Art & Culture

The Bengal Famine: How the British engineered the worst genocide in human history for profit

“The Bengal Famine: How the British engineered the worst genocide in human history for profit”

via “World Observer“

I hate Indians. They are a beastly people with a beastly religion. The famine was their own fault for breeding like rabbits.”

-Winston Churchill

The British had a ruthless economic agenda when it came to operating in India and that did not include empathy for native citizens. Under the British Raj, India suffered countless famines. But the worst hit was Bengal. The first of these was in 1770, followed by severe ones in 1783, 1866, 1873, 1892, 1897 and lastly 1943-44. Previously, when famines had hit the country, indigenous rulers were quick with useful responses to avert major disasters. After the advent of the British, most of the famines were a consequence of monsoonal delays along with the exploitation of the country’s natural resources by the British for their own financial gain. Yet they did little to acknowledge the havoc these actions wrought. If anything, they were irritated at the inconveniences in taxing the famines brought about.

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The first of these famines was in 1770 and was ghastly brutal. The first signs indicating the coming of such a huge famine manifested in 1769 and the famine itself went on till 1773. It killed approximately 10 million people, millions more than the Jews incarcerated during the Second World War. It wiped out one third the population of Bengal. John Fiske, in his book “The Unseen World”, wrote that the famine of 1770 in Bengal was far deadlier than the Black Plague that terrorized Europe in the fourteenth century. Under the Mughal rule, peasants were required to pay a tribute of 10-15 per cent of their cash harvest. This ensured a comfortable treasury for the rulers and a wide net of safety for the peasants in case the weather did not hold for future harvests. In 1765 the Treaty of Allahabad was signed and East India Company took over the task of collecting the tributes from the then Mughal emperor Shah Alam II. Overnight the tributes, the British insisted on calling them tributes and not taxes for reasons of suppressing rebellion, increased to 50 percent. The peasants were not even aware that the money had changed hands. They paid, still believing that it went to the Emperor.

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Partial failure of crop was quite a regular occurrence in the Indian peasant’s life. That is why the surplus stock, which remained after paying the tributes, was so important to their livelihood. But with the increased taxation, this surplus deteriorated rapidly. When partial failure of crops came in 1768, this safety net was no longer in place. The rains of 1769 were dismal and herein the first signs of the terrible draught began to appear. The famine occurred mainly in the modern states of West Bengal and Bihar but also hit Orissa, Jharkhand and Bangladesh. Bengal was, of course, the worst hit. Among the worst affected areas were Birbum and Murshidabad in Bengal. Thousands depopulated the area in hopes of finding sustenance elsewhere, only to die of starvation later on. Those who stayed on perished nonetheless. Huge acres of farmland were abandoned. Wilderness started to thrive here, resulting in deep and inhabitable jungle areas. Tirhut, Champaran and Bettiah in Bihar were similarly affected in Bihar.

Abandoned

Prior to this, whenever the possibility of a famine had emerged, the Indian rulers would waive their taxes and see compensatory measures, such as irrigation, instituted to provide as much relief as possible to the stricken farmers. The colonial rulers continued to ignore any warnings that came their way regarding the famine, although starvation had set in from early 1770. Then the deaths started in 1771. That year, the company raised the land tax to 60 per cent in order to recompense themselves for the lost lives of so many peasants. Fewer peasants resulted in less crops that in turn meant less revenue. Hence the ones who did not yet succumb to the famine had to pay double the tax so as to ensure that the British treasury did not suffer any losses during this travesty.

After taking over from the Mughal rulers, the British had issued widespread orders for cash crops to be cultivated. These were intended to be exported. Thus farmers who were used to growing paddy and vegetables . . . .

Clueless builders destroy 6,000-year-old Spanish tomb

by Tim MacFarlan via “Daily Mail“

Clueless builders in a Spanish town accidentally destroyed a 6,000-year-old tomb they mistook for a broken picnic table and replaced it with a concrete bench.

The embarrassing incident took place in the town of Cristovo de Cea in the region of Galacia in Spain’s north west and was described as a ‘monumental error’ by university professor.

The ancient neolithic tomb had been designated a site of ‘cultural interest’ by the regional government of Galicia and was supposed to have been protected by Spain’s historical heritage law.

The stones mark the site of the ancient tomb in Cristovo de Cea, Galicia, in 2008 before they were removed and destroyed in an accidental act of cultural vandalism

But instead it was removed and the patch of ground on which it stood covered with a concrete slab so the ugly white bench could be installed.

The mistaken act of cultural vandalism was reported by local environmental group Grupo Ecolozista Outeiro, who wrote in a report, ‘The rolled concrete and modern picnic bench have caused irreparable damage, replacing what was a prehistoric cemetery of the first inhabitants of Cea.’

It was passed to Galicia’s public prosecutor which has opened a file on the case. It is also being investigated by the Galician Department of Culture, Education and Universities.

Juan A Barceló, a professor of prehistory at the Universitat Autonoma of Barcelona, told The Local: ‘I was horrified when I heard this news.

‘It is a monumental error. In Spain, no-one is allowed to take the individual decision to rebuild an historical monument, specially when it is classified in the national register, as it was.’. . . .

Coming Exhibition: Disney and Dalí ~ Architects of the Imagination

“Disney and Dalí ~ Architects of the Imagination”

Who:

Isabella Stewart Gardner Museum

When: July 10, 2015 – January 3, 2016 (Hours Vary)

Where:

Walt Disney Family Museum104 Montgomery Street
The Presidio, San Francisco
104 Montgomery Street
San Francisco, CA 94129

More Information: Here.

From an intangible dream to a phantasmagorical reality, The Walt Disney Family Museum is excited to announce Disney and Dalí: Architects of the Imagination, on view from July 10, 2015 through January 3, 2016.

Guest-curated by filmmaker Ted Nicolaou, this extraordinary, immersive, and enriching experience tells the story of the unlikely alliance between two of the most renowned innovators of the twentieth century: brilliantly eccentric Spanish Surrealist Salvador Dalí and American entertainment innovator Walt Disney. Presented through an interactive multimedia experience of original paintings, story sketches, conceptual artwork, objects, correspondences, archival film, photographs, and audio—many of which highlight work from Disney studio artists Mary Blair, Eyvind Earle, John Hench, Kay Nielsen, and more—this comprehensive exhibition showcases two vastly different icons who were drawn to each other through their unique personalities, their mutual admiration, and their collaboration on the animated short Destino. Although the film was not completed during their lifetimes, the friendship between these two great men nevertheless endured.

“The Walt Disney Family Museum, founded by Walt’s daughter, Diane Disney Miller, presents the life story of Diane’s father, which story inspires visitors to heed their imaginations and persevere in pursuing their goals,” said The Walt Disney Family Museum’s Executive Director Kirsten Komoroske. “In keeping with this mission, the exhibitions at the museum feature dreamers, innovators, and collaborators. The museum’s next major exhibition unveils another aspect of Walt’s story: the friendship between Walt and the influential and revolutionary artist, Salvador Dalí. The exhibition, co-organized with the Dalí Museum, not only further fulfills the mission of the museum, but also further solidifies the museum’s place among the many phenomenal fine art institutions in the San Francisco Bay Area.”

Born almost three years and half a world apart, Disney and Dalí’s boyhood imaginations were grounded in their upbringing in the 1900s, causing their lives, careers, and legacies to be paralleled on a level unlike any other. Though they may seem like opposites on the surface, a deeper look into the lives and artistic prominence of the surrealist and the dreamer—highlighted through hand-written letters, alongside archival film and audio—will showcase just how alike these two innovators really were in blurring the lines between reality and dreams.

Stairway to heaven: Artist creates stunning 1,650ft ladder in the sky with FIREWORKS

http://www.youtube.com/watch?v=lCW1ObmcLWE

“Stairway to heaven: Artist creates stunning 1,650ft ladder in the sky with FIREWORKS”

by Edward Chow and Emily Chan via “Daily Mail“

Cai Guoqiang used metal and gunpowder for the show in Quanzhou, China
The ladder, which measured 18ft wide, was taken up using a hot air balloon
Artist drew a draft of the show 21 years ago when he visited Bath, England
It was a labour of love for Mr Cai’s elderly grandmother who raised him
Same artist designed the spectacular fireworks to open Beijing Olympics

A Chinese artist has found a unique way to express his love to his grandmother: a gigantic staircase in the air.

These stunning photographs show the 1,650ft ladder, which was made with fireworks, stretch right up into the sky in Quanzhou, south-eastern China, on Monday.

This is the work of Cai Guoqiang, an artist who is originally from the city and now based in New York, reported the People’s Daily Online.

Sky Ladder: A Chinese artist has created this incredible burning ladder that stretches for 1,650ft into the sky

Lit up: The artwork, called ‘Sky Ladder’, is the artist’s way of thanking his grandmother who raised him

The ladder, which was made of metal wire and aluminum, was filled with gunpowder and attached to the bottom of a hot air balloon.

The balloon, which was made with special material, was launched from a boat off the shore of nearby Huiyu Island.

Called the ‘Sky Ladder’, the project started off as a dream for Mr Cai 21 years ago when he was visiting Bath, England. He designed the performance by drawing a draft of the design on the window of an art gallery.

He said he wanted to put on a spectacular fireworks show to thank his grandmother for supporting his dream of being an artist.

‘My grandma was born in a small fishing village in Quanzhou and sold fish to help her grandson realise his artistic dream,’ the artist revealed. . . . .

TaiwanFest showcases culture, art, and paper cranes

“TaiwanFest showcases culture, art, and paper cranes”

by Alison Shouldice via “The Star“

For Harry Chen, a folded paper crane is a hope for many things: freedom, democracy, world peace — and his own good health.

Chen, a Taiwanese-Canadian, has recently made a habit of folding small origami paper cranes.

He has also spent the last two years living with kidney cancer.

“When I was in the hospital, I started to fold those things,” he said, but it’s a skill he’s had for some time. At six years old, his kindergarten teacher first taught him origami to stop his crying.

After undergoing surgery, chemotherapy and radiation, Chen’s cancer is now under control. In July 2014, when he was out of the hospital but still recovering, he began folding more cranes in his spare time: on the bus, in the doctor’s waiting room and while out shopping with his wife.

He was inspired by the story of Sadako Sasaki, a Japanese girl who famously attempted to fold 1,000 paper cranes in 1955 for good health. Sasaki developed leukemia after she had been exposed to radiation from the Hiroshima atomic bomb as a young child.

With Sasaki in mind, Chen kept folding, and just 10 months later, he stopped at 2,345: a representation of Taiwan’s 23.45 million population.

Chen is displaying his cranes, attached onto mobiles, at TaiwanFest this weekend at the Harbourfront Centre. On Friday evening, a crowd had already gathered around Chen’s display.

Organizers expect up to 50,000 people to pop in between Friday and Sunday for the festivities.

In addition to Chen’s mobiles, there are several other art and cultural pieces on display throughout the Harbourfront grounds. The festival is multidisciplinary, incorporating art, music, culture and food.

It’s held for two weekends back to back: this weekend in Toronto the next in Vancouver. The guests tend to be Taiwanese-Canadians coming from all areas of the city, according to the festival’s managing director Charlie Wu.

But the event is also for Torontonians who may not know a lot about Taiwan.

“It’s important for TaiwanFest to be in downtown venues,” Wu said. “We always feel that Taiwanese-Canadians and Asian-Canadians like to share their cultures in a more mainstream environment where other Canadians get to see it.”

Diverse programming is the key to attracting non-Taiwanese Canadians to the festival, he said. For instance, this year, they are hosting a fashion designer whose heritage is of Taiwan’s indigenous peoples, who dwelled on the island for thousands of years before the now-predominant Han Chinese began arriving in numbers in the 17th century. It’s hoped that presence of the designer, known simply as Andre, attracts Torontonians with a general interest in fashion or indigenous peoples’ culture and art. . . . .