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The chill wind of austerity

Gosh, it’s been a depressing week in British politics. Austerity is such a grey, foggy, Victorian sort of word. They’ll be talking about retrenchment next.

And you don’t have to be an expert in the fine details of the budget to realise that there’s no way the government can cut total spending by 20% without making the country a harder, nastier place in a whole lot of ways, some obvious and some subtle.

I was at a party the other day where parents were swapping tips about places to take young children, and they were commenting that London’s parks all seem rather nice these days. They’re well-maintained, and clean, they have nice facilities, and they’re making an effort to be better for wildlife. Well, with a 30% cut in local government funding, I think it’s a safe bet that those parks are going to become grottier, grimmer, a little bit less of an escape from the city around them. Which seems like a good symbol for what’s going to happen to the whole country.

And since 85% of the debt was run up bailing out the banks, most of this pain is being inflicted in the name of saving the bankers from the consequences of their own incompetence.

But that’s not the really depressing part. It might be possible to take a deep breath and face the cuts as stoically as possible, if I was actually sure that they were going to have the desired effect. If I believed that they were the only thing keeping Britain from becoming the next Greece, if I was sure that the cuts were going to lay the foundation for a more stable and more prosperous economy in the longer term… but meanwhile there are Nobel prize winning economists like Krugman and Stigliz saying that, on the contrary, this is the worst thing the government could possibly be doing. The killer quote from the most recent Stigliz article:

Austerity converts downturns into recessions, recessions into depressions.

Now I don’t know whether they’re right. I suppose I have to hope not. But it really would be the vomit garnish on a shit sandwich if the effect of all these cuts was to take a weak economy and give it a good kicking.

Meanwhile Cameron, Clegg and Osborne seem to be rather enjoying themselves. Partially perhaps because of a pre-existing ideological commitment to the idea of small government, but I think mainly because they’re rather enjoying the vision of themselves as dynamic men of action, men with the leadership qualities to make the hard decisions.  Of course the British economy is where it is because a group of decisive, dynamic go-getters in very expensive suits decisively and dynamically cocked up on a catastrophic scale. The politicians have obviously been watching and learning.

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Culture

From Tajikistan to the Moon by Robert Frimtzis

From Tajikistan to the Moon is a self-published memoir. Rather glamorously self-published, too, compared to the current trend for self-publishing via print-on-demand, in that it’s a proper hardback with an embossed cover. Frimtzis was born in Beltz (i.e. Bălţi) in what is now Moldova, although when he was born there it was part of Romania and from 1940 onwards it was part of the Soviet Union.

Frimtzis was ten when Germany attacked the Soviet Union in 1941. Although of course they couldn’t know the full scale of the Holocaust, they knew enough about the anti-semitism of the Nazis that his family took the decision to flee eastwards. After hundreds of miles on foot, keeping ahead of the German army and under aerial attack, they got onto the train network in Ukraine and carried on to Tajikistan, where they had relatives.

After the war they managed to get themselves smuggled out of the USSR through Romania and Austria to Italy, and then after some time in the refugee camps, to immigrate to America. There he studied hard, became an engineer, and eventually contributed to the Apollo programme — hence the moon part of the title.

So he has an interesting story to tell. He’s not the world’s greatest prose stylist, but at least it’s plain, straightforward prose; if it’s occasionally a bit clunky, at least it’s not painful in the way that bad literary prose can be. It kept my attention.

For me, the most interesting part of it is the refugee narrative; his experience as an internal refugee within the Soviet Union, then in an Italian refugee camp, and continuing with his struggles to adapt in the US, where he was self-conscious about his outsider status and his bad English as he worked to carve out a place for himself within American society. Which he eventually did very successfully. The more stable his life becomes in America, the less interesting the book becomes; even though he worked on some truly fascinating projects in his professional life, I don’t think he really brings that to life. He doesn’t manage to explain what was interesting about the work itself.

From Tajikistan to the Moon is my book for Moldova for the Read The World challenge.

» The photo is of crew in the Apollo Lunar Module Mission Simulator… which I think is actually the wrong bit of equipment. Frimtzis was in charge of the team working on the Apollo Mission Simulator, which I think is the simulator for the command module rather than the lunar lander. But I really like the picture, so  it’s close enough.

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Culture

‘Diaghilev and the Ballets Russes’ at the V&A

I went along to the Diaghilev exhibition at the V&A. He’s kind of an interesting figure to name an exhibition after, since he was an impresario, rather than an artist or designer, or even a composer or choreographer. But under his stewardship, the Ballets Russes really does seem to have been an extraordinary focal point for European culture. I’m a complete philistine about music and ballet, so none of the choreographers meant anything to me, and the only dancer I’d heard of was Nijinsky; but even I’ve heard of composers like Prokofiev, Satie and of course Stravinsky. And even I know that the first performance of The Rite of Spring is one of the significant cultural moments of the twentieth century.

And I’m slightly less of a philistine about art, so I’ve definitely heard of some of the people who designed sets and costumes for him: Pablo Picasso, Henri Matisse, Georges Braque, André Derain, Giorgio de Chirico, Natalia Goncharova, Coco Chanel. And apparently Joan Míro and Salvador Dalí as well, although neither of them featured in this exhibition. And that’s apart from some, like Léon Bakst, who are specifically known for their design work for the ballet. It is a hell of a list.

And it’s a fun exhibition: lots of cheery colours, and gorgeous costumes that have a battered glamour to them; and costume designs, which are often even more appealing than the costumes themselves. And the single largest item in the V&A collection: the back cloth for one of their ballets.

I also checked out the Raphael tapestries. Pope Leo X commissioned Raphael to design a set of tapestries with scenes from the lives of St Peter and St Paul, to hang in the Sistine Chapel, and one of the treasures of the V&A is the Raphael cartoons: i.e. the full size painted designs which the weavers worked from. To coincide with the current Pope visiting the UK, the Vatican has lent four of the actual tapestries to hang alongside the paintings for a bit.

And they’re quite interesting to see, although they have rather fallen victim to changing tastes. The Raphael cartoons have always been regarded as some of the most important bits of Renaissance art in Britain, but I don’t think I’m alone in finding them a bit unsympathetic. It’s not just the subject matter, although that doesn’t help; there’s something about these monumental groups of posed figures that is just a tiny bit, um, boring. Maybe it’s the self-conscious grandeur of them; these really are the Catholic equivalent of Socialist Realism. Then again, if Stalin had had people like Raphael and Michelangelo available, Socialist Realism might have been pretty fabulous.

» Top: costumes for female dancers in The Rite of Spring. Designed by Nikolai Roerich, 1913. Bottom: costume for a ‘Negro Lackey’ from The Sleeping Princess. Designed by Léon Bakst, 1921.

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Culture

The First Movie

Just a little plug for The First Movie, which I went to see on Friday. It’s a documentary by Mark Cousins; he visits a Kurdish village which is remote enough that none of the children have ever been to the movies, and puts on a showing of a selection of films in a makeshift outdoor cinema; then he gives the children little digital movie cameras and waits to see what footage they bring back.

It’s a film which looks beautiful and is in turns funny and moving, with a narration provided by Cousins in a very attractive Belfast accent. As I was watching it, I was thinking that, by comparison, nearly everything you see in the cinema has incredibly little faith in the audience’s intelligence or attention. Not that this is some kind of ultra-difficult film, but it’s not afraid to be poetic, to talk about aesthetic issues, to be slow, to hold shots for a long time and let the audience look at them. I really thought it was excellent.

During October it’s on a tour of independent cinemas around the UK. I happened to see the first of these showings because it was at my local cinema. So if you’re in the UK and happen to live near the kind of cinema that might show arty documentaries, check the showing dates and give it a go. And if you’re not in the UK… I don’t know, it might appear at a film festival? Or on Netflix in due course? Well worth a look.

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Culture

Things posted to Tumblr: Gandhara bodhisattvas

I’ve been enjoying posting stuff to A London Salmagundi, and I find the convention of posting pictures without commentary rather liberating, because I am a relentless tweaker of my own prose and constitutionally incapable of being brief. But sometimes I find myself wanting to explain why I think a particular image is so interesting or beautiful. So this is the first of what may be a series: ‘things I posted to Tumblr’.

These bodhisattvas are from the part of the world that US foreign policy types refer to as ‘AfPak’; the top one, the older of the two, is from Hadda, now on the Afghan side of the border; the other is from Peshawar in Pakistan. But when these were made, and for over a millennium, it was the location of the Gandhara kingdom.

I only know that because I just looked it up on Wikipedia. But what I did already know was that these are in a tradition called ‘Greco-Buddhist’. This is art from a place where two worlds meet. Alexander the Great conquered the area from the Persians in the 4th century BC; hundreds of years later, the Hellenistic influence was still powerful enough to result in works like these.

That top one, from 1st-3rd century AD, is particularly extraordinary and particularly beautiful, I think. The style is recognisably Greek; the hair, the sculpting of the features. But the face looks Indian, and he has the long ears of the bodhisattva.

The other, slighter later (3rd-5th century) is less remarkable, less strikingly classical; more what one expects a bodhisattva to look like. But it’s still a lovely thing.

Just the existence of Greco-Buddhist art was amazing to me, because Alexander the Great and Buddhism lived in completely different parts of my brain. It’s like reading one of those counter-factual novels — what would modern Britain have been like if the Nazis had won the war? —  except, you know, it’s actually real. There really was somewhere where Buddhist monasteries were decorated in the style of ancient Greek temples.

The fact that the resulting art is beautiful just makes it even better.

» The Hadda bodhisattva at the Musée Guimet; the Peshawar bodhisattva at the V&A.

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Culture

Of Water and the Spirit by Malidoma Patrice Somé

Full title: Of Water and the Spirit: Ritual, Magic and Initiation in the Life of an African Shaman. Somé was kidnapped at the age of four and taken first to a Jesuit-run boarding school and then a seminary, where he was a victim of physical and sexual abuse. At the age of 20 he fled the seminary and walked back to his home village. When he saw his family for the first time in 16 years, he could no longer speak his native Dagara and had lost touch with his native culture; so he underwent the long, harrowing ritual initiation that boys normally go through at 13.

He then realised that his calling was to go out and teach the western world about traditional wisdom; the book ends with him leaving the village again. He went to university and earned a few degrees, and he now seems to work on the New Age lecture circuit and in the men’s movement.

I have to say, as I read the introduction which explains this stuff, my heart sank. The cocktail of academic jargon, self-help, the supernatural and purple prose could have been specifically designed to annoy me. But, to be fair, once he gets going, it is pretty interesting. He never completely shakes off the tendency to flowery prose…

The sun had already risen. A few scattered clouds were speeding across the empty zenith as if running away from the threat of the burning disc.

… but the academic and self-help stuff is much less intrusive. And the supernatural is after all the main subject of the book. As I was reading his descriptions of magical experiences he had before his abduction, all of which happened before he was four, I wondered whether all the impossible things he was witnessing were explicable by his extreme youth, and the embellishing powers of memory. But his experiences during the initiation as an adult are every bit as remarkable.

Assuming that he’s not just a professional bullshitter who made all this stuff up because he knows it is marketable — and I’m not really suggesting that’s the case, although it did occur to me as a possibility — his visions/experiences were extraordinarily complex, specific and precise. Since I’m not a believer in the supernatural, I couldn’t help speculating about what kinds of psychological and physiological effects might have created these experiences — quite fruitless, of course, since we only have one very specific perspective on what happened and I don’t have that kind of expertise anyway.

Really, that’s not the point, anyway; I’m not reading with the book to argue with it. What I would hope to get out of this kind of book is some kind of insight into the traditional culture of the Dagara. And there certainly is some interesting material about the rituals, about the use of divination, the decision making of the elders and so on. But the magical experiences themselves weirdly didn’t ring true to me.

I know I’m the worst person in the world to judge the authenticity of shamanic experience, but when I’ve read stories from oral cultures before I’ve always been struck by the genuine weirdness of them, a lack of the kind of narrative logic I expect. I don’t get that from this book; for all the impossible things happening, they sort of read like a version of shamanic experience as imagined by a westerner. Perhaps that’s unsurprising, given the relatively small proportion of his life Somé actually spent in his home village compared to the time spent elsewhere. He is inevitably as much a product of French colonial education and western universities as he is of Dagara culture. Or perhaps he is consciously targeting it at a western readership. Or, very likely, my idea of what a shamanic experience ought to be like is completely wrong.

One way or another, it’s certainly interesting. Of Water and the Spirit is my book from Burkina Faso for the Read The World challenge.

» The photo, ‘decorated potteries for sale at the market along the Niger riverbanks near Ouagadougou, Burkina Faso’ is from the Smithsonian. There’s not much connection to the book, but I liked the picture.