Category Archives: Historical

Children’s Literature and Material Culture

I wonder how many other people’s gateway into a fascination with material culture was sparked by the Little House books. Or similar historical narratives that involved a lot of details about daily living, homemaking processes, etc.

As long as I can remember, I’ve felt that objects have a particular power and contain multiple meanings. “It’s only stuff” was never something that resonated, and I struggle to give that statement weight to this day. Because stuff is hardly ever just “only” itself. Objects can transport us to the past (our own or an imagined someone else’s), to different cultures and ways of being in the world. Time travel made manifest.

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Filed under Childhood, Historical, Nostalgia

Positivism, History, and Optimism: NPR’s 13.7 on the Endurance of Scientific Knowledge

“Religious repression and wars pass, but scientific knowledge remains.”

So goes theoretical physicist Marcelo Gleiser’s argument in a recent opinion piece on NPR’s 13.7 Cosmos & Culture blog. To which I thought:

Not necessarily.

Knowledge can be suppressed, corrupted, or simply lost. In one of the latter (lesser?) books of Isaac Asimov’s Foundation series, a character describes the problem of chronicling millennia of human history. In short, you can’t preserve everything. Choices are always made. Topics fall out of vogue. Those in power can produce countering knowledge, or bury unfavorable information. Even the most meticulous archivists, following the most stringent of professional standards, are guided by prevailing cultural assumptions about what is worth saving.

Later in the blog post, Gleiser writes:

“Kepler witnessed the state collapsing around him, and felt helpless. He couldn’t pick up a sword to fight, for he was a hero of ideas and not of bloody battles. Instead, he looked up. And so did Galileo. And what they saw, and their diligence in pursuing the truth, changed the world forever.”

How can one make such an eternal claim? For someone who lauds the scientific method and the “objective” power of observation so heartily, this is quite the leap of faith.

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Filed under Contemporary, Historical, Media, Power

“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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Filed under Contemporary, Historical, Nostalgia