Category Archives: Historical

“Anthropologists” in the 24th Century

Star Trek doesn’t know what anthropologists do. That, or the discipline undergoes a radical transformation between now and when TNG is set, in the 24th century.

A few days ago, I watched a season three episode entitled “Who Watches the Watchers.” The crew of the Enterprise is called to assist a team of “anthropologists” who have been secretly observing a species of “Bronze Age” humanoids (Mintakans) on another planet.

Pause. Two things.

One, that’s not what anthropologists do. Anthropologists don’t conduct long-term studies of people without their knowledge, consent, or cooperation. That’s unethical, to say the least. The ethnographic methodology is called participant-observation. Not hide-in-a-cave-hidden-by-a-hologram-and-catalog-the-behaviors-of-people-as-if-they-were-an-exotic-species-of-bird. Star Trek seems to think that anthropologists are naturalists, but for humans. (Or, in this case, humanoid aliens.)

This leads to point number two: the whole “Bronze Age” thing, which casts the Mintakans as primitive human Others who are imagined to be from a different time, as opposed to coexisting in the very same century as our technologically advanced “heroes.”* Star Trek‘s (misguided) idea of social evolution gets at the very heart of its most cherished guiding principle: The Prime Directive.

The Prime Directive stipulates that Star Fleet must not interfere with the “natural development” of any alien societies it encounters. This assumes that all societies follow the same trajectory of change over time, passing predetermined stages of (particularly technological) development. These stages seem predicated on a (simplified, Western) notion of human social development on earth. Here Star Trek assumes humanity is a monolithic entity, rather than a complex collection of interconnected cultures that yes, change over time, but not by following a path of predetermined developmental stages. The fictional universe has this problem in general, assuming that each species of alien Star Fleet encounters has but a singular culture.

Furthermore, Star Fleet personnel are forbidden from making their presence known to species or societies that have yet to develop space travel. What if an alien society simply doesn’t value pursuing that area of science and technology? To my (limited) knowledge, that possibility is not considered.

Star Trek‘s vision of the future, like all science fiction, is constrained by its creators’ understandings of the past and present. As Gene Roddenberry and the writers and other folks who worked on the show were embedded in U.S. culture, the show has a particularly Western pop-understanding of multiculturalism, liberalism, and social dynamics. Although it takes pains to present the different species and societies Star Fleet encounters without judgment, Star Trek‘s lack of understanding of how culture operates seriously hinders their ability to do so convincingly. At least for this 21st century anthropologist.

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*Here it is crucial to cite Michel-Rolph Trouillot’s seminal 2003 essay, Anthropology and the Savage Slot: The Poetics and Politics of Otherness.

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Filed under Historical, Television and Movies

Poetic Interlude: Fractured Futures, née YWCA

Light aqua arch surrounding an inset wooden door of the same color

refracted reflections

bourgeois boutique

peeling possibilities

embattled emblem


Context:

May, 2017

April, 2017

August, 2016

June, 2013

Atlas Obscura

City of Pasadena, Planning & Community Development

Pasadena Heritage

 

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Filed under Art of all Kinds, Contemporary, Historical, Nostalgia, Power, Wordplay

The International Appeal of a Hyper-Local Dance

A gentleman in his eighties hands off his walker, embracing his partner as they shuffle to a jaunty tune. Couples of all ages emanate from the inter-generational pair, filling the hall with waves of subtle movement. It’s 11:00 p.m., midway through the 6-piece band’s second set. At least five more hours of dancing await those with the stamina to carry on.

Men sport straw hats and knickerbockers while ladies with elaborate hairstyles keep rhythm in reproduction vintage shoes. Russian, French, and whiffs of hand sanitizer float by on an endorphin-powered breeze. A speakeasy appears in a waiting room and people snap bootlegger selfies before a mugshot backdrop. Parents take turns tending to children so each enjoys the dance floor. The drummer swigs from a green bottle as the MC introduces the next song. Hand-carved art deco borders frame the stage. Invocations of the storied past consist entirely of names: Duke Ellington, Count Basie, Django Reinhardt, Benny Goodman. Nostalgia has been reborn.

Welcome to California Balboa Classic.

Modern Revival

California Balboa Classic (Cal Bal), a weekend of workshops, social dances, and contests drawing dancers from around the world, puts the typical conference to shame. Because attendees must engage their bodies to absorb the knowledge presented, exhaustion is physically exhilarating rather than mentally draining. Not only does Cal Bal know how to keep their attendees awake, its instructors are in such high demand that there is often a waiting list to register.

Founded in 2013 by Laura Keat, Cal Bal took up the mantle laid down by Balboa Rendezvous, an event that for ten years gathered new generations of dancers “where it all began”–the Balboa Pavilion in Newport Beach. Though Cal Bal has moved the festivities inland, dancers continue to flock to Southern California in mid-January for the chance to be close to balboa’s historic roots.

How does a partner dance originating on Balboa Island in the 1920’s attract a modern international following that rivals that of the Rose Parade?

Balboa is a social dance that originated on the Balboa Peninsula in the 1920’s and 30’s as teenagers interpreted popular jazz and swing music in crowded dance halls. In its “pure” form, balboa can be danced to extremely fast music in as small a space as two people holding each other close can occupy.

Over the years, balboa evolved to incorporate more exuberant movements from various styles of swing dancing. Modern balboa dancers delight in combining vintage and innovative stylings. Jodi Daynard, a dancer visiting from Boston, said balboa appeals to her for many reasons, but that “the creativity is the part I kind of live for.”

Global Appeal

Now in its fifth year, Cal Bal has become the premier event among dancers who want to enhance their knowledge of this vintage social dance. Hosted at the Pasadena Masonic Temple and nearby hotels, the event attracts people from almost as many countries as the Rose Parade does just a few weeks before. “This is bal heaven!” declared one dancer from the Bay Area.

Our neighbors to the north aren’t the only ones who travel to the City of Roses specifically for Cal Bal. People from Seattle, Denver, New York, Honolulu–not to mention Australia, Korea, Japan, and Germany–all gather in Pasadena to share their affinity for the vintage Southern California pastime. For one couple from the Netherlands, Cal Bal served as the capstone of their week-long trip to Los Angeles, a tour that included The Huntington Library and The Getty Center. 

How did a partner dance originating on Balboa Island in the 1920’s attract such an international following? The key could be the authenticity that the locale provides.

Stephan Wuthe, a Berlin DJ and jazz historian, was attending Cal Bal for the second time. “It’s the real thing here,” he said. Most modern balboa dancers can trace their knowledge to Cal Bal instructor Sylvia Sykes, who learned from the original dancers in the 80’s and 90’s and introduced the dance worldwide. Stephan noted that European instructors teach similar material to that featured at Cal Bal, but it’s important for him to attend an event in “the area where the dance was created.”

Lifelong Learning, International Community

Cal Bal’s world-class instructors are also a major draw. For three days, attendees spend hours mastering new techniques. “You can’t fake bal,” said Cal Bal instructor Augie Freeman. “You have to have a base knowledge to dance with somebody.” Often, friends enroll in different workshop levels so they can share what they learn afterwards.

Instructors and participants alike are diligent students, constantly seeking ways to elevate their dancing. This commitment to excellence is rivaled only by a commitment to fun. By Sunday morning, class sizes are noticeably smaller; many people stay out dancing and socializing until 4:00 a.m.

One of the notable things about balboa’s modern resurgence is the cross-cultural community that has arisen around it. “You can dance with anybody,” said Stephan. “For those three minutes, we are a beautiful couple.”


2017 California Balboa Classic takes place January 6-8 in Pasadena, CA

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Watching Mel Brooks in 2016

On November 9, I sent myself an email. The world breaks, again and again, read the subject line. Maya Angelou supplied the body of the message with her poem “Still I Rise.” I don’t care if that’s a cliche.

Yesterday I wrote myself a note: “The culture comes into consciousness and is repeatedly repressed. Constant vigilance!”

The dangerous myth of progress is that it’s cumulative and linear. But progress isn’t set-it-and-forget-it. Progress toward social justice, toward a world in which everyone has access to basic resources and can exercise their human rights, requires constant maintenance. People in power are loath to cede any of it, never more so when their positions have become reified to the point that they believe any questioning of who occupies positions of power is an encroachment upon their occupation of said positions. One group’s gain is another’s loss in the zero-sum paradigm that governs our society.

Backlash is never not a possibility. People are never not at risk.
A few weeks ago, I sat down with my family to an enjoy a diversion: Mel Brook’s History of the World, Part I. We chuckled a few times, but it was not as funny as I remembered. There are many reasons for this, but chief among them is that we’re living in the aftermath of November 8.

Somehow, the sequence where a caveman assaults a cavewoman with a stone club, thereby enacting the first marriage, did not inspire laughter, nor did bearing witness to a monarch’s serial sexual assault of his ladies in waiting. Watching an enslaved black man repeatedly argue for his life, never mind his freedom, was distinctly uncomfortable. The abuse of power was rampant, and played for laughs.

The movie, which came out in 1981, had a particular temporal relationship to tragedy. A perceived–discursive, at least–distance from assault on marginalized bodies. Times were relatively good; collective suffering was a distant memory. There was space to skewer that which had plagued previous generations.

Today, we’ve come too close to these realities, too near the precipice of the possibility that our material circumstances are about to get worse, our rights may be called into question, our environment–and by extension, humanity’s future–may be laid waste in sacrifice to the altar of extraction capitalism.

The discomfort that came from watching History of the World, Part I made me think of Brook’s other comedies that wouldn’t play as well today, chiefly To Be or Not to Be and The Producers. Both rely heavily on lampooning Hitler for their comedy. “Springtime for Hitler” was a hilarious showstopper in 1968–and again in the late 1990’s. But today, in a country where we can no longer agree that Nazis are bad, that premise becomes less humorous and more tone-deaf. Sinister, even.

“Never again,” we keep declaring. Except it’s already happened.

When I was a teenager, I thought there was nothing left to fight for. Then the U.S. declared war in Iraq. The more years that pass, the more intractable achieving social justice seems to become. There is always something to fight for. And that means that sometimes, laughter has to wait.

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Filed under Beginning of the Body, Contemporary, Gender Trouble, Historical, Power, Racism, Television and Movies

Reconsidering the Percolator

This article was originally published in Issue 42 of Coffee Lovers Magazine, which is where you should read it because they have things like layout and pictures over there.

Reconsidering the Percolator

in defense of a misunderstood relic

Something’s missing in contemporary conversations about coffee. The one elision in Issue 41’s roundup of preparation methods was mention of the percolator, that much maligned icon of midcentury domesticity. To be fair, it’s easy to forget. Difficult to classify, percolation lies somewhere between immersion and drip methods. For people under the age of 40, “to percolate” is likely more familiar as a metaphorical phrase than a culinary process. To modern sensibilities, the percolator is at best shorthand for 1950’s homemaking; at worst slandered as an inferior method that commits unforgivable crimes against coffee. There is a third way.

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