Holodomor

In the Ukrainian language, holod=hunger, mor=plague

Holdomor refers to another Stalinist crime: the famine of 1932–1933 in the Ukraine during which millions of people were starved to death. I knew little about it, until the "a Nadder!'' blogger informed me that, like Katyn, Holodomor is yet another Soviet massacre.

What is more surpsising is that, unlike Katyn which is now almost universally acknowledged as a Soviet mass murder (excepting the deniers who live in their own world), Holodomor is, still, thought to be just another Stalinist operation, not a particular crime per se. One of the problem seems to be that, during the 30's, Walter Duranty, a pro-Stalin journalist living in the USSR, published in the New York Times denying the famine, contradicting other voices, like that of Gareth Jones, and thus establishing a lie, even in the west. I also read that western intellectuals, sympathetic to the Leninist/Stalinist "progressive'' regime, talked down the famine.

What is interesting to consider is this: How can it be that such huge crimes, murders of incredible magnitude, can be trivialized or denied? The blame is not (only) with the regime that caused the murders: they do their job. It is the others, the good boys, the deniers, who propagate the lies.

I will give a parallel in my domain: I constantly see the decline of the education system, the way that, nowadays, the university spoon-feeds students, collects their tuition and grants them a piece of paper. I wonder how it is possible to have system in which, say, maths/science students cannot do elementary high-school algebra; and I shout about it. Well, the politicians (who cause the situation) will definitely not speak about it. But what about academics? Among them, there are several deniers who will contradict me and it is they who are the most dangerous ones. The politicians are doing their job: they ensure that more students will go through the university pipeline, they will establish a good name for themselves and they will be re-elected; this is their goal. However, this goal would not have been possible had the deniers been absent.

Certainly, I do not claim that deniers of the university ridicule are at the same level as deniers of mass massacres, but, logically (and I'd dare say psychologically), there are parallels. So it seems to me.

Katyń

I saw, yesterday, the film Katyń by the famous Polish director Andrzej Wajda. Probably one of the most important films of the early 21st century, it tries to restore the historical truth about the mass murder of 22 thousand Polish people (military officers, engineers, intellectuals, merchants) in the Russian Katyn (Катынь) forest near the Polish border. Ordered by Joseph Stalin and Lavrentiy Beria, the head of the secret Soviet Police NKVD, these people were captured, shortly after USSR invaded Poland, kept as prisoners for several months, and finally executed and buried in mass graves. The Nazis, who invaded Poland almost simultaneously as the Soviets, took advantage of the massacre for their own propaganda. At the end of the war, the Soviet-occupied Poland started an organized propaganda to convince everyone that it was the Nazis who had committed the massacre; anyone who dared deny this was imprisoned, marginalized or killed. The situation lasted until 1990 when Mikhail Gorbachev acknowledged Soviet responsibility; and Boris Yeltsin made public the documents authorizing the massacre.

An excellent review of the film is written by Anne Applebaum who tells us that the film is in the classic Wajda style:

For half a century, beginning in the darkest era of communism and continuing through the years of Solidarity, martial law, and the post-Communist present, Wajda has been conducting precisely this kind of cinematic dialogue with Polish audiences. Although they have sometimes been celebrated abroad, his movies have always been made with his countrymen in mind, which gives them a special flavor.

We don't need too much of Polish history to watch the film, although some certainly helps. From Applebaum's review I also learned that Wajda's father was among the Katyn massacre victims and that there are several references in the film about Wajda's own life; for example, that he wanted to be an art student, and that his mother had, for years, no idea what had happened to her husband. Wajda was asked why he made the film now.

Most of those who actually remembered the events of 1939 were now dead, he explained—Wajda himself is eighty-one—so the film could no longer be made for them. Instead, he said, he wanted to tell the story again for young people—but not just any young people. Wajda said he wanted to reach "those moviegoers for whom it matters that we are a society, and not just an accidental crowd."

But both in the interviews he's given and in the film itself, Wajda seems to be saying something rather different about the need for a national cinema. By making Katyn, he wanted to create something that would get Poles to talk to one another, to reflect upon common experiences, to define common values, to admire similar virtues, to forge a civil society out of an anonymous crowd. Katyn is deliberately intended to inspire patriotism, in the most positive sense of the word. This too helps explain why Wajda made a film that asks not just "what happened?" or "what did the Soviet Union do to us?" but rather "how did we, as a society, react afterward?" as well as "and how do we remember it now?"

Wajda has achieved his goals as he has, indeed, created discussions, and

"Have you been to see Katyn yet?" was something one was asked with some frequency in Warsaw this past fall.

Most interestingly, he has managed to solicit some Russian reaction:

[O]n the day after the film's release, a government-owned Russian newspaper, Rossiiskaya Gazeta, declared that Soviet responsibility for Katyn was "not obvious." In a snide article, one of the newspaper's pundits threw doubt on a decade's worth of voluminous archival publications, and accused Wajda of "separating us further from the truth."

The film includes rare original photographs, excerpts from German newsreels presenting the Katyn massacre as a Soviet crime, and excerpts from Soviet newsreels presenting the massacre as a German crime.

Unfortunately, not everybody will be able to watch the film because it's not a main Hollywood production. I'm lucky to be in Edinburgh where the film scene is very good.

P.S. (Added 20 Feb. 2013). Here is a link on Andrzej Wajda's biography, as presented by culture.pl

What's wrong with the word HELLO?

Have you said hello today? Chances are you have.

Have you realized this is not a proper way to speak? Chances are you haven't.

Why is that? If you haven't thought about it yet, think again. Perhaps, you won't guess it, no matter how hard you try, but the truth is...

The word hello is offensive!

Indeed, it is: it contains the word hell. Whenever you say hello, you are essentially sending someone to burn in hell. Not a nice thing to do, isn't it?

This is what was discovered, after years of intensive research--to be sure, in the State of Texas! And, being progressive, they passed a resolution in Kleberg County, Texas, where the offensive word is going to be replaced by the more progressive, ethical, morally correct, godly-like word heaven-o.

A professor of English, David Sabrio, dared to note that hello has nothing to do with hell. But what does he know? In Texas, they think otherwise. Some groups of atheists also think it's stupid. But what do they know? They're probably based in Communist countries, not in Texas. It is now official: Wikipedia has modified its article on "hello" to include the new word, first founded in Texas.

Heaven-o to all!

Ryuichi Sakamoto - Chinsagu No Hana

Chinsagu No Hana (てぃんさぐぬ花): The Balsam Flowers

by Ryūichi Sakamoto (坂本 龍)


chinsagu no hana ya chinsachi ni sumiti uya no yushi gututoya chimu ni sumire
red of balsam flower colour finger tips but parents' words colour one's mind

yoru harasu funiya nirufabushi miate wannacheru uyaya wando miate
sailing in the dark, one is in need of the starlight but old parents are in need of me

ten no muribusiya yumiba yumarisiga, uya no yushigutoya, yumin naran
one can count the number of stars, but one cannot count parents' love and wisdom



Chinsagu No Hana is an example of Ryukyuan Music, the traditional music of the Ryūkyū Kingdom (Okinawa). Music from the Ryukyu islands uses tonal structure that is different from that of the main islands of Japan: different scales and different intervals. Mainland Japan uses the major pentatonic scale Do, Re, Mi, Sol, La. Ryukyuan Music uses Do, Mi, Fa, Sol, Si. The composed version of the traditional okinawan folk song was written for the film "Japanese Story". The lyrics are traditional Confucian teachings.

Texas School Board votes on the age of the Universe

Texas has decided: We should ignore scientific theory and observations and leave question of the age of the Universe open to debate in the classroom. After all, the Universe could be a few thousand years old because the Judeo-Christian Bible says so. This is what the Texas School Board member Barbara Cargill thinks and this is what the Texas School Board voted for (11:3).

The amazingly eloquent speech by Cargill can be watched here.

Interesting discussions on this appear on the Pharyngula blog.

Also, in a New Scientist article.