Monday, December 31, 2007

Ring in the New Year

With oranges and lemons


The Bells of St. Clement's

City sounds these days are bereft of the beautiful chimes of bells. Instead, we are subjected to unidentifiable noises (is that a giant air conditioner, are those the rumblings of the subway, and when are these sirens going to stop)?

Still, we can do the best we can by remembering old nursery rhymes.
"Oranges and lemons", say the bells of St. Clement's
"You owe me five farthings", say the bells of St. Martin's
"When will you pay me?" say the bells of Old Bailey
"When I grow rich", say the bells of Shoreditch
Winter treats really are oranges - those reminders of sunny summers. And this little rhyme perfectly encapsulates the joyful ringing of church bells.

So, ring in the New Year with bells - at least here at Camera Lucida!

Happy New Year!

Friday, December 28, 2007

Is There a Muslim Architecture? - Update

The difference between "building" and "architecture"

Some thoughts:
- Muslim architecture is a confused and mishmash affair. So, it just barely fits in the category.

- Architecture is primarily about the carefully organized and planning of space and materials in order to erect a structure.

- Architecture also implies a history and a progression.
  • In my opinion, and studies, Muslim buildings are not carefully organized. There are very few blue-prints around for Muslim buildings
  • They are not really planned, and appear to rise out of an organic growth – start in the middle and just keep on growing, for example.
  • There is no historical antecedent nor progression in Islamic architecture. There is a historical presence, but no real progress or clear antecedent.
I'm working on this thesis, and will provide a more detailed commentary on it some time soon.

Wednesday, December 26, 2007

Articles

The Sins of the Fathers

Conquering the Architecture of Death
ChronWatch.com 02/7/08

License for Aesthetics in Wilders' "Fitna"
ChronWatch.com 04/02/08

The Visual Force of the Cross
ChronWatch.com 05/08/08

Olympian Ordeals: Can We Regain Our National Symbols in Time for Summer 2008?
Camera Lucida 05/15/08

Stealthy Islamic Inroads into our Culture
ChronWatch, 07/24/08

Zhang Yimou, Spokesman for China
ChronWatch, 09/13/08

Islam's Missionary Women
ChronWatch, 10/02/08

Race and Insurrection
Chronwatch, 11/09/08

Australia: Whose Land is it Anyway
American Thinker , 10/01/00
ChrownWatch, 11/01/09

The Underbelly of Belly Dance
Camera Lucida, 25/11/2007

Ingrid Mattson: Portrait of a Convert
Camera Lucida, 10/02/08

Nadya Suleman, The Inadvertent Cybele
Camera Lucida, 11/03/08

Critiquing the Critics of the Immigration Movie "Crossing Over"
Camera Lucida, 03/30/09

Sarah PalinLost Opportunity For Change
ChronWatch.com, 06/21/09

Sarah Palin: Whose Family Values
American Thinker , 06/26/09

Confessions of a Shopaholic: Even Feminists Cannot Alter the
Moral of Screwball Comedies
Camera Lucida, 08/04/09

A Welfare Tale
Frontpage Magazine, 01/13/00

A Return to Country
Frontpage Magazine, 02/16/00

Truth and Fiction in Polanski's The Ghostwriter

Reclaiming Religion from the Left
Frontpage Magazine, 04/19/00

Burqa Prejudice
Frontpage Magazine, 06/15/00

Monday, December 24, 2007

The Star of Bethlehem

A celestial manifestation

Genesis 1:15 He made the stars also.



The star that led the wise men to Jesus' manger has been extensively studied by astrologers (and astronomers) for centuries.

There is a consensus that it did occur, and was part of a natural, celestial, phenomenon.

A lay astrologer, Rick Larson, started his long project of trying to identify the authenticity and nature of this star after his daughter's innocent request that he put up a star on their Christmas decorations. His question: "What was the star?" led him to years of investigative work. You can read the transcript or watch the PBS video here.

Eventually, he concluded that the star was possibly a rare conjunction of Jupiter and Venus, making an extremely bright light.

But Larson doesn't stop there. Nine months earlier, there were some other celestial events which were recorded by St. John, indicating Jesus' conception. At Jesus' death, there was also a lunar eclipse recorded, as described in the crucifixion account.

Nature and the heavens conspired through the centuries to align the stars and the planets at the exact, precise location to indicate the mystery and glory of the birth of Jesus.

Merry Christmas to all!


Thursday, December 20, 2007

Is There a Muslim Architecture?

Some thoughts


Muslim architecture is a confused and mishmash affair. So, it just barely fits in the category.

Why is it a mishmash?

Because there is no real structure. One cannot say that this is "Mosque Architecture" or "Fort Architecture" or "Domestic Building Architecture." It is almost as if anything goes, anywhere.

Also, because of its extreme borrowed nature, including building on old churches and old Roman structures, and actually incorporating those architecture into their newly formed buildings, originality is a big problem. Christian/Western architecture hardly ever built on older structures, but rather built new buildings instead.

I should add also, that even within one building, there are so many styles and forms and shapes, that a coherent structure is difficult to find. It is as though the pulled all the stops, to make the most beautiful building.

So, one could say that there are "Muslim Buildings, with borrowed structures from previous buildings, and borrowed ideas, shapes and forms, with a haphazard collection of shapes forms and structures."

I think that is the extent of Muslim Architecture, to be precise.

Based on these five points, I will analyze the Mosque in Cordoba, Spain.

a. Cultural functionality
b. Aesthetics (beauty)
c. Spiritual dimensions
d. Technical invention --- NEW
e. Technical genius

Here are more points to consider:

a. Cultural functionality: As a place where Muslims can gather to worship their god.
Does it work? Yes.

b. Aesthetics: The repetition of the arches in all directions, giving a sense of infinite, never ending space.
Does it work? No - It would make me feel a little claustrophobic after a while. Like in a maze with no escape.

c. Spiritual dimension: The feeling of the infinity of god, endlessly repeated (like the arches) everywhere in the building.
Does it work? No - The confusion from the structure would leave me frustrated and unfulfilled. I can never find god.

d. Technical invention: None. Borrowed from previous "horseshoe" and curved arches from pre-Islamic and Byzantine models. The "innovation" is to put one arch on top of another, to heighten the ceiling. But this was already done in Roman aqueducts. Also, the pillars or columns and the foundation already existed from a previous Visigoth church.
Is it inventive? No.

e. Technical genius. None, since most of the structure's innovations were based on other existing structures (see d. above).
Is it ingenious? No.

Now, the Cordoba Mosque is a Christian Church. But then aren't the Christians doing the same by superimposing on an existing building? No. The original structure was a church. So, it is back to where it was.

Arches in Cordoba's Mosque (now Cathedral).

Arches in Cordoba's Mosque (now Cathedral).

Roman Aqueduct


Tuesday, December 18, 2007

Saint Joseph and Christ

Jesus's Earthly Father

We read so much about Mary and Jesus, and the art world has glorified her role in so many ways, that in these few days before Christmas, I thought I would post some paintings and sculptures of Joseph with Jesus.

Many of these painters are not famous, and in fact, the only two I could find who had paintings of Joseph in his role as father, or as an individual apart from the holy family unit, were El Greco and Rembrandt.

Left: St. Joseph. By Rudolph Blattler, Switzerland, 1899
Right: St. Joseph with the Christ Child.
By Giovanni Francesco Barbieri, Italy, 1600s


Left: Saint Joseph and Jesus. By Enrico Manfrini, Italy, 2000
Right: St. Joseph and Child. By Enrico Reffo, Italy, 1800s


Left: St. Joseph, The Holy Child. By Bartolome Esteban Murillo,
Spain, 1600s
Right: Holding Heaven. By Ron DiCianni, USA, 2004


Left: St. Joseph, The Holy Child. Cuzco School, Peru, 1700s
Right: St. Joseph and Jesus. By Guido Galletti, Italy, 1965


Left: Saint Joseph with Child. By Brother Simeon, USA, 1900
Right:Joseph with Infant Christ. By Bartolome Esteban Murillo,
Spain, 1655-56



Sunday, December 9, 2007

Update 2: Art and Politics

Notre Dame de la Méditerranée?

As always, politics tries to take over everything. And the "Mediterranean Union" is no different.

After searching hard to look for an article I remember reading in the Brussels Journal about a recent art exhibit in Rome exploring the "common Mediterranean identity" which of course really means the merging of Arab and European, all I could find was commentary, and nothing on the exhibition itself. There are no direct links to the exhibition at all.

Except for a google search which located the the most comprehensive information reprinted fully at American Renaissance: Italy: Mediterranean Man Explored In Rome Art Show - the original article is no longer available on the internet.

I suspect this is part of the continuous secrecy that shrouds all dealings between Europe and Arabia, hence my skepticism at Sarkozy's alliance (notwithstanding his obvious attempt at power mongering, leaving Germany out of the picture - now that could be excusable, but Sarko really doesn't understand the hot waters he's entering).

Here is a quote from the curator:
"This exhibition is an utopia, of bringing together united in dialogue the countries of the Mediterranean, with their wealth of history and culture, too often divided by tragic conflicts"
Here is the pertinent quote from the article, and the message of the exhibition:
The language of the artists on display at the Vittoriano complex in central Rome is experimental and seeks to launch a message which underlines the existing historic links between the people of this region, who all face onto a sea which should serve to unite different cultures who share a common if turbulent history.
I remember doing a google search for the artists mentioned, and found them all to be of the same body of modern/contemporary "artists", weak on the technique, and strong on the concept. So, perhaps in they are a community in their mediocrity, as dictated by the methods of current art schools. Yes, North and South have really merged.

Here are a couple of examples that I could find on-line, one of a Moroccan, another form a Jordanian. They could just as well come from any gallery in down town Toronto or New York.

Nawal Abdullah, Jordanian, from "Manifestations of Light" series. 2004

Naissance, by Fathiya Tahiri, Morocco. "Installation" at the 2005 Venice Biennial

What a long way art has come from the beautiful French gift of the Algiers Basilica.


Saturday, December 8, 2007

Update: Pray for Us

Notre Dame d'Afrique

I try not to infuse too much politics into the arts, but then my blog heading, A place to explore and shed light on how art, culture and society converge, cannot always work without politics.

In my previous post, I showed how the French of the 19th century gave the Algerians a solid Basilica, which stands to this day.

What are the French of the 21st century giving Algeria?

Gallia Watch has been documenting French politics on her blog, and more recently Sarkozy's trip to Algeria, and his attempt to build a bridge between Algeria and France.

According to this source, he plans to build a Mediterranean Union of the Souther European countries (France, Spain, Italy, Portugal and Malta), and Northern African Countries (Morocco, Algeria, Tunisia, Mauritania and Libya.) Already, the German chancellor has denounced his plan, and the EU is not too pleased with another competitive body.

But why is Sarkozy doing this? What is his goal for uniting Muslim countries with secular/Christian European states? Does he not heed the warnings of Bat Ye'or, and her Eurabia predicament? Because what will really happen is that the aggressive and manipulative Arabs will make sure they get their way: on immigration (open borders), Islamic culture dissemination, trade which benefits them, and above all a strong hold in Europe which they had to relinquish when they were forced out of Spain in 1492.

In fact, it was a weak European link that allowed them to enter Spain in the first place, and set up the longest reigning Islamic rule over Europe, even longer than what the Ottomans did to the southern and eastern Europeans.

Sarkozy is behaving exactly like the weak link, which is actually already there and about to break from the extreme pressures building in France from their resident Islamic "youths."

The Algerians have already started with their antagonism. Here is a comment by Algeria's Minister of Vetetran Affairs aiming a jab at Sarkozy's Jewish grandfather by saying that Sarkozy came to power due to a "Jewish lobby that has a monopoly on French industry."

At least the French of the 19th century knew to keep the Algerian at arms length. But what will France give Algeria in the 21st century? Probably the greatest, most terrible gift of all. Herself.


Priez Pour Nous et Pour les Musulmans

Notre Dame d'Afrique

Notre Dame d'Afrique across the Mediterranean from
Notre Dame de la Garde


During their colonization period in Algeria, the French built the Basilica Notre Dame d'Afrique in Algiers. Miraculously, the place still stands, and is still used as a place of worship for Catholic Algerians. The Church lies at the northern coastline of Algiers, and is thought to be a complement to the Notre Dame de la Garde across the Mediterranean in Marseilles.

Religion is a combination of tradition, architecture, geography and symbolism. And the French Catholics were susceptible to all of them when transferring their Catholicism to Algeria.

The statue of Mary in Notre Dame d'Afrique has fine Caucasian features, but is ebony black. The reasoning has to be that this metaphorically black Madonna would be a gateway into the rest of Africa at this point of entry, and act as an incentive for and a familiar guard over her new converts. It is also a clear indication that Algerian and French Catholics are two different peoples.

The positioning of the Basilica is also very important. As a new church, facing the hill-top Notre Dame de la Garde across the Mediterranean would give Notre Dame d'Afrique the support and the protection (and the prayers) from her mature brethren in Christ from across the sea.

Finally, the French modeled the Basilica after the Byzantine Eastern churches, which influenced the great domed mosques of the Ottoman period, who took their example from Constantinople's Hagia Sophia. Mosaics, also a feature borrowed by mosques from the Byzantines, figures both inside and outside Notre Dame d'Afrique. Thus this north African church, in the land of the Muslims, who wished to draw them into her interior, wouldn't be so strange and alien in her Islamic surroundings.

And what an interior, with the prayer: "Notre Dame d'Afrique pray for us and the Muslims" written across nave facing the alter. And what a difference from Constantinople's Hagia Sophia, which after being converted into a Mosque by the Ottomans, now bears Islamic calligraphy plates which cover Christian images.

God helped the French to build the perfect church in Notre Dame d'Afrique. The proof is that it she still standing and performing her rites.

The Interior of Notre Dame d'Afrique with the mosaics,
the Black Madonna and the inscription "Prier pour nous
et pour les Musulmans"

[Click images to see a larger versions]

To get more information on the French presence in Algeria, Gallia Watch covers it along with several posts on Sarkozy's trip to Algeria, and also mentions Notre Dame d'Afrique at this post.

Sunday, December 2, 2007

Camera Lucida in the Hot Seat

Interview by blogger Beakerkin

Here is a comprehensive interview by blogger Beakerkin of The Beak Speaks, from New York City, who was kind enough to provide me with interesting and challenging questions. I hope it isn't too presumptuous to post it. I think this is a great way to re-introduce myself.

I have re-arranged the positions of the questions and answers somewhat.


General

Beakerkin: What are some of your favorite films?

Camera Lucida: I tend to go for the romantic ones like The Titanic and Gone with the Wind. But when I feel serious, I find that Eric Rohmer, the French director, has an uncanny probing into the human psyche, and he is quite generous too, rather than cynical.

But, I also love the black and white American classics with Ava Gardner, Audrey Hepburn, Lana Turner, Marlene Dietrich. And of course the indomitable Clark Gable, Gary Cooper, Cary Grant, Gregory Peck etc…

Beakerkin: I have noticed that few people on the left have a sense of humor. Is it just impossible to save the world and be comedic at the same time?

Camera Lucida: You know, I find that some of the most serious people have a real sense of humor, and some of the most avowed comics are very serious people. So, I guess the world works mysteriously with both kinds.

Beakerkin: Is there a semi-religious component to the far left? Are people like myself and Warren just more practical?

Camera Lucida: The only thing I can think of about the leftist mentality is that they have an inferior/superior complex. They feel inferior but want to come off as superior. Perhaps their religious component is their narcissism. They always seem so self-obsessed, and tend to worship whatever morality it is they themselves come up with.

Beakerkin: Is the study of the classics in Literature important ? Should students be introduced to Shakespeare and Moby Dick? Should we replace them with more current authors?

Camera Lucida: I find that modern novels (I tried reading Joyce, but got lost halfway, and the same with Virginia Wolf) tend to leave me slightly depressed. Either they’re too pessimistic, or they’re too self-conscious. I studied Shakespeare first when I was only 13 – we had to memorize parts of Macbeth for school tests. There’s nothing like memorization of beautiful parts of great literature. With time, the meaning becomes more and more relevant. Of course, we couldn’t understand it at the time!

As for Moby Dick, what fascinates me is that the author went into every possible field, from art to religion to botany to ship building, to write his book. A truly erudite author. I wonder if there are any like him around now?

Contemporary literature tends to be confessional and self-obsessed. And the authors are often called up on plagiarism. Is it lack of imagination?

Finally, I think also the Classics, Roman and Greek, should be taught. I studied Latin only for two years as a teenager, and it is amazing how it helps with language. I’m so sorry I didn’t study it more. Modern day life (from buildings to words) is still dependent on these ancient civilizations.

Art

Beakerkin: What are your views on art. Is there a particular school of art or artist that you are fond of?

Camera Lucida: These days I’ve been looking at a lot of Byzantine Art, which has bee relegated to the back burner of Art History. But the sumptuous golds, and the transcendent faces and expressions are very moving. I love the Leonardo drawings. I’ve been looking at a lot of Titian lately, especially at his many Mary Magdalenes. And Rembrandt’s depictions of Biblical stories are a great pleasure to contemplate.

Amongst the moderns, the flowers of Emil Nolde, the seascapes of Dufy, and the interiors of Matisse bring a smile to my face!

Beakerkin: We have an odd poster a Commie named Ducky who has a disdain for Renoir. He feels that Renoir is over rated. Yet in my opinion one can see the love of the subject he painted mostly women reflected in his art. What are your views on Renoir?

Camera Lucida: There is something funny about Renoir. If you look at his most famous painting Bal au Moulin de la Galette, it looks like people who got together during a summer (Sunday?) afternoon to enjoy each other’s company. In reality, though, most of the women in the painting are prostitutes or dancers from cabarets, and the men bohemian artists. There is nothing innocent about the painting.

I think this is the biggest catch in modern painting. It usually goes for some extreme, taboo subject, however subtly.

For example, Warhol’s Marilyn’s are really a form of iconography. But it is blasphemy, since he’s bringing an ordinary woman at the same level as say Mary.

Older painter also did their share of nudes (usually following classic myths), but often their biblical works are exemplary!

Beakerkin: Some religions like Islam and to a much lesser extent Judaism have prohibitions against sculpture and paintings in a house of worship. Does the presence of stained glass windows and frescoes in a church enhance the experience.

Camera Lucida: In Ethiopian (and Eastern Orthodox Churches, as far as I know), sculpture is prohibited, since it is believed to be closest to human form, due to its 3D nature. Yet, these are churches which put icons of Mary right in the church where people kneel to her and pray to her!

Personally, I think that anything that reminds you of God is wonderful. Religious art does it much better than secular art, for obvious reasons. But like everything else, we have the responsibility not to let the art dominate the belief itself. A painting, a hymn, or a sculpture cannot substitute for God.

Beakerkin: Traditional Jewish houses of worship do not have musical instruments. There is the Shofar but that is not a musical instrument. There is plenty of singing of prayers but it is done without instruments. My friends would often joke about playing the charge theme at sporting events before performing ceremonies. Do musical instruments in Church enhance or detract the overall experience?

Camera Lucida: Not at all. It is like paintings, sculptures and other works of art. In fact, the whole of religious art can be summarized as one of the ways in which we can remember God and get closer to Him. This is especially powerful during a Church service, surrounded by holy music and sacred stories on beautiful stained glass windows.

Originally, also, religious imagery was used as a teaching tool for illiterate converts, and also as a constant reminder to new believers through visual forms.

Beakerkin: There is a perception that religious people do not appreciate fine art. My experience has shown this to be a false premise. Is this just another stereotype?

Camera Lucida: It is a difficult not to regard say Matisse’s work as some very intelligent use of color and deconstruction of space. It all becomes a kind of mental playfulness when you compare it to Pietas of Christ. Religious paintings always leave me with wonder and deep emotion, whereas Matisse and all those other colorists just make me smile. (Or not – depending!)

Fashion/Design

Beakerkin: Is fashion a lower art form than painting or just a more practical application of art to every day life?

Camera Lucida: I really think that any kind of decorative art, like fashion, interior design, jewelery etc… is secondary to art. It lacks the attempt at spiritual depth, and is instead trying to give you superficial (surface) pleasure.

You can love a beautiful ring because of the fit, the combination of gem stones, the colors, and the exceptional design, but can you compare that feeling to one of Rembrandt’s crucifixions, or even Renoir’s transcendent (but not necessarily holy) faces?

Beakerkin: When I worked in the fashion industry there was an odd disdain for the customer. The designers would dread designing for the masses and this disdain would result in clothes that were poorly designed. What are your views of the fashion industry? Have the products become better or worse on an aesthetic level over the last five years?

Camera Lucida: I think many fashion designers have become like modern artists, where their "inner" creativity wins the day. In some ways fashion has gone both ways, where there are the crazies like John Galliano who just goes over the top. His clothes are very interesting to look at, but are totally unwearable.

And there are those like Stella McCartney, and even Betsy Johnson, who seem to be designing for themselves, in some basement with a sewing machine. Where they seem to have a disdain for craft. And their clothes are also unwearable (no style).

So, yes, it is all about themselves. Galliano is talented and can get away with it. But in my view, Stella and Betsy are just hoaxes.

Beakerkin: The people in the fashion industry of NYC have an odd divine mission mentality. This may seem odd but the Fashionistas have a sense of purpose that exceeds that of DHS. Is the devotion to fashion misunderstood by people like myself ? I am a numbers person and just see products, deadlines and profits? Am I missing the boat?

Camera Lucida: Yes, it all borders on the semi-religious. I think this is the mark of the modern artist, who has become The Creator. Fashion is no different.

Beakerkin: Most clothes are designed for tall rail thin women. In actuality fit models are not attractive and are selected for bodily proportion rather then beauty. Is unrealistic body image part of the problem in the fashion industry ? Lets face it most women are not 5'10 and a perfect size eight. What are your views on the subject ?

Camera Lucida: You know, I don’t think the average woman on the street cares about "realistic" fashion models. It’s like emulating the stars, we look up to them rather than be on equal footing with them.

That said, the ordinary woman is very creative at bringing the fashion to her level, after seeing what Cindy Crawford or Linda Evangelista was wearing lately. I think a down-to-earth fashion magazine like InStyle does a great job of that.

Ethiopia

Beakerkin: I am familiar with some of the people of Ethiopia, Eritrea, Tigre, etc. can you explain what the major groups are? What separates them tribal history, language or locality.

Camera Lucida: They are all part semitic peoples having descended from the Sabaeans of Southern Arabia peninsulas several thousand years ago. They are mostly found in the northern regions of Ethiopia.

There are actually three similar groups: the Tigrean, the Eritreans (who now have their own country) and the Amhara.

Their differences are mostly language, and historical leadership. The Amhara people are probably the most Ethiopian of the three, having invested in leadership and nation building unlike the Tigre, through centuries of dynasties of Kings and Emperors. For example like the late Emperor Haile Selassie. I would say the Tigre are more tribal oriented than national. An Amhara will say “I am an Ethiopian.” Whereas a Tigre is more likely to side with his ethnic group first.

Beakerkin: How far were you from the Gondar province where the Jewish population the Falasha lived ? Did you ever meet them in Ethiopia.

Camera Lucida: When I was very young, and still living in Ethiopia, we lived mostly in Addis Ababa, the new capital city in central Ethiopia. Gondar, much further north, used to be the old one. I honestly didn’t know anything about the Falasha until the whole brouhaha broke out. I remember people discussing the Falasha and saying that it was a ticket to get out of Ethiopia for “fake” ones. I don’t know how true this is. I also don’t think they were persecuted, but lived in rural areas like other Ethiopian agricultural peoples.

Beakerkin: Ethiopians have a Christian Church that has a slightly different Bible than the rest. I think the book of Enoch is accepted in the Ethiopian Cannon. What should lay people know about the Christians of Ethiopia?

Camera Lucida: Well, you have to understand that Ethiopia followed the Copts, and the monophysites, at the very early schisms. This was not really a theological disagreement, but rather a "political" loyalty to the Alexandrian Patriarch at the time. With the isolation that ensued, yes, there are versions of the Ethiopian Bible that do not meet the criteria of other Bibles. But, nonetheless, the Ethiopian Orthodox Church, throughout the centuries of Christianhood, has kept in touch with western and eastern churches (for example, Ethiopian monks were invited to the Florence Council as late as the 15th century), and still continues an ecumenical relationship with other churches.

Well, perhaps the most striking thing with the Ethiopian Orthodox Church tradition is its connection with the Old Testament. I think it is one of the most Judaic of the Christian Churches. For example, young boys are circumcised in the Jewish tradition, and some dietary habits of devout Christian follow the Old Testament strictures.

Beakerkin: There was a brutal Communist thug named Mengistu whose misrule created a civil war and massive deaths. Did the ethnic separatism of the Eritreans etc. start with Mengistu or exacerbate the divisions of Ethiopia.

Camera Lucida: The Eritrean question has been brewing since its federation with Ethiopia in the 1950s. But I can say that it had been successful in many ways. I know many Eritreans who really feel a deep connection with Ethiopia still. It was a Marxist rebel group which started the guerrilla warfare (not the general population), and it was funded by Arab, Muslim countries. So, the whole separation movement was initiated by a minority of outsiders.

Beakerkin: The Rastafarians have an unusual reverence for the former ruler of Ethiopia Haile Selassie. Is their odd views on pot smoking and the former ruler of your country annoying or comedic.

Camera Lucida: It is pretty annoying. Actually, Haile Selassie was generous to these people and gave them a bit of land outside of Addis (part of the Exodus?). I think he was hoping to bring them back to their senses. Or who knows, he may have been flattered. But, this non-Christian view does not win them many friends. Although, I must say, many Rastas have converted to the Orthodox Church, and have been trying to do the same to other Rastas in Jamaica.

Beakerkin: What is the official language of Ethiopia? Few people are aware that the fourth Semitic language Amharic is Ethiopian. Are Ethiopians more related culturally and historically to the people of the Arabian Peninsula and Semites then West Africans.

Camera Lucida: Yes, it is Amharic, which is a branch of the semitic languages. Ethiopia is unique in that her history is so separate from Arabia, and the rest of Africa. Even the original Sabaeans who migrated across the Red Sea eventually built their own separate culture and traditions. Plus, the Christian religion and tradition made it a country truly apart from the rest of Africa. Funnily enough, though, many African countries have turned to Ethiopia for leadership. For example the original Organization of African Unit (OAU) has its headquarters in Addis Ababa.