featuring an image of President Rául Leoni with Fidel Castro looming behind him.

    In 1976 one of the chief Venezuelan architects of OPEC, Pérez Alfonzo, published a collection of essays entitled Hundiéndonos en el excremento del diablo, ‘We are sinking in the excrement of the devil’, which concluded that after nationalisation ‘el petróleo es nuestro, lo demás lo importamos’ ‘the oil is ours, everything else we import.’[xvi] He revealed an intuitive understanding of what economists call ‘the natural curse’, or ‘the paradox of plenty’, which diminishes self-reliance and entrepreneurship. That same year the government finally nationalised the industry. The U.S. companies were not entirely displeased, however, as the law allowed for contracts with foreign firms. Venezuela had become a classic rentier state which derived all or a substantial portion of its national revenues from the ‘rent’ of indigenous resources to external clients. A two-tier society endured, with the higher echelon embracing a U.S. consumer culture. A particular feature of this was a veneration of female beauty, indicative of a society where women are treated as ‘luxury mammals’, to use Gramsci’s description of the wives and daughters of American industrialists between the wars.[xvii]

    A proliferation in beauty pageants yielded seven Miss Universe and six Miss World crowns on the international stage, and transformed an ideal of female beauty into a national obsession. This stimulated demand for cosmetic products, exploited by organisers of the pageants who distributed a wide range of beauty treatments, and brought a thriving industry in plastic surgery. The ideal of beauty that was promoted was distinctly white European.

    In 1999 the country was subjected to a series of mudslides, the Vargas Tragedy, that witnessed the deaths of between fifteen and thirty thousand people. The uncertainty around the number of fatalities is indicative of a lack of concern for those living in shanty towns on the part of the governing elite. Successive governments had permitted houses to be built in unsuitable locations before the ‘natural’ disaster took place.

    Thus, the phenomenon of Hugo Chávez cannot be abstracted from Venezuelan history as Krautze in his New York Review article suggests. As a post-colonial society, Venezuela brought a host of problems into the twentieth century, especially the social exclusion of the bulk of the population and a toxicity in ‘race’ relations. The challenge of development in a tropical environment also cannot be discounted.

    Over decades of oil wealth, Venezuelan elites had failed to distribute the nation’s resources effectively, a pattern seen throughout the developing world. In these circumstances, for a left-wing populist such as Hugo Chávez to emerge was predictable, if not inevitable, but many of his aspirations can be lauded. During 2002 poverty gripped 49.6% of the population, with 32% destitute. This had fallen to 27.8% and 10.7% respectively, by 2010.[xviii] Chávez’s period in office as president between 1999 and 2013 incontrovertibly brought substantial improvements to the lives of the poor. Whatever about the methods employed, or the current crisis under his successor Nicolás Maduro, the achievements of that period cannot be ignored.

    A constitution promulgated in 2000 established access to education, housing, health and food as inalienable rights guaranteed by the state. The standing of women and indigenous communities was also raised, while special status was bestowed on the environment, with the state committed to guard against ecological degradation. Such aspirations would not appear out of place in the constitution of a mature democracy.

    Chávez’s rule was far from exemplary, however, as corruption became rife, but the continued intransigence of the wealthiest stratum destabilised the country to a point where a coup d’état was launched in 2002. The U.S. government, if not involved, was clearly supportive. Presidential spokesman Ari Fleischer claimed that Chávez had brought the coup on himself, while, perhaps more surprisingly, an editorial the day afterwards in The New York Times read, without irony: ‘with yesterday’s removal of President Chávez Venezuelan democracy is no longer threatened by a would-be dictator.’[xix] Chávez survived the coup after a popular uprising, which underlined his appeal among the most marginalised in that society. Tinker Salas discounts the view that this was based purely on client-patron relations, and suggests that national pride, left-wing policies, his African heritage and a general loss of faith in the political process all played their part.

    According to Tinker Salas, Chávez’s death highlighted the strengths, but also the limits, of ‘an all-powerful hyper-presidentialism expected to resolve the country’s deep-seated problems.’[xx] His successor Nicolás Maduro is not of the same calibre. His survival, having emerged victorious in the May 2018 election, whose validity is contested, depends on the extent to which he can continue to mobilise the support of the poorer sections of society. As regards Venezuela’s long-term possibilities one can only hope that more is done to heal a corrosive addiction to oil revenue – “the excrement of the devil” –  which has bred corruption and complacency since its discovery. Venezuelans would do well to learn from how Cuba survived oil shortages at the end of the Cold War, especially when its agriculture was denied access to petro-chemicals.

    Moreover, the status of Venezuelan women as “luxury mammals”, dependent on beauty for their status, is a clear pathology. As Gramsci points out: ‘Until women can attain not only a genuine independence in relation to men but also a new way of conceiving themselves and their role in sexual relations, the sexual question will remain full of unhealthy characteristics.’[xxi] Finally, coverage of the country has often tended to highlight poverty and violence, but Venezuelans often have a happier disposition than is evident among people living in stable democracies. This point is affirmed in successive polls, and accords with my own dealings with Venezuelans.

    *******

    In The Great War for Civilisation: The Conquest of the Middle East (London, Fourth Estate, 2005), Robert Fisk describes the role of the journalist as being to write the first draft of history. This ought to be the case, but the reality is that the market now demands obsessive focus on a self-perpetuating news cycle, which Benedict Anderson characterised as the ‘obsolescence of the newspaper on the morrow of its printing.’[xxii] The slower pace of the journalist-historian who carefully interrogates sources to develop evidence is increasingly rare. Today, a figure of Fisk’s type, writing independently from a conflict zone, which he knows intimately, for decades, is, if not extinct, then highly anomalous. The new reporters are often unprofessional bystanders who live stream events on camera phones, while the digital medium we increasingly rely on lends itself to distraction and manipulation. Now the ideology of a newspaper or broadcaster often trumps integrity. During his long career, Fisk witnessed the extent to which news could be manipulated to justify military invasions: the “United States of Amnesia” at work. The justification for any humanitarian intervention remains elusive as international institutions fragment, but once the cost-benefit analysis is complete, it could be Venezuela’s turn for the ‘tough love’ of the West.

    [i] Centre on Foreign Relations, ‘A Venezuelan Refugee Crisis’, Contingency Planning Memorandum No. 33, February 15th, 2018. https://www.cfr.org/report/venezuelan-refugee-crisis, accessed 14/11/18.

    [ii] Antonio Gramsci, Selections from the Prison Notebooks, edited by Quintin Hoare and Geoffrey Smith, London Lawrence & Wishart, 2003, p.189.

    [iii] Miguel Tinker Salas, Venezuela: What Everyone Needs to Know, Oxford, Oxford University Press, 2015, p.3.

    [iv] Francis Fukayama, The End of History and the Last Man, New York, Free Press, 1992.

    [v] Gore Vidal, Point to Point Navigation, p.55, London, Little, Brown, 2006.

    [vi] Enrique Krauze, ‘Mexico’s Theology of Oil’, New York Times, October 31st, 2013.

    [vii] Enrique Krauze, ‘Rough Seas for Venezuela’, New York Times, February 15th, 2015.

    [viii] Mark Weisbrot, ‘Venezuelans Will Vote with Their Wallets’, New York Times, June 20th, 2016.

    [ix] Tinker Salas, 2015, pp.18-19.

    [x] J. B. Trend, Bolívar and the Independence of Spanish America, New York, Macmillan, 1948, p.225.

    [xi] Tinker Salas, 2015, p.39.

    [xii] Ibid, p.79.

    [xiii] Gramsci, 2003, p.40.

    [xiv] Tinker Salas, 2015, p.66.

    [xv] Ibid, p.85.

    [xvi] Ibid, p.104.

    [xvii] Gramsci, 2003, p.306.

    [xviii] Tinker Salas, 2015, p.192.

    [xix] Editorial, ‘Hugo Chavez Departs’, New York Times, April 13th, 2002.

    [xx] Tinker Salas, 2015, p.217

    [xxi] Gramsci, 2003, p.296

    [xxii]  Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism, New York, Verso, 2006, p. 34.

  • B Road Blues

    Born by the river, out in the sticks

    I was born on a bend on the Forty Eighty-six

     

    Making old friends, Rubicon tricks

    Much still to fix on the Forty Eighty-six

     

    Romans rode here, hear the hoof clicks

    Some see their ghosts on the Forty Eighty-six

     

    Journey’s the same, the dead and the quick’s

    Cutting through the mist on the Forty Eighty-six

     

    Executor, executrix

    Fresh eggs for sale on the Forty Eighty-six

     

    Love lasts forever, young love pricks

    Some are still searching on the Forty Eighty-six

     

    Stone and timber, timber and bricks

    Much to remember on the Forty Eighty-six

     

    Stacks with plenty, plenty with nix

    Weather unrelenting on the Forty Eighty-six

     

    Players pretend with frantic theatrics

    Not just teenage kicks on the Forty Eighty-six

     

    They fought before with axes and picks

    Fought a Civil War on the Forty Eighty-six

     

    The pain they pray is the lame and the sick’s

    May one day fade away on the Forty Eighty-six

     

    Some are flame throwers, swear like Bill Hicks

    Others grow church flowers on the Forty Eighty-six

     

    Hat-tricks won, missed penalty kicks

    Dislocating hips on the Forty Eighty-six

     

    Life ain’t a sweetshop just selling Twix

    It’s a big ol’ pic’n’mix on the Forty Eighty-six

     

    Simon called Peter, Richard’s nicked Dick’s

    Some names are made on the Forty Eighty-six

     

    Magicians vape smoke with their cash and card tricks

    Magic’s still a secret on the Forty Eighty-six

     

    Some write with quills, sharper than Bics

    Slanty-id italics on the Forty Eighty-six

     

    A thief may never know from whom he nicks

    Flash cars flashing past on the Forty Eighty-six

     

    Ringing guitars’ lickety licks

    Bending like Hendrix on the Forty Eighty-six

     

    Choose party sex over party politics

    Horny Burke’s dilemma on the Forty Eighty-six

     

    Peace wind blowing Vulcan aeronautics

    Once heroed Hurricanes on the Forty Eighty-six

     

    Hellfire statistics, bullet ballistics

    But now bombs won’t win wars on the Forty Eighty-six

     

    Some speak the truth, some speak synthetics

    Some don’t speak at all on the Forty Eighty-six

     

    Birds and beasts, lambs and chicks

    Nature’s an engraver on the Forty Eighty-six

     

    No slow runners, torched Olympics

    Silver, bronze, gold on the Forty Eighty-six

     

    Carabosse dusk dirt-track dominatrix

    Allsortsa country matters on the Forty Eighty-six

     

    Peacock feathers flair in fancy flicks

    Pride falls like darkness on the Forty Eighty-six

     

    Ain’t surprised the dead get more crosses than ticks

    Many miles of road on the Forty Eighty-six

     

    Paul Curran was born in Stratford-upon-Avon in 1975. He holds a degree in English Language and Literature from the University of Oxford and a Masters Degree from the Royal Central School of Speech & Drama. He has worked widely as a professional actor. His Only Sonnet loosely follows the pattern of the seasons, comprised of 100+ ‘alternative’ sonnets; Repeat Fees and its 80 sonnets and longer poems was published in July 2017.

  • Song Shorts

    “Iggy‘s not coming for lunch?” asked Ron.

    He tasted his breathe while talking, it smelt surprisingly of milk.

    “Need to get a shower,” he said.

    A television was blinking upstairs. The automatic shutdown announced the television will be black in few minutes. Iggy was lying on the floor looking at the ceiling.

    He started figuring out what happened. Once again he put his dreams against reality. His stupid nature against facts. He thought about her as just a woman now. She could not have been a real woman. She was a symbol. She was definitely a sign of a possible redemption. My little China girl, you wore a beautiful uniform sitting straight on your back at the restaurant. Cheering discreetly. But redemption never arrives by chance. You have to work on it and even then there are people who will never find a proper one. There are simply people who needs to be against the wind at 300 km/h. I gave you a different room every night, so you would have never felt bored. I gave you the best wines with the most complicated aromas. I gave you the biggest television ever. But you see, the redemption I’m used to tends to collapse easily. And so it did. I need to be against the wind at 300 km/h. And I ruined everything you are. We’re people used to chewing other people, you know.

    The table is broken in the middle and unfortunately it’s my fault. When you cannot control your feelings and – more than everything – your fucking movements, those kind of things happen.

    Iggy stood up. Then he jumped twice as if there was an imaginary rope                           “No headache,” he said to himself.

    “ There is no point in telling the whole story…,” he said “it’s quite intellectual.”             “ What do you mean?” Ron asked.                                                                                                       “ I mean, not good things for us. Kind of painful.”

     

    WAITING FOR THE MAN_ VELVET UNDERGROUND

    https://youtu.be/hugY9CwhfzE

    It’s freezing and the rain is coming through my shoes. I’m standing at the corner in Lexington and I need to shit. I wait here like a street lamp with money clutched in my hand. He will be here in few minutes, sick as dawn. Then I will shit somewhere. I need to control the needs of my body and establish an order. But it’s going to be hard. Because everything makes me want to shit. Bricks are reflecting rain. Grey is everywhere. There is a prostitute on the other side of the street. I suppose she’s a prostitute. I hope, otherwise I can’t imagine why is she standing there. She’s young, she could be seventeen or eighteen. She doesn’t look particularly sick: she’s just waiting for something, trying to follow the right order of things. I need to shit.

    I start to think about God. I need a real God that fixes things, a fat reliable God living on my shoulders. It’s incredible how humans can build totally depressing spots. It’s fucking bad to be here. Your life is a guinea pig life without a wheel or anything like it. I need to shit. And a God, for fuck’s sake. I want to feel his dry breath behind me.

    No way. This idiot is never on time. Who is he? I don’t mind, I just have to be on time for him. But he shows no respect, no fucking respect. Twenty-six wet dollars clutched in my hand. Yes, we really have the worst Gods ever in this place. Never on time. Then the prostitute crosses the road. She’s coming towards me, slowly. Despite the rain her make up is really solid. It seems that you need to shit, she says. And she stares at me. Then her hands go through her bag and she shows me a small paper box. It’s brownish and dry. She reminds me of someone I met in school. Remember that you need to shit, she says. Luanne? I ask. She nods her head. I give her twenty-six dollars, it seems the most obvious thing. I open my hand with my crumpled twenty-six dollars. She takes them and puts them in a bag without even looking . I’m sure I have already seen her. She looks younger than seventeen or eighteen. But she could easily be in her thirties as well. And she’s so fucking dry.

    Are you waterproof? I ask. Sure, she answers.