Final Essay

Posted on by
Reply

Karina Garcia

Jessica Pressman 

ECL 305

May 9, 2024

History Is Important

The Water Will Carry Us Home by Gabrielle Tesfaye is a film that conveys the message of hidden history as being equally if not more important in comparison to known history. One important technique being used to tell this story of the Middle Passage but also how the first mermaids came to be is through the use of stop motion animation. There are many significant factors that depict the importance of hidden histories throughout the film. 

The novel The Deep by Rivers Solomon with William Hutson, Jonathan Snipes and Daveed Diggs conveys one of the bigger ideas of the importance of one’s history as it is what holds a community together. The journey of the main character Yetu with everything and everyone she encounters later goes to show why history is important, how it connects people, and the hidden history one might find. 

Within The Water Will Carry Us Home and The Deep convey the message of history being an importance to one’s culture while also demonstrating how history is fluid and connects to many aspects. Tesfaye is able to show this theme through the use of stop motion animation to demonstrate the story of the Middle Passage and the origin of mermaids, while Solomon along with others were able to produce a continuation of Tesfaye’s story by producing a story about the wajinru people who came from slaves thrown overboard, the main character Yetus set on going on a journey that led to more of a discovery of how to community first came to be through her encounters she met on land. Both texts, although different, share the same importance to show history as a foundation to culture, but that it also fills in all these gaps and cracks to provide a more solid history from different perspectives and cultures. Both text also challenge readers in thinking more crucially about the history that is known and to also question there is also life in water just like there is on land.

In one of the first scenes of The Water Will Carry Us Home there is a set up for more thinking to take place at 2 minutes and continues until 2 minutes and 20 seconds. In this section there is a man who is entrusted with the key almost as if he’s the only beholder in this story, and with this key he is able to unlock a never before seen or heard of story. The man seems to be portrayed as someone important or a powerful being to be trusted with this key, dressed in all white with two eyes on his hands, accompanied by only a rooster instead of a human, the key is able to jump and move around his body in order to unlock a singular story from the many that were portrayed on the wall. The key shows a way in which there are beings that are able to hide or make visible stories about the ocean but it’s a “pick and choose” which they believe should be told. The man in this story is Yoruba Orishas and in the southwest Nigerian culture orishas are “other more minor”gods ” or”spirits “(Ogunniyi, 2022). This plays a significant role in knowing who this man is as he is now serving a purpose to the storytelling as he is presented to have great authority and power for those who are listening. 

While in The Deep there is already a start to show the importance of what the wajinru people refer to as ‘The Remembrance’ which is a special event in which the historian Yetu is able to replay the entire history of the wajinru people to the entire community, but only based on what she knows and has pieced together. One of the beginning parts that sets up this “mix-and-match” history is in chapter three, “She’d discovered the History on her own, through out-of-order scraps and pieces” (Solomon, 27). In comparison to Gabrielle Tesfaye’s film, Yetu is presented to be the wajinru people Yoruba Orisha as she is given the same authority as a minor god. Yetu does not know the sequential version of how the wajinru people and culture came to be but yet no one ever questioned her as this event healed the wajinru people and gave them a sense of identity that they long for. As the history that Yetu knows is to be “out-of-order scraps” there lies a chance for more to be discovered as this passage indicates she does not know all, she does not know fully and confidently of events that have taken place as she herself has learned to keep their history out of order. This allows questions to arise as to what more can be discovered about the wajinru people? What is their true story? And would they ever know the sequential version of how and where they originated from? 

Another section in The Water Will Carry Us Home that goes to show how stories are being portrayed is at 1 minute and 30 seconds when Yoruba Orisha is first being presented and behind him there is a wall of locks in which can be assumed to be other untold stories. On the wall behind him there are multiple locks of all shapes and sizes and are spread out all across the wall; it’s hard to say how many locks there are if the viewer was only able to see a selected amount within the frame. The main lock that is being unlocked is to show the story of the Middle Passage with African American slaves being transported by ship to show the origin of how African American mermaids came to be. A single story is being told which can only leave curiosity to peak and wonder if there are more stories like such. Discovering these singular stories lets more questions arise as to what other stories are not being told today, it opens and pushes for new questions and further curiosity to be asked as to which stories have not been told yet? Which stories are credible or not? Which stories are being hidden away from society? And why does this happen?

A part of the story that seem to play a big part until later on is when Yetu received the gift of the comb and as she feels she is able to find a memory correlated with the object, “The one in her find didn’t seem to be one of them, but its origin was clear. It had belonged to one of the foremothers” (Solomon, 17). As Yetu is able to review and go through each memory to find what is the history behind this comb she finds it comes from the original mothers, the slaves thrown overboard at sea, but later discovers more to that comb. In the final chapter Yetu is presenting the comb to her Amaba and has made a connection between the comb and her counterpart Oori, “She had markings on her face, these beautiful, intricate tattoos. Some of the symbols were identical to etchings on the comb I received shortly before the last Remembrance” (Solomon, 151). This is significant as it shows the correlation between Oori’s terrestrial culture and Yetu’s oceanic culture, it proves they are connected and that the wajinru people originated from land Oori was from. Rather than showing the difference between terrestrial and oceanic, Solomon shows the connectedness between the two in a single but yet powerful object just like Tesfaye does in the film with the object of the key. 

One significant parallel from The Deep that correlates with The Water Will Carry Us Home is a memory Yetu has of their ancestors, “Our mothers were pregnant two-legs thrown overboard while crossing the ocean on slave ships. We were born breathing water as we did in the womb” (Solomon, 27). This passage connects to the film as the film is telling the story of how the Middle Passage created the first mermaids, in Yetu’s remembering their mothers were slaves thrown overboard so it’s expected the wajinru people first began during the Middle Passage and are indeed the first mermaids or mer creatures to exist. The connection between the film and novel are significant as now it gives more meaning as to what happened to the slaves who were thrown overboard from the ships during the Middle Passage, the novel is the continuation of what happened to the human beings thrown overboard and gives them a life, instead of viewing it as a historical event that happened. Solomon along with others make a tragic and cruel event into an actual oceancentric story about life for these mermaids or wajinru people, he gives meaning to these human beings as more than just slaves but as strong creatures who adapted and created a life for themselves. 

Throughout most of the film Tesfaye used the technique of stop motion to serve a deeper purpose for this story telling, as stop motion animation is the constant modification of objects for a single shot in order to be edited together to produce a consistent film, but between the lines of everything “secret lies between each frame of the action” (Adobe, 2024). This technique allows one to connect with the bigger message of this film which is the secrets that lay in stories or history being told. This film was a reality point of one asking themselves of what makes this history credible but to also ask if there is more to uncover from this singular story and if not push it to the extent of asking for all history being taught.

Contrary to Tesfaye, Solomon takes a different approach to make the theme of history important by creating an oceancentric based story with the same qualities that would be expected only in a terracentric story. As the main character  Yetu discovers new things on lands, develops relationships with many and especially Oori, there is always the presence of the wajinru people and their history in the back of her head and eventually comes full circle at the end with the connections that were made between Yetu’s people and the discoverings she made through her partner Oori. The Deep shows the similarities in which history connects more than it is known, there are hidden parts to history that can secretly be intertwined within multiple aspects. 

Many cultures today around the world all have stories that define and make up their society, but not all are being told due to a number of reasons. Without these stories being told it is shaping history to be portrayed one way, shaping minds to think one way, and to also conceal controversial aspects of history. This film by Gabrielle Tesfaye is clearly depicting otherwise, as it is showing the hidden part of history that is being neglected and not taken into account as it is going against what fits the criteria for “history”. The Water Will Carry Us Home is able to convey the otherwise of what has already been taught of history, the ugly and more brutal part that shows the original “heroes” as doing more harm than good. To go hand in hand The Deep created a storyline for readers to follow along by showing challenges, emotions, and a journey the oceanic main character went on to discover more truth about her culture’s origin. Rivers Solomon along with others were able to product the message of history being important but also filling in the missing gaps are just as equally important as they can shift what has been taught and further what can be learned. 

Work Cited

Ogundiran, A. (2021) A long view sheds fresh light on the history of the Yoruba people in West Africa.

Ogunniyi, O. (2022) Yoruba Mythology: The Orishas Of The Yoruba Race. 

Adobe Stop motion animation explained: definitions, types and techniques. 

Tesfaye, G. (2018) The Water Will Carry Us Home.

Solomon, R. (2019) The Deep.

Final Essay

Posted on by
1

Lina Rau

Dr. Pressman

ECL 305

Final Essay

9 May 2024

The Ocean as an Archive in The Water Will Carry Us Home and The Deep

The Middle Passage is part of one of the most brutal chapters in human history and is marked by the transatlantic slave trade, which resulted in the forced migration of millions of Africans to the Americas. In Gabrielle Tesfaye’s short film The Water Will Carry Us Home (2018) and Rivers Solomon’s novel The Deep (2019), the ocean emerges as a medium through which the ancestral memories of the Middle Passage are explored and remembered. In both narratives, African pregnant women are thrown overboard and undergo a transformation into mermaid-like creatures. The ocean is in both narratives the place that at the end saves the souls of those thrown overboard, which suggests that the ocean is a place that collects the ancestral memories of the people that have endured the Middle Passage. Now that the ocean holds these memories in the form of preserving the lives of those thrown overboard into mermaids, it has become an archive which contains knowledge. The reimagination of the ocean as an archive serves as a mechanism for the preservation of cultural memory.

In Rivers Solomon’s novel, the role of the ocean as an archive is vividly portrayed through the experiences of Yetu, who is the historian of the wajinru. Her interaction with the oceanic archive bring forth the traumatic experiences of her ancestors: “The rememberings carried her mind away from the ocean to the past. These days, she was more there than here […]. Yetu was becoming an ancestor herself. Like them, she was dead, or very near it” (Solomon 2019, p.9). What is seen here, is that the ocean has a transformative force that lets Yetu merge between the present and past, until she “was becoming an ancestor herself” (p.9). The passage above, which is found at the very beginning of the novel, highlights the heaviness of the historical trauma that is stored deep in the ocean, as Yetu was like the ancestors “dead, or very near it” (p.9). Additionally, the role of being the historian must be a burdensome one, as Yetu finds herself more in the past than in the present. She carries the weight of the wajinru’s collective memory on her shoulders, suggesting that her role is not only to remember, but also to embody the history herself and to survive, “Remember now or you perish. Without your history, you are empty!” (p. 25).

By embodying the history and carrying the weight on her shoulders, more interestingly, it seems that Yetu is actively manifesting the concept of being an archive through her role as the historian by herself: “[Yetu’s] body was full of other bodies. Every wajinru who had ever lived possessed her in this moment” (p.22). She is given a sense of responsibility as her body is “full of other bodies”, which signifies that she is an archive that holds knowledge herself.

Her being an archive could nevertheless never work without looking at the ocean’s importance in that matter. As a historian, Yetu dives into the ocean’s depths to retrieve as many memories during the yearly painful remembrances as possible, “Despite the waves of pain rocking her into a catatonic trance, she continued. Images, stories, songs, feelings, smells, hungers, longings, tears – memories – left her mind” (p. 29). Despite of it being so painful, she nevertheless continues to look for more stories in the ocean. Concluding from that, the ocean is like a vast storage depot that provides all the knowledge that is needed for Yetu to continue her job – and from which can be learned. Considering that, Yetu and the ocean engage collaboratively with each other. Taking that into account, the ocean must be seen as the bigger archive providing every History and information needed, whereas Yetu has the vital role of being the ocean’s transmitter. Through Yetu, the ocean and its archive are given an active voice, through which the memories are remembered and put into words. Through Yetu, the transmission the oceanic archive’s knowledge to multiple generations if facilitated.

Moreover, the whole act of remembering every year must be seen under the premise of not forgetting what happened in past. It is the ocean that provides access to the supposedly forgotten stories. Whenever Yetu gets a flashback of a story, just like that one: “Yetu thought she remembered something about another young woman whose family was wiped out in an instant by disease […]” (p. 74), the reader has to remind oneself that the ocean has witnessed all of that trauma even before a historian could catch up on it.

A big significance must also be put onto the wajinru’s origins. Yetu explains:“Our mothers were pregnant two-legs thrown overboard while crossing the ocean on slave ships. We were born breathing water as we did in the womb. We built our home on the seafloor, unaware of the two-legged surface dwellers” (p. 22). Even though the passage confronts the horror of African pregnant women thrown overboard on slave ships, the ocean is not devalued as a site of trauma, but rather seen as a womb: “We were born breathing water as we did in the womb” (p. 22). The ocean is thus becoming a life-giving entity, where new identities can emerge and where the ones thrown overboard can continue to live as mermaids. Concluding from that, the ocean is not a passive force that just preserves the horrific past, it can also lead to the creation of new beings.

One important point that goes hand in hand with the above-stated is the ocean’s function of being the wajinru’s first caretaker ever: “When the History threatened to end Yetu, she went to one memory in particular: their first caretaker. In this remembering, there is a lone wajinru pup floating, alive and content. It was the ocean who was their first amaba” (p. 100). By saying that it was the ocean who first took care of them, it gets personified. That personification underlines the fact, that the ocean is not just a passive environment or the habitat where the wajinru live in. By protecting the first innocecent wajinrus (which make them be seen like little babies), emphasis on the ocean shaping the wajinru’s identity is put on. It was and becomes a special witness of time that has collected all the memories and traumas from the past to successfully establish new lives.

Lastly, the ocean does not only passively absorb all of the memories and voices from the ones thrown overboard, but also actively provides physical evidence and artifacts on the History. In the novel, Yetu talks about one specific memory that still has an impact on her: “In one of the rememberings, there was still hair caught in a comb belonging to the foremother” (p.20). Yetu has not only found a comb that belongs to humans deep in the ocean, but she has also found a comb which still has hair in it. The hair is a physical reminder, more even a symbol, of a past life that is preserved in the ocean. Even though the physical body might be decayed in the water, the hair of the person can still be detected in the middle of the ocean: it is the evidence of a person that has once lived and that has had a whole personality. The ocean is thus not only functioning as an archive when it comes to the wajinru’s memories, deep inside of it, one can also find physical objects of those memories and DNA – the Ocean is a living archive.

All of these examples from the Deep show that the ocean is indeed a living archive through which the cultural memory is preserved. It contains not only physical evidence in its archive, but also the deeply traumatizing memories that Yetu vocalizes and expresses through her work. Both Yetu and the Ocean (Yetu seen as the big archive’s transmitter), are important to preserve the history so that it never gets forgotten. These narratives deeply align with the depiction of the ocean being an archive in Tesfaye’s film:

The film starts with a compelling quote of the Water Spirit Omambala: “The Water Spirit Omambala brought us here. The Water Spirit Omambala will carry us home” (1:23 min.). Omambala thus emerges as a liminal figure that encapsulates both suffering and salvation. The Water Spirit’s ability to bring people back home, make it seen as if it has a dual role in the complex relationship that African cultures had with the ocean- it is a relationship that is presumedly based on the historical events of the Middle Passage and storytelling. Concluding from that, Omambala acts a guide and something that can be looked up to across the ocean, which suggests that the ocean is in fact a living archive that holds cultural knowledge.

Furthermore, the film opens with a symbolic scene where a human character engages in a ritual ceremony that is marked by colorful and bright painted art and painted skin, including painted hands (cf. 0:00 – 1:17 min). That segment is essential, as it vividly illustrates the cultural richness of African traditions, which is from big significance in the next part of the video. In the latter, the viewers are faced with an artistic paper world that is painted with watercolors, in which a man opens the lock of a door with a key he has in his hands (cf. 1:26 – 2:15 min). The image of unlocking a door stands as a metaphor of the often concealed or ignored African traditions, that are deliberately “locked” away by Westerners who do not want to face the brutal history of the Middle Passage. By visually unlocking these histories, the forgotten traditions are put stress on again and they are given importance. It is about these traditions, that are saved in the ocean’s archive and must never be forgotten.

Another recurring figure is the eye that is painted onto the hands of the woman in the beginning of the video and the artistic character of the man (cf. 1:13, 1:30 min). The eye, often regarded as omniscient, symbolizes deep knowledge about the history and culture being recounted. Concluding from that notion, there might be additional, untold stories existing in the deep that are not being recounted yet. The eye therefore represents a capacity to see literally beyond the surface of what is being presented as “truthful” or “meaningful”. If in that video only a singular history is documented, one can pick-and-choose which history is being told and which in particular is not. This pick-and-choose mentality has, one can assume, a severe impact on what archives are being built. It is thus an active decision on what to erase in the history and what to put out in order to build an archive. The archive that existed prior to this video has therefore erased the history and stories of the people that are presented now. The stories and traditions that are still hidden in the archive of the ocean, are now finally acknowledged and seen through the metaphor of the eye.

Another significant scene that underlines the point of the ocean being an archive is the scene, in which African pregnant women are thrown overboard and are turned into mermaids by the Water Spirit (cf. 3:37-5:06). The transformation above symbolizes the African women’s new existence that goes beyond mortality. As mermaids (which they now are), the women are not bound by the limitations of human life anymore and possess immortal qualities. That they now have immortal qualities is shown at 4:29, when the Water Spirit Omambala is nurturing the ones thrown overboard by fishes. The newly-transformed mermaids still have human-like features like dark hair and traditional jewelry (cf. 04:38 min). The mermaids now live deep in the ocean which is suggested by water background in the video (cf. 4:50). The scene above links to the ocean being an archive in the sense, that the mermaids’ new habitat is no longer earth, but the ocean. In their new existence, they are no longer victims of the Middle Passage, but have a new and vibrant form of presence. The voices, stories, traditions and identities of those thrown overboard are now preserved in the ocean, even though their stories might be forgotten on land. Their new existence makes them be an important member of the ocean which legacy continues. Even the portrayal of the two mermaids finding together to create new family (4:52 min), creates the sense of having an ability to have a second life under water which allows them to influence the present. The mermaids’ memories are and will always be preserved in the ocean’s depth.

Those mermaids also have the feature of the omniscient eye which is being talked about above (cf. 4:39 min). The omniscient eye on the mermaids, the man and the human in the beginning of the video, combines all words depicted in the video, meaningly the life above the water of the ones who survived slavery and the mermaids under water. All figures remember the culture’s richness; they are all closely connected to one another. The eye could therefore, apart from the analysis above, be an acknowledgement of the hidden archive in the ocean that is portrayed by the mermaid’s life under water.

As seen in both texts, the ocean does not only serve as the natural setting of both narratives, but also is an archival entity. Both stories engage with the ocean as being an archive through mermaid-like creatures that live deep down in the ocean after the traumatizing experiences on the slave ships. In The Deep, a special focus is put onto Yetu’s role as the historian, who is forced to endure those painful memories in order to save the whole wajinru community. Compared to that, in The Water Will Carry Us Home, a huge significance is put onto the Water Spirit that transforms the humans into mermaids. Nevertheless, in both texts, the ocean provides memories and voices, so that the culture is preserved.

Works Cited:

Solomon, R. (2019). The Deep.

Tesfaye, G. (2018). The Water Will Carry Us Home.

Final Essay

Posted on by
Reply

Kiersten Brown 

Professor Pressman 

ECL 305 

4/8/24

Final Essay: Siren 

The Freeform series Siren depicts mermaids as frightening predators. Siren contrasts the town’s celebration and folklore of mermaids as romantic and docile, shown in their Mermaid Days annual event. With the reality of the mermaids off their coast who are, as their leader Ryn shows, animal-like. Mermaids are not the romanticized version the people of Bristol Cove have created for their own fantasies. This show illuminates how mermaids are creatures of nature and the ocean, not creatures of human culture or creativity. This thus serves as a reminder that mermaids are fierce creatures of the ocean, not human entertainment or fantasies. Siren’s depiction of Ryn and mermaids is a reminder that just because humans might not understand mermaids, these unknown creatures are not ours for the taking. We do not get to claim their narrative and history by using one singular reference, they are unknown and confusing creatures. Siren acts as a reminder to keep learning these different narratives with an open mind. I see that this narrative is evident through the main character Ryn, who, despite her innocent and helpless appearance, is actually strong and violent through the show’s depiction. As this mermaid is navigating her new pair of legs in episode one, we see how this narrative that Bristol Cove has created about mermaids being weak and docile, is false. The narrative is false, even though mermaids in general are a matter of fascination and folklore, the narrative in Siren that Bristol cove has created is proven to be false. In this show we see how humans in Bristol cove believe that mermaids are romanticized folklore and myth, which is proven to be wrong when Ryn is brought into the show, animal-like and fierce. So although this narrative is subjective to this show, it is proven to her false by her behavior and depiction. This is important because it highlights that mermaids do not have just one depiction and folklore, but they are rich in diversity, background, culture, and more. We see this not only in Siren but also in texts from the Penguin book of mermaids and others texts we read in this class, proving that mermaid folklore is rich and diverse. There is no one narrative that is correct. 

In the first episode of Siren we can see how Ryn is portrayed as fierce, fending for herself in a new environment. This is breaking the narrative that Bristol Cove has created around mermaids, as they are celebrated in the annual parade, and are portrayed as innocent, cute, blond blue-eyed, and romanticized in general. This is a common stereotype we see society portray when it comes to mermaids, Siren proving this to be false. I want to pull a quote from Professor Pressmans essay Siren: An Allegory for the Anthropocene and Example of the Contemporary Mermaid Craze. “Mermaids have been a part of human history and storytelling for a millenia, but recent mermaids narratives confront and defy expectations of alabaster skin and and blond hair, Christian ideals of female sexuality and heteronormative romance, and other genre conventions solidified in the wake of Hans Christian Anderson’s The Little Mermaid (1837) and Disney’s famous animated adaptation of it (1989). Today’s mermaids are Black and Brown, queer, aligned with Indigenous knowledge systems; the contemporary mermaid craze presents a cultural thread that connects and disrupts the historical record.” (page 2) I wanted to point out this specific quote, as it highlights what narrative Siren is trying to depict about mermaids, but also everything this class has taught me about mermaids. In Siren we see this heteronormative and romanticized ideals of mermaids to be false, for Ryn is a creature of the Ocean, and is not a blond, blue-eyed ditz. She is strong, fierce, and as I proceeded to watch the show, she just wanted to find her sister, her family. She has human qualities, but she is not an object for humans to use as entertainment. Ryn’s presentation as a fierce creature could suggest the fear humans have of the unknown world. We see this with humans being scared of Ryn, and scared of her sister who the government was using as a test subject. Humans do not like the unknown, we do not like when we cannot understand something, that’s why we have science. Siren highlights this fear we have, with mermaids and characters like Ryn and her sister. 

The history of mermaids in Bristol Cove is the lore that the founder of the town fell in love with a mermaid, painting the picture that she was obedient and docile to him. This is shown with the parade celebration, as well as the statue built for the founder with the mermaid sitting at his feet, as if she is worshiping him and docile. This “love story” described between the mermaid and the founder turns out to be quite false, as he was obsessed and fascinated by her. As the episode goes on this idea of mermaids being docile and tame to humans is proven to be quite untrue, as Ryn cannot be tamed or controlled by the men around her. Ryn’s true nature is portrayed through her actions, first killing the man who tried to assault her, and navigating the human world on her own without the reliance on a man to save her. When she killed the man in the car, blood splattered everywhere, depicting more of an animal-like kill, showing Ryn’s true nature. This scene of Ryn protecting herself and being a creature of violence, reminded me of the introduction in The Penguin Book of Mermaids. In the introduction to this novel, which holds stories and folktales, we got an introduction to the past stereotypes of mermaids. “When dwelling with the mermaids symbolizes sextual bewitchment of a forbidden liaison or an extramartial affair, the experience is conveyed as the man’s disappearance from the human world– the only proper socal world– into an abyss that is not described. This silence in the narrative futhers the perception of the captivating mermaid as monstrous.” (page XIX) The introduction of the Penguin gives many new narratives and ideas like this, widening the stereotype of the Chrisitan mermaid, to the other cultures and folklores that differ. This quote futhers the argument of Siren, that mermaids are powerful and monstrous creatures, not one’s just for humans to romanticize and have affairs with. This narrative that the show Siren shows is how mermaids are independent and cannot be held down by humans or men. Not only this, but Ryn is depicted as a predator; eating rats, scaring sea lions, killing men, and refusing help from the other main character Ben. Not only did Siren’s new narrative show that Ryn can take care of herself, but when she turns back into a mermaid in the water it is almost demonic and disturbing to watch. 

One of the most interesting portrayals of mermaids in “Siren” is the depiction of Ryn’s transformation from human to mermaid. While the town celebrates the depiction of mermaids to  emphasize the beauty of a mermaid, Ryn’s transformation is depicted as almost demonic and is honestly disturbing to watch. Her tail, for example, is far from being covered with shells and pearls as it has more of an animal-like appearance, which further reinforces the show’s narrative of the connection between animals/nature with mermaids. This depiction is somewhat of a visual narrative for the untamed nature of mermaids, emphasizing not only their strength but also showing their connection to being creatures of the ocean. Not only is the imagery of Ryn’s transformation more animal-like, it is also shown as very painful. Ryn is slowly dying, as she is separated from the water, also furthering the mermaid connection and need for the ocean. Not only does she rely on it to survive, but it is a part of who she is. She is not meant to be out of the water and live with humans, she is meant to be in the ocean preying on animals and sea creatures. As Ryn changes it is not a beautiful image of her shifting from human to mermaid, but is quite painful. Depictions of her feet being sewing back into her tail, fins breaking the skin of her back to form, and her teeth morphing into sharp fangs. These images show the savage-like characteristics of mermaids, and that they are predators of the ocean. 

Throughout episode one, Ben is the only person who is genuinely trying to help Ryn. Before he realizes what she is, he also views her exterior as harmless and innocent. He learns this is not true, as when he jumps into the water to try to save her assuming that she is helpless and weak. Her exterior is deceiving to him and others, as it seems that she is lost and cannot speak english, he feels inclined to save or help her. As he jumps in he immediately sees her mermaid form, not as inviting as her human one. She sees him and attacks, going into her predatory mode and shifts from quiet and innocent to violent. Although Ben did nothing to hurt or provoke her, it was as if she forgot his kindness before an attack, quite literally like a rabid animal. This depiction of Ryn further supports the narrative of mermaids the show Siren is trying to provoke, that they are animals and creatures of the ocean, not lovers and worshipers of humans. Humans are their prey in the ocean, nothing more than that. Once Ben escapes the water, with a bite on his neck from Ryn, he realizes just what he was dealing with. This new narrative of mermaids challenges all Ben has ever known of them, all the stories and folklore from his town proven to be false. The narrative of mermaids being beautiful tame creatures and lovers proves to be quite false. As Ben was taken by Ryn’s siren song, he describes to her that it had been stuck with him since she sang it to him. This is showing the power of manipulation that Ryn holds as well, furthering the power she has over him and others. This has been questioning everything he’s ever known, and provoking new ideas and conceptions of mermaids. 

Through the character of Ryn, Siren shows that mermaids are not tame and beautiful creatures, and instead the show presents mermaids as frightening predators. They are creatures that are capable of violence and murder. Ryn might have been seen as harmless in her human form, but the minute she hit the water she was no longer the prey, but she was the predator. The show Siren was able to portray the narrative that mermaids are a part of nature and the ocean, and are maybe even closer in relation to animals than humans. Ryn was strong, independent, and violent. She did not need a man to save her or the assistance of others, as she kept running away from Ben’s help. She was self-sufficient and able to take care of herself, although she didn’t quite know how to navigate the human world, she did not need the protection of a human or a man. By taking away the romanticized notions that Bristol Cove had of mermaids, and emphasizing the primal nature of the creatures, Siren offers a compelling reinterpretation of this iconic mythological creature, one that resonates with themes of power, autonomy, and the untamed wilderness of the ocean. Ryn represents a new narrative of mermaids, not one that hasn’t been shared before, as from being in this class I have learned that one culture/peoples story/folklore is not everyones. There are always other diverse narratives and stories, Ryn just being another one being brought to the surface. Siren illuminates not only that mermaids are fierce creatures of the Ocean, but the importance of seeing and hearing other narratives and stories. It is important to take all of these tales and histories into consideration, not using The Little Mermaid as your only reference on mermaids. Mermaids are complex, diverse, rich, and important figures of Ocean Centric history, and it’s important to remember that they are not terracentric creatures. They are not toys for humans to poke and prod, they are their own beings with their own history and stories.  

Works Cited 

Bacchilega, C., & Brown, M. A. (2019). The penguin book of mermaids. Penguin Books. 

Pressman , J. (2024). Siren: An Allegory for the Anthropocene and Example of the Contemporary Mermaid Craze. 

Siren, Freeform 

Final Essay

Posted on by
Reply

Emmanuel Alvarez

Jessica Pressman

ECL 305:Literature in the Environment

8 May 2024

Mermaids as Allegorical Tools in “The Bestiaire Divin”

In “The Bestiaire Divin” by Guillaume le Clerc de Normandie (1210), mermaids serve as a potent allegorical tool, reflecting the medieval Church’s use of mythological creatures to illustrate the dangers of succumbing to sinful temptations and the moral vigilance necessary for spiritual salvation, thereby highlighting the complex interplay between folklore and clerical/church-related doctrine in shaping societal values during the Middle Ages.

Prior to exploring the mermaid symbolism in “The Bestiaire Divin,” it is important to comprehend the historical background of the work. Guillaume le Clerc de Normandie composed his bestiary during the High Middle Ages, a period marked by the dominance of the Christian Church in Europe. The Church was crucial in forming society ideals since its teachings had an impact on many facets of medieval life, such as literature and art. At this period, the Church’s influence encompassed not only issues pertaining to faith but also areas like morals, ethics, and social order. Literary works and arts often used religious themes and symbols to teach spiritual and moral teachings, demonstrating the Church’s widespread influence.

As noted by Vaughn Scribner in his book, Merpeople, A Human History, “During the medieval period, merpeople defined – and reflected – Westerners’ understanding of religion, sex, and power. The Christian Church led this charge, simultaneously adopting, transforming, and harnessing ‘pagan’ (that is, non-Christian) ideas of merpeople in an effort to denigrate the feminine and, in turn, bring as many followers to Christ as possible” (Scribner, page 29). Guillaume le Clerc de Normandie’s “The Bestiaire Divin” describes mermaids as enticing and seductive, frequently luring sailors to their doom with mesmerizing songs. This portrayal of temptation and sin emphasizes the appeal of worldly pleasures and the perils of deviating from the path of righteousness, reflecting the Church’s teaching on these topics. Guillaume le Clerc emphasizes the Church’s teachings on the significance of restraining oneself from immoral cravings and holding fast to one’s faith by employing mermaids as symbols of temptation.

Furthermore, mermaids’ appeal goes beyond their physical attractiveness; they also symbolize the temptation to put worldly wants ahead of spiritual aspirations. The sailors’ readiness to forgo their responsibilities and follow the mermaids is a metaphor for how easily humans are seduced and how difficult it is to fight against immoral impulses. This topic reminds readers of the value of spiritual alertness in the face of temptation and is consistent with Church teachings on the sinful nature of worldly pleasures.

Scribner goes on to say, “The Church’s efforts were almost too effective. As more followers interpreted Christian Church leaders’ message as creed during the Middle Ages, they also increasingly understood the Church’s carefully cultivated collection of merimagery as proof of the legitimacy of merpeople’s existence, not to mention the dangers of the feminine flesh” (Scribner, page 29). As depicted in “The Bestiaire Divin,” mermaids stand for the significance of moral awareness and spiritual redemption; the sailors who resist the allure of mermaids are rewarded with safe passage, while those who give in to temptation meet a tragic fate. The Church places a strong emphasis on living a moral life and resisting temptation, and this illustration serves to prove this. As a result, the mermaids thus serve as guardians of moral order, by embodying the Church’s teachings about the importance of abstaining from sin and abiding by divine rule. 

Additionally, the idea of moral vigilance is emphasized by the mermaids’ duty as defenders of moral order. People need to be cautious and unwavering in their devotion to moral beliefs when faced with temptation. The repercussions of giving in to temptation, as portrayed in mermaid art in the Church, serve as a sobering reminder of the value of moral strength in the quest for spiritual redemption. 

Scribner as well,  notes that the church had an influence on his writing’s use of mermaid imagery by stating, “The Church created our modern understanding of mermaids and mermen in addition to nurturing popular belief in these mysterious hybrids. Ultimately, the Church’s adoption of mermaids and tritons not only demonstrates its willingness to hybridize itself in a bid for relevance but reveals churchmen’s ongoing efforts at using myth and wonder to assert the Christian creed” (Scribner, page 29). The Church was able to make its teachings accessible and interesting by incorporating mermaid imagery into Christian doctrine. By utilizing well-known mythological creatures to impart moral precepts, the Church increased public accessibility to its teachings and strengthened its hold over medieval society. The incorporation of folklore into Christian doctrine is a reflection of the Church’s attempts to remain authoritative and relevant in the face of shifting cultural environments.

According to Vaughn Scribner,  “Looking at these ancient interpretations of female sea monsters, one has to wonder how – and why, for that matter – the early Christian Church adopted such hideous beasts in its holy spaces. How could such monstrosities fit into the Christian narrative of salvation, and why would an entity that prided itself on improvement and civilization want to associate with such supposedly savage, pagan creatures? The answer rested with the hybridity of these strange monsters” (Scribner, page 31). Vaughn Scribner’s examination of ancient interpretations of sea monsters raises intriguing questions about the early Christian Church’s adoption of such creatures into its religious imagery. He questions how and why the Church allowed these seemingly pagan and monstrous creatures into its hallowed halls. Thus, we investigate the connection between Christian theology and the inclusion of creatures like mermaids in Christian iconography as a result of this curiosity. Understanding “hybridity” is essential to comprehending this phenomena. According to Scribner, the Church’s acceptance of sea monsters was greatly influenced by their hybrid nature; the early Christian Church used mermaids as hybrid beings to spread its message to a wider audience, much as ancient peoples customized them for their own needs. Through this hybridization, the Church was able to unite disparate cultural and religious traditions, increasing the relevance and accessibility of Christianity for a wide range of people.

The way that mermaids have evolved from being icons of paganism to being contemporary symbols of sex, religion, and authority is an example of how religious symbolism is always changing. According to Scribner’s research, mermaids have evolved into intricate symbols with numerous meanings in addition to being representations of seduction and danger.  This development shows how religious imagery may change with time and adapt to reflect shifting society attitudes and ideals, as Guillaume le Clerc de Normandie’s illustrates in the “The Bestiaire Divin”.

Moreover, Scribner’s reference to early Christian associations with fish symbolism, “Roman Christians utilized the symbol of the fish as a marker of their religious affiliation – still today visitors to the Roman catacombs will come across carved fishes scattered throughout those close tunnels,” provides context for the acceptance of mermaid imagery within Christianity (Scribner, page 32). The use of fish symbols as indicators of religious affiliation opened the door for the Christian iconography to incorporate additional aquatic imagery, such as mermaids. The relationship between Christianity and the sea was further cemented by tales like Jonah and the Whale and Noah’s Ark, which increased the plausibility of mermaids appearing in religious literature and art.

In conclusion, Guillaume le Clerc de Normandie uses mermaids as an allegory in “The Bestiaire Divin” to convey spiritual and moral teachings. The narrative mirrors the teachings of the medieval Church on redemption and holiness by using mermaids as symbols of immoral temptations and the significance of moral vigilance. In addition, the blending of church doctrine with folklore draws attention to the complex interplay between religion and social mores in the Middle Ages, highlighting the Church’s lasting impact on medieval ideas and culture. The mermaids in “The Bestiaire Divin” are more than just mythical beings; they symbolize the conflict between redemption and temptation and serve as a helpful reminder to viewers of the value of perseverance in the face of difficulty. The way that myth and doctrine interact, highlights the complexity of medieval civilization, in which religious beliefs influenced every part of life, including literature and the arts.

Works Cited 

Bedworth, C. (2023, November 30). Siren song: History of mermaids in art. DailyArt Magazine. https://www.dailyartmagazine.com/mermaids-in-art/ 

SCRIBNER, V. (2024). MERPEOPLE: A human history. REAKTION BOOKS. 

Final Essay

Posted on by
3

Ashley Rubin 

May 9, 2024

Pressman 

ECL 305 

Reflections of Vanity: From Myth to Modernity

The phenomenon of selfies serves as an example of the continuation of a focus on female beauty and vanity. The article Displays of Vanity on Instagram by Marije Peute and Annemarije Rus explains this cultural obsession with self-image reflection on a broader crisis in understanding the meaning and implications of vanity in the digital age, where platforms like social media have reshaped perceptions of beauty and self-worth. By examining the symbolism of vanity drawn from Christian beliefs, particularly in the portrayal of mermaids in mythology as depicted in the stories Ti Jeanne and Melusine, the continual cultural beliefs of beauty standards can be understood. 

The story Ti Jeanne from the Penguin Book of Mermaids presents ways vanity has been shown through mythical stories. The story originates from the Caribbean islands of Trinidad and Tobago and African descent. The story revolves around Ti Jeanne, who in a moment of solitude indulges in the seemingly harmless act of admiring her reflection in the water. However, her actions attract the attention of Maman Dlo, who scolds Ti Jeanne for her vanity. “‘Vanity, vanity, my child,’ said Maman Dlo, who was now fully seven feet erect on her snake body, swaying from side to side. ‘Looking at yourself in the water’s reflection. But beautiful you are, ssssssso beautiful! Mmh, mmh!” (Penguin, 276). Maman Dlo admires Ti Jeanne’s beauty but does not think she has the right to admire it herself. In many stories, mermaids are depicted as creatures obsessed with their beauty, spending amounts of time gazing at themselves in mirrors. The water acts as the mirror in this story, a common symbol of vanity. Ti Jeanne admiring herself is presented as a negative in this tale, implying that vanity is bad for women.  

The story Melusine descends from French writer Jean d’Arras. The story is believed to take place in either Europe or Scotland. Melusine tells the tale of a mysterious woman named Melusine who marries a mortal man, Raymond. Melusine, however, harbors a secret of being a shape-shifting water spirit with a serpent tail. She makes Raymond promise never to intrude upon her privacy on Saturdays, but eventually, he succumbs to curiosity and spies on her leading to him discovering her true form. As a result, Melusine is forced to leave him and their children. When Raymond spies on Melusine she is pictured in a bathtub holding a mirror. Melusine had been taking her one day alone to appreciate herself and her beauty. Vanity is displayed differently in this story compared to the story of Ti Jeanne. The presentation of vanity is less apparent in Melusine’s story, but it is there. Melusine’s transformation into a serpent-like creature on Saturdays and insistence on privacy during that time can be interpreted as a form of vanity or a desire to maintain a certain image or identity. Her transformation suggests a fear of being seen in her true form, indicating a preoccupation with appearance and maintaining a facade of normalcy. This idea and the presentation of her admiring her appearance explain the vanity apparent in the story. 

Selfies play a large role in society today due to the presence of social media which has created new beauty standards. The article Displays of Vanity on Instagram by Marije Peute and Annemarije Rus explains this cultural obsession with self-image reflection. The article explains how selfies have become extremely popular on social media, but there are negative aspects to sharing these photos. Selfies can often be seen as vain or self-indulgent rather than an appreciation of one’s beauty. The article states “Vanity is defined by the Cambridge Dictionary as ‘the personal characteristic of being too proud of and interested in yourself, esp. in your appearance or achievements.” The definition of vanity implies that it is a negative thing to appreciate oneself and that it could relate to self-obsession and less consideration for others. This can directly be tied to the themes presented in Ti Jeanne and Melusine. 

The negative connotations associated with vanity are prominently highlighted in Displays of Vanity on Instagram and the tales of Ti Jeanne and Melusine. The symbolism of vanity in mermaids traces back to the teachings of the Christian Church, where vanity is portrayed as a sinful trait. Mermaids in stories often wield objects like mirrors to symbolize their vanity which directly links to the sin of pride, one of the seven deadly sins in the Christian Church. These ancient beliefs have had a lasting impact on how vanity is perceived in society today. These negative associations have influenced societal attitudes towards self-love and self-expression. In both the stories of Melusine and Ti Jeanne, the presence of mirrors serves as a representation of vanity, reinforcing the narrative’s themes. In contemporary culture, selfies have emerged as a modern manifestation of vanity, with the camera itself becoming a symbol of self-admiration and narcissism. The enduring symbolism of vanity in mythology, literature, and modern media underscores the complex interaction between cultural norms, religious beliefs, and individual expression. Presentation and historical background are credited for the current beliefs around vanity. While it might not be all people who believe that selfies and self-love are negative, it is a common belief due to the background of the trait. 

The historical background of vanity in mermaids connects it to human beings, specifically women. Vanity is not only something that comes with negative connotations but also comes with literal consequences. Ti Jeanne’s story results in her being turned into a snake because of her self-admiration. By transforming Ti Jeanne into a mermaid/snake, the story draws a parallel between her actions and the archetype of the vain mermaid, suggesting that her preoccupation with her appearance aligns her with mermaids. This compares to modern-day society through hate comments on social media. When human beings display vanity on social media the punishment can be hateful comments on the post or behind an individual’s back. Once again, this consequence derives from the historical context of vanity. Many people post selfies in an attempt to gain validation from others as explained by Marije Peute and Annemarije Rus. While sometimes posting a selfie is met with the validation of positive comments, other times it is met with hate which can hurt an individual’s self-confidence and love even more. The consequences of vanity are also apparent in Melusine’s story. While she was simply trying to take one day of the week to herself to be alone and appreciate her beauty and true self, she was ultimately punished for it. When Raymond breaks his promise and invades her privacy, Melusine is the one who has to leave her life behind. This relates to vanity as it implies that a woman taking time to herself to admire, appreciate, and relish in her beauty is something that needs to be punished. Selfies are simply the modern-day portrayal of vanity and its consequences can be directly related to past myths of female vanity. 

Perceptions of beauty and how it should be displayed have always been taught through a form of media. Beginning with literature and mythical tales, Melusine and Ti Jeanne display that beauty should not be flaunted or appreciated by women themselves. Shifting into the digital age, social media posts dictate how much beauty should be shared with the public. Platforms like Instagram, TikTok, and Snapchat have become modern-day canvases where individuals showcase their idealized versions of beauty to an audience. However, this digital era has brought forth new pressures surrounding beauty standards. Influencers and celebrities often set unrealistic beauty standards, leading to feelings of inadequacy among those who perceive themselves as falling short. The relentless pursuit of perfection can perpetuate harmful beauty ideals, creating a culture of comparison and self-doubt. While social media offers a platform for self-expression and creativity, it also poses challenges in navigating the fine line between empowerment and exploitation in the pursuit of beauty. When those who fit the beauty standards share selfies they are often praised for their confidence and looks. On the other hand, when those who might not fit the ideal beauty standards of today’s society post selfies they are criticized and labeled as vain. The study conducted in Displays of Vanity on Instagram proves these feelings that women are experiencing. “Marije considers herself vain in certain respects, loving beautiful clothing and receiving validation from others, which she considers a human need. However, she denounces a striving for ‘perfection’. She takes only a few selfies,” (Peute et Rus, 17). This quote explains how vanity and selfies relate to one another and beauty standards. The subject of the study believes that she is not completely vain because she only takes “a few selfies”. This implies that those who share more photos of themselves online are extremely vain and seeking validation from others. This can cause harm to the younger generations beginning to use social media. Rather than being a form of self-expression and appreciation, sharing selfies on social media has become something that is seen to be only for validation and a feeling of vanity. 

The portrayal of beauty has navigated diverse mediums from ancient literature to modern-day social media. The narratives of Melusine and Ti Jeanne underscored societal expectations dictating how beauty should be perceived and displayed, emphasizing modesty and reservation while also implying that vanity is unfavorable. However, the emergence of digital platforms has ushered in a new era where users have unprecedented control over their self-image and presentation of beauty. Amidst the opportunities for self-expression, social media has also intensified the pressures of conformity and perfection, creating unrealistic standards that can weaken self-esteem and mental well-being. Vanity is still the common factor in shaming women for their expression of beauty beginning in these mythical tales and continuing to modern-day society. The negative perceptions of women expressing their beauty have been blamed on the beliefs of the Christian Church that appointed vanity as a sin. Ultimately, the evolution of beauty through media underscores the enduring search for acceptance and validation, reminding us of the profound complexities inherent in the human experience.

Works Cited 

Bacchilega, Cristina, and Marie Alohalani Brown. The Penguin Book of Mermaids. Penguin Books, 2019. 

Peute, Marije, and Annemarije Rus. “Displays of Vanity on Instagram: A Reflection on the Making of Instaworthy.” Etnofoor, vol. 33, no. 1, 2021, pp. 11–20. JSTOR, https://www.jstor.org/stable/27034456. Accessed 7 May 2024.

Final Essay

Posted on by
Reply

Can You Hear The Sea? 

The Water Will Carry Us Home by Gabrielle Tesfaye includes a very significant closing scene where an African woman creates a complicated, yet innovative pair of “shellphones” (headphones crossed with seashells) and plugs them directly into the sand. With intricate wiring and artifacts straight from the sea, these “shellphones” being plugged into the sand demonstrates how history has been hidden and it has to be searched for by using new perspectives and technology. In this case listening instead of looking while using a new device forces a concealed part of history to be uncovered. 

In Derek Walcott’s poem The Sea Is History he says history is “in that grey vault. The sea. The sea has locked them up. The sea is History” (line 4). Understanding the historical context of both these texts is crucial, as the film dives into the notion that history is not a singular, objective truth but rather subjective and multifaceted. Both the film and the poem suggest that the ocean serves as an archive, preserving specific histories that may be otherwise overlooked or marginalized. We have convenient access to set views, leaving the other in the vault. Both of these texts compare land based European history to the sunken history of Africans. By juxtaposing these perspectives, they highlight the importance of recognizing different viewpoints and understanding the complexities of historical narratives. With that we are able to recognize the differences in perspective and better understand the final scene in The Water Will Carry Us Home. 

This film demonstrates a heavy time in history, and shows how pregnant women were thrown overboard during the Middle Passage and this led to the birth of Yoruba and the coming of the water spirits. Tesfaye’s film The Water Will Carry Us Home uses multimedia including water color, collage, real articles and photos, animation, music, and live action throughout. By offering multiple creative methods it allows for several demonstrations, offering a new lens and thus a new understanding of the film. Using multimedia enhances communication and makes information more memorable through visuals. This allows us to acknowledge the metaphors that are otherwise difficult to understand. This approach not only makes the information more accessible and engaging but also allows for a deeper understanding of the layered and stratified nature of history. By using collages, it offers a way to grasp the hidden history, the layers, and the complexity of it all. In perceived negative times, the ability to turn these tragedies into something beautiful is a great representation of strength. 

Furthering this idea, The Water Will Carry Us Home alludes to the way that they are able to take such tragedy and create a meaningful story out of it. Instead of leaving these bodies behind with no recognition, comes a sentiment that demonstrates hope and optimism. It suggests that even in the darkest moments of history, there is strength and hope to be found. This encourages the idea of changing perspectives and not dwelling, but embracing. These are such horrible times from history but the spirits turn it into a meaningful part of their culture. With that being said we can bring back the ocean as an archive, and reiterate how the ocean holds an important part of their history. Again, in The Sea Is History by Derek Walcott says “it is locked in them sea-sands out there past the reef’s moiling shelf, where the men-o-war floated down;”. The question is how do we find it? 

This is where the “shellphones” come in as a new device made to discover.  The concept of them in this film symbolizes the importance of innovation in uncovering lost histories. Using new technology in this way helps access marginalized histories. The expected way to find this history would be to look, but in this case she using the “shellphones” to listen. The use of “shellphones” as a new device not only reflects the innovative approach needed to access hidden histories but also emphasizes the importance of listening to these narratives rather than relying solely on visual or written records. Moreover, the comparison between land-based European history and the sunken history of Africans highlights the need to recognize different perspectives and understandings of history. By acknowledging the ocean as an archive of specific histories, both texts emphasize the subjective nature of historical narratives and challenge the notion of a singular, objective truth. Ultimately, the concept of “shellphones” serves as a powerful metaphor for the importance of innovation, perspective shifts, and listening in uncovering marginalized histories. By embracing new technologies and approaches, we can work towards a more inclusive and comprehensive understanding of the past.

Speaking of this new device, the creation of the “shellphones” represents a merging of traditional and contemporary elements. The use of seashells, artifacts straight from the sea, connects to the overarching theme of the ocean as a vault of history. By incorporating these natural elements into a modern device like headphones, the scene suggests a bridging of past and present, tradition and innovation, human and nonhuman. The specific the act of plugging the “shellphones” directly into the sand symbolizes a deeper connection to the hidden histories that are buried beneath the surface. Instead of searching for history through traditional means like written records or visual artifacts, the film suggests that listening to the ocean is key to uncovering concealed truths. 

In conclusion, “The Water Will Carry Us Home” by Gabrielle Tesfaye suggests the exploration of hidden histories and the importance of new perspectives in order to uncover them. The film’s closing scene, featuring the creation of “shellphones” and their connection through the sand, symbolizes the fusion of tradition and modernness, as well as the importance of listening to the tales of the past. Through this, Tesfaye highlights the complexity of history and the need for new approaches to unravel its concealed truths. Ultimately, the concept of “shellphones” serves as a powerful metaphor for the importance of innovation, new perspectives, and active listening while uncovering marginalized histories. By embracing new technologies and approaches, it offers a more inclusive and comprehensive understanding of the past, honoring the diversity and experiences that shape our collective narrative. Through Tesfaye’s visual storytelling, we are reminded of the significance of our connections to history and the power of listening to its untold stories. The film invites the intersection of ideas, highlighting the importance of listening to alternative perspectives and challenging traditional narratives. By merging ocean and land, old and new, and artificial with artifact The Water Will Carry Us Home by Tesfaye invites us to reconsider our understanding of history using new approaches. By using the “shellphones”, combining traditional and contemporary technology the film recognizes the interconnectedness between past and present. Tesfaye challenges the idea of looking for history and rather listening to it. By changing perspectives, we can challenge conventional western ideas of history in an inclusive way that allows for various experiences and views to come forth. She reminds us that history is complex and prompts us to reconsider the way we discover and understand history. Allowing for a more diverse understanding of history comes from a shift in perspective.

EXTRA CREDIT: Dr. Gretchen Henderson’s Life in the Tar Seeps

Posted on by
Reply

One thing that I did not expect from Dr. Gretchen Henderson’s presentation on her book Life in the Tar Seeps was to be handed a stack of postcards and asked to write a short letter to a body of water. Any body of water. To the Pacific or the Atlantic Oceans, to the Seven Seas, to the river running along the Tijuana Estuary, to the puddle of water that never seems to dry up along the sidewalks where I live–any body of water that existed, no matter how big or small. I’ll admit, I was excited to write a giant, sweeping love letter to the Pacific Ocean as the entity that connects the California coast to the many seas of the Philippines. Initially, that’s what I wanted to write about. However, after the presentation, I found that I wanted to write a letter to the water store beside the Filipino restaurant in the shopping plaza near my house instead.

A large component of Dr. Henderson’s presentation was about nature conservation, but the aspect that stuck with me was the aspect of aesthetics in respect to what we choose to conserve. Whenever I think of nature conservation, I think of saving winding coastlines, lush green jungles, and sprawling forests. The tar pits in Utah’s Great Salt Lake are not the first thing that comes to mind when I think of nature conservation and the conservation of life within them. To be honest, I thought of tar pits as devoid of life before this presentation, so why should we protect a total wasteland that only serves as a graveyard for the living beings that fall prey to the sticky traps? ‘

As Dr. Henderson reveals in her presentation, these tar pits are naturally occurring, akin to the La Brea tar pits in Los Angeles, but the fact that there are more of them occurring is cause for concern. Climate change has caused more droughts in the Salt Lake area, causing the existing waters of the lake to dry up and recede. As the waters recede, more tar seeps out of the earth. These receding waters are home not to fish but to multiple forms of microbial life. Although the deaths of pelicans and coyotes and whatever happens to be trapped in the tar pits are considered a natural occurrence and a part of the circle of life, the cause for concern here are the receding waters of the Salt Lake and the microscopic lives that call those waters home.

Even in a “wasteland” filled with “death traps,” I learned that there was life and it was worth protecting in the same way that we want to protect wolves in the forests or whales in the oceans. It was in this “wasteland” that Dr. Henderson saw beauty and she shared that beauty in the short film that accompanies her book, where she voices over clips and images of Robert Smithson’s Spiral Jetty and the tar pits with field notes and ruminations on the role of art in helping nature conservation. What makes this drying salt lake any different from the ocean? The short answer: there is no difference. The waters that recede in this salt lake are the same waters that will make the ocean rise, as Dr. Henderson so aptly puts in the website of her book Life in the Tar Seeps.

In that same vein, what is the difference between the Pacific Ocean and the water store where my family refills our water jugs? There is no difference there, either. The water that sustains the turtles and whales is the same water that sustains me and my family. It is the water that we must conserve, no matter what shape or form it takes on.

EXTRA CREDIT DISCOVERY POST: Penguin Book of Mermaids

Posted on by
3

For my Penguin Book discovery post, I wanted to dwell on the water spirits of the Philippines. Even though I was raised in a country known for its beaches and biodiversity and a culture that deeply values its rivers and seas, it still surprised me to see not one but four mermaid stories from the Philippines. When I lived in the Philippines, I’d only ever learned of the sirena or its male equivalent, the siyokoy, in passing and mostly as a joke to watch out for what lurked in the water. But the thing that interested me the most about these mermaid stories is the place that these stories are from: the Ilocos region. My dad’s side of the family is from the Ilocos region of the Philippines (specifically from Pangasinan) but this is the first I have ever heard of these mermaid/mermaid-aligned legends associated with the region.

The story that I was particularly interested in was the first story: the Mermaid Queen of Binalatongan. According to the section introduction, this story is “one of the oldest stories in the Ilokano volumes, dating back to the 1600s” (213), and its paragraphs are full of snippets of the Philippines’ pre-colonial economy and politics. The story tells of a prosperous kingdom called Binalatongan, named for its main export of balatong, or mung beans, which sees traders from China, Japan, and Borneo, its ordinary citizens wearing luxurious Chinese silk as everyday clothes, and its rivers flowing with gold. (215) Although the last two items might be a bit of an exaggeration, this is a far cry from the image of pre-colonial Philippines that is usually painted for the everyday person, including me. I was taught that before the Spanish came to the Philippines, the country was a savage, untamed land and its people were equally savage and untamed, with no religion, culture, or economy to organize the land and its many islands and tribes. Imagine my surprise when I learned through this story of the complex political systems and lush trade routes that existed long before the Spanish even put the Philippines on their maps.

Another aspect of the story that interested me was how the mermaid of Binalatongan is portrayed in contrast to how the sirena is painted. In the story, the mermaid is a benevolent spirit who guides fishermen back home after a storm, saves children from drowning, and gives widows pearls to help support themselves after the death of their husbands. (215) This is also a far cry from the image of sirenas that I grew up with. Growing up, saying that my favorite Disney movie was “The Little Mermaid” and that I loved mermaids was met with a wince or a grimace. Sirenas in the Philippines have a reputation for drowning any unsuspecting person who comes too close to their territory or luring them with their looks and voices to watery deaths. To delight in a creature that uses its beauty to kill was not a popular opinion; in fact, it might have been downright controversial. The word sirena, along with the sinister mythology that came with it, was borrowed from the Spanish who brought Christianity to the Philippines. The kind mermaid of Binalatongan is nothing like the Spanish sirena, which exposes each culture’s relationship not just to nature but to women as well.

In the beginning of the story, Maginoo Palasipas yearns “to be conquered by the heart of a woman” and to have someone fair and beautiful rule alongside him and his prosperous kingdom, only finding his match in the mermaid that has helped his people many times. (215) It does not matter to Maginoo Palasipas that the woman is not entirely human; it only matters that she uses her powers to help rather than hurt. This reveals the pre-colonial view of nature as benevolent and life-giving and the pre-colonial view of women as essential to the function of society and politics. Contrast that with the colonial view of the sirena as a temptress, constructed to demonize women and to illustrate the natural world as capricious and something to fear. The sirena‘s folklore, especially when coupled with Christian indoctrination of the Philippines, reveals not just a change in attitude within the people towards women and nature but within the culture as well, from an egalitarian view to a more patriarchal, misogynistic one.

Extra Credit- Digital Humanities Showcase

Posted on by
Reply

Attending the digital humanities showcase was a really great experience! It opened my eyes to all the different forms of art and literature can take. It was really cool to see how presenters were able to take essays and transform them into a digital interactive format. One of the presentations I saw was an analysis of The Deep and the communication within the novel. It was a really interesting presentation where the presenter explained that the pain expressed in the novel was done both physically and emotionally. The physical aspect of the way that the wajinru communicate was an intentional choice to not only provide an explanation of how people might communicate underwater but to also showcase how the wajinru can experience pain. The presenter also explained how pain, especially in a community, can be cyclical and be passed down through generations until a person is ready to begin the healing process to let go of that pain. The source that the presenter chose to use for the digital essay was also done intentionally. It was done on Twine and clicking through the digital essay produced a cycle that the reader could ultimately decide to click out of. This was done to showcase how people can begin the healing process and decide to “exit” out of the cycle of pain. I learned a lot about how to create interactive stories and essays such as this one and it inspired me to look deeper into interactive stories. What fascinated me the most about creating these essays was the fact that, on Twine specifically, the photos integrated into the essay had to be from websites and would disappear as the websites did. It made me think about how literature is adapting to and reflecting the want for everything to be online. I think that the artistry and creativity that is required for that shift are fascinating and make me want to look out for the new ways that people produce literature. 

Extra Credit: Digital Humanities Showcase

Posted on by
Reply

I went to the Digital Humanities showcase this morning as I had some of my photos being presented, and I got the opportunity to look around at other people’s projects. There was an educational VR project that involved putting on a VR headset and going on a ride into the paleolithic era. I thought this was a super innovative way to approach education. Another interesting project I got to see was one on transit in San Diego. There was a group of students in a journalism class that put this together, and the project looked into the transit system in San Diego. They analyzed a few different perspectives, such as corporate interests and comparison to other countries. I found this project to be interesting because of the differences between the U.S.’s public transit and other countries. When I traveled in Europe and Asia, the public transit was much more efficient, organized, and clean. The same presenter for this project also told me about a project she did individually about composting. Apparently, in 2022, San Diego passed a law saying all organic waste should be composted in the county. I found this surprising because I literally have never seen a green can in San Diego. Where I am from, in the Bay Area, everyone has composting bins along with their trash and recycling. The girl I was talking to also said that the city said they would give out green cans but then only followed through with about 200,000 cans, which isn’t enough for the population of San Diego. It’s interesting to see what’s going on in the county that I might be oblivious to.