#fit india movement

[eatmangoesnekkid]

I shared with this lady today that my fitness is non-negotiable and is a reflection of the strength of my spirit. I’m not on and off with working out nor do I work out to get ready for bikini season. I have worked out pretty much consistently for the last 20 years. That's because exercising my body is akin to breathing. It is one way I clear out the gunk from my mind and emotions which is liberation for my mental, emotional and spiritual health. It doesn't matter what happened the day before, I know that exercise, whether gym time, HIIT classes, pole dance, belly dance, aerial dance, pilates, running up hills, long walks in the city, climbing stadium stairs, or hot yoga fuels the life force pulsing and protruding through my body that makes me feel delicious in the best ways possible no matter what challenges I'm facing. Working out for me is not-optional. My ancestral mothers know that I am not meant to walk this earth disconnected from my body and feeling sluggish and incapable. Sculpting a strong back, a strong ass, strong legs, strong arms, strong feet, etc. are some of the most important parts of my spiritual practice. Said differently: Your body is truly the altar. Bless it with some offerings of fitness if movement is accessible for you. Allow these words to be your reminder to get up and get out. -India Ame'ye, Author

[jewellery-box]

Robe à la Française

French, ca. 1770

The robe à la française, with open robe and petticoat, was the quintessential dress of the eighteenth century. Characteristic of 1770s costume are the piece's low neckline, fitted bodice, narrow sleeves with double layered cuffs, as well as the sack back and fullness at the hips supported by panniers. This exquisite example is constructed from a rare Chinese export silk dating from the first quarter of the eighteenth century. The textile is an ivory "bizarre" patterned damask (created by reversing the weave structure so that both the warp-float and weft-float faces of the satin are on the same surface).

As early as the late sixteenth century, Chinese craftsmen created silks for the European market, which were exported by the East India companies of England, France, and Holland. Due to the exchange of design motifs by both Eastern and Western artisans, Chinese export silks often bore little relation to traditional Chinese aesthetics. While this patterned damask closely resembles the European "bizarre" silks popular during the first quarter of the eighteenth century, the selvedge-to-selvedge width, fabric weight, and selvedge markings all indicate Chinese manufacture. To fully appreciate the sumptuousness of this dress, one might imagine the sense of movement candlelight would have created across its surface.

The MET Museum

[read-write-thrive]

part 1 (both girls in their full outfits) ; part 2 (Edwina in several other outfits/sketches) ; part 3 (the companion to this piece aka Edwina getting ready :)

part 4 of my fem!payneland fanart series!!!! as I talked about with the poll, I have quite a few variations of this piece as I couldn’t make up my mind on a few of the elements, but I listened to your feedback and have included them all here !! the winner of the poll is above the cut with the rest of the variations below to hopefully make this not take up too much of your dash lol

lmk what you think - especially people who voted on the poll!! I’ve also included my thought process below the cut since I know y’all are interested :)

- first and foremost: I have absolutely no idea what order someone would get ready in with all these outfit components, so if you’re sitting here like “why is her makeup done when she has to pull a shirt over her head?” or something like that: you’re probably correct but my getting ready process is always chaos and there aren’t exactly articles on this sort of thing

- along with that: her straightening her hair is probably not accurate to how hair works but again I’ve got v little experience to pull from and trying to find a proper reference was a pain in the ass

yes her bra is fully rendered and then got covered up by her arm. I'm still mad that I did that to myself but I like the pose too much to change it so oh well

- (onto actual historical stuff!!)

- her hair is being straightened here despite straight not being in style during this era for several reasons:

1. I based her hair (and a lot of her style, as per part 1) on Rhoda Dakar of the band The Bodysnatchers, which was an all-female band that was part of the ska revival in the late 70s/early 80s. Rhoda Dakar in particular is a British artist (who’s still making music!) with an English mother and Jamaican father—so not only was she one of the only women of color I could find as part of this subgenre/in ths era/with plenty of photo references, but considering Jayden Revri is Jamaican and English (alongside Indian) himself I thought it was fitting! Her Bodysnatchers look is also much more femme leaning than the rest of the band, as well as her hair styled in a way that suggests straightening, so I carried that over to Charlotte here as well.

2. On a related note, there is a clear historical and modern difference in hairstyles worn/made popular/deemed fashionable by non-white versus white individuals and I thought it only appropriate to acknowledge that in my design of her. I even went so far as to research how her mom’s hair may have been styled since I assume that’s who would’ve been teaching her how to care for her hair in the first place. With that, I looked at popular Indian hair trends from the 60s (figuring that’s when Charlotte’s mom could’ve still been in India and following those trends) which also involved a preference for straight/wavy hair, with soft fringe made popular by Sadhana and the styles ranging from long and luscious to styled up into a very 60s beehive. Charlotte could easily also rock a beehive, especially since the 60s revival was a part of the ska revival movement and Dakar herself styled her hair as such, but I figured Charlotte is a little too much of a rebellious teenager to go for a look she’s seen her mom wear!

- her makeup is based off of the different members of The Bodysnatchers as well as other punk/ska fans at the time. The look usually required more blush that what I gave her here, but I wanted to make sure the eyes were the feature (since Charles wears eyeliner himself) and then the lips being any less just looked weird to me. Also, Dakar doesn't seem to wear the same heavy blush that the other members do, which could be a stylistic choice but could also be the potential lack of blush shades that would work well on her skin tone, so I went that route for Charlotte here

- her underwear is all based off of meticulous searching of historical advertisements, though I will admit the sources are (presumably) American since I couldn't find British equivalents (I'm hoping the styles were similar enough...) in particular:

1. Her bra is based off of: Playtex’s New Made for Me, Playtex’s Right For Me, and Playtex’s Thank Goodness It Fits (which are seriously the names of these as per the ads—how creative /s)

2. Her panties (or pants or underwear or whatever term you want to use) are based off of: Sears Best’s Nylon tricot panties, Sears Very Impressive Panties Nylon panties, and JCPenny’s eiderlon fashion panties

3. (In the below variations) Her pantyhose are theoretically based on L’eggs and Spirit by Stevens’s Slim & Slender pantyhose. But, honestly, they’re mostly based on my own experience wearing hose bc almost none of the ads showed how the gusset of the pantyhose actually looked so I needed to fill in the gaps (one of the many reasons I’m still unhappy with them—plus the wrinkles would not look right no matter what I did !!)

4. Her socks are called slouch socks! I don’t have a specific brand for them but the style was all the rage in the 80s-90s (and I want to own some so bad ngl)

- the hair straightener is just a blob based on the reference photo since trying to research historical hair tools was beyond me at the time apparently, but the style of outlet/plug is accurate to Britain in 1989 so there’s that at least (I have no idea why my brain works like this)

- since I talked about it in the poll I feel like I should address it here: technically having a bush was well out of fashion by 1989 due to the grooming boom and new types of hair removal popular throughout the 80s and 90s. However, she’s wearing multiple layers over it and is technically a teenager (in an abusive household and a catholic all-girls school, at that) so I kept going back and forth on it. It won the poll so it’s in the main post, but you’ll see in the below variations that I really went back and forth on it. that being said I do think it’s interesting given her nylon pants being semi-sheer besides at the gusset, so I’m not mad at it. plus I figured she was definitely shaving her legs/underarms, so maybe that balances it out ?

and finally here’s the other seven variations of this piece :) lmk what you think!!

[terminatorbuns]

Frye is the new Marina: Exploring Frye and Minority Anxiety (An essay by @Terminatorbuns)

I'm gonna preface this with something very important: Frye is best girl. Fight me, I write lore essays. I wrote that other essay on Deep Cut and I've continued to obsess over them since, especially on Frye, who's been an extremely interesting character for me to analyze.

We know Frye, she's the chipper Inkling idol partner to the more sophisticated Octoling Shiver. There's obvious parallels to be made with the previous idol group, Off the Hook, since Frye is like the energetic Pearl and Shiver is like the cool Marina. And uhh .. that's probably all there is to it, essay's over, everyone go home.

No but seriously, what I want to share instead today is the personal, alternative interpretation I arrived at after obsessively overthinking the situation since release. It's not fully supported by canon, but this is a reading of Frye constructed from the most subtle lore details a Frye-obsessed lore nerd could find, and I hope to at least highlight some lore elements the community might have missed. I want to demonstrate the layers upon layers of complexity that can be read into Frye as a character, and why I care so fucking much.

Frye isn't the new Pearl, she was the new MARINA this whole time and it took me months to see it. Yes, it has absolutely everything to do with their skin color. Splatoon's world is designed with real life racial diversity in mind and, intentionally or not, are also influenced by real life racial dynamics in turn. Like Marina, the analysis of Frye absolutely OPENS UP if we examine her through the lens of her real life racial status, we start to infer stuff about her motivations, her fears, her secret needs and wants, EVERYTHING is on the table. Good news for Shiver fans, I can't talk about Frye without digging into her relationship with Shiver (platonic or otherwise) so that's going to happen too. We need to talk about our precious brown baby.

1. Frye the Minority

To state the obvious, Frye's ethnicity is South Asian, probably India. The Splatoon world doesn't really have a Squid India in it but it's clear what her real life inspirations are. She's very brown, she wears Aladdin pants and mango chutney on her head. She's got a snake charmer flute thing going on and all her musical motifs are played with South Asian instruments. It's a bit on the nose.

Thing is, Splatsville is a Japanese city in design. Splatsville is called Bankara city in Japanese, it's named after a literal Japanese fashion movement and the visual design elements of Splatsville are reminiscent of a rural Japanese city. Splatsville takes little visual inspiration from South Asia, and that makes sense since Splatoon is made by Japanese devs who would be most familiar with Japan.

The consequence of this is that Frye stands out as a uniquely brown-coded person in a world where nobody else looks like her. Not even playable inklings with dark skin look like her, what with her teeth and her pointy mask and her big forehead. It's worth noting that the Octoling narrative in Splatoon 2 takes inspiration from the experience of Black Americans, and the dark skinned Octolings of Inkopolis are mostly coded black, not South Asian. Even if the racial identities of squids don't necessarily match real world racial identities, Frye is recognizably a minority both visually and culturally in-universe. This is reminiscent of Marina, who was one of the only visible Octolings in Inkopolis until playable Octolings were formally implemented.

It's worth noting now that Shiver, in contrast, fits in perfectly: she's a traditionally attractive Japanese girl (we're talking about fem Shiver right now, bear with me) in a Japanese city. Even though Octolings should be an in-universe minority, and even though she too has somewhat unconventional features, the idea that she's a minority just doesn't track visually. We'll circle back to this and discuss why it doesn't really work for her character narratively either.

2. Frye the Villain

I've covered this in my previous essay but Frye is a stage villain by trade, and her style of performance is inspired by Kabuki. The Japanese inspiration makes sense, even though she's an ethnic minority her sunken scrolls suggests that her family is well established in the region, meaning they immigrated a long time ago and Frye's grown up in Splatsville. Frye is a Japanese national with roots in South Asian culture, it's understandable that she has adopted mannerisms of both cultures.

But like, why a villain? And what's the deal with Marina also representing Team Villain in the heroes vs villains Splatfest? I was wondering if there was a connection there until it hit me, Frye's TOO BROWN to apply for hero roles. In real life, the Japanese entertainment industry famously has problems with colorism and racial representation. Even darker skinned Japanese people have trouble landing gigs as leading heroes because the industry favors light skin, and Frye is both very brown and not conventionally attractive by Japanese standards. Film industries in the West have very similar problems with colorism so it's a recognizable problem to western audiences, also. Frye's career choice as a professional villain is informed by the fact that people like her literally cannot land jobs as heroes.

That's not to say Frye resents her role, Frye loves being a villain. Her poses are dynamic, her speeches are charismatic, she's at her happiest when she is playing an antagonist. If you look at her blasting off with her smoke bomb, she has the happiest smile on in direct contrast to Shiver who's comically losing her shit. Thing is, Frye identifies with the underdog villains who never win, because Frye herself struggles in an industry that does not favor her. This also explains her sympathies for the underprivileged, and why she's made it a personal mission to raise money for the poor. Looking back at Splatoon 2, Marina was sympathetic to villains for the same reasons, as an Octoling (and as a black person) that was villainized by the society she lives in.

Frye brings her cultural identity into her performance, where she incorporates traditional South Asian dance and snake/eel charming into her fighting style. She takes her heritage seriously too: where Frye comes off as a clown elsewhere, she's deadly serious when using her culturally inspired techniques in a fight. The fact that she has named choreography for each phase of her fight is proof enough of that. Deep Cut's boss fight theme also opens with South Asian instruments and they are the most prominent thematic element throughout, highlighting the fact that villainy is Frye's domain of expertise, not Shiver's. Frye sees both villainy and her cultural background as core parts of her identity and expresses herself with a combination of both.

3. Frye the loner

Thinking back to Splatoon 2, Marina and Pearl had a very clear extrovert vs Introvert dynamic: Pearl likes networking and building musical connections, and Marina is shy and prefers to hole up in a comfy chair and write music all day. We do in fact see this again in Deep Cut, except Shiver is the extrovert who flourishes in front of an audience or a camera. She's eager to play tableturf with agent 3 because she just likes social interaction and competition. The Anarchy Splatcast version of the Deep Cut theme instead features Japanese instruments, signaling that newscasting in front of a camera is Shiver's area of expertise. Shiver's design and mannerisms also visually invoke that of a Geisha, who are professional entertainers trained in hospitality.

You see where I'm going with this, I hope. In a wild fucking twist, the cheerful energetic Frye is secretly an INTROVERT. Frye's area of expertise is the desert wastelands, she's at her most comfortable when there's almost nobody around. She's happy to be on camera with her friends but she also squirms in her seat, being not completely comfortable. Her go-to stress reliever is fighting salmonids who do not speak, and Shiver tells us that Frye runs away from the group during a Salmon Run shift to fight the bosses. Also, Frye's villain specialty isn't well suited to making friends when she kinda attacks strangers on sight.

Frye's tableturf habits are most revealing because she does not make eye contact with Agent 3 sitting across a table from 3. Frye's zoned out thinking about Big Man and Shiver, her closest friends and the people she's most comfortable around. In the news room Frye's attention is also focused on her friends and rarely makes eye contact with the camera. Without her friends nearby, Frye can actually get a bit lost in a social setting.

This reminds us of Marina who's also shy around people, except Marina's anxieties come from being a literal enemy of the state. Marina actually has quite a few contacts in the Octoling community despite being nervous around Inklings for good reasons. Frye has habits that ACTIVELY avoid people, and currently we're not sure she has ANY friends outside of Deep Cut. There's likely a racial aspect to this, of course, the same cultural biases that prevent Frye from playing hero roles are also likely affecting her ability to connect with new people, and it's not a big stretch to guess how it affects her personal habits. Frye doesn't have Shiver's conventionally good looks, she makes a poor first impression as a pointy big headed brown girl in a Japanese-coded world. This might feel a bit familiar as we've seen a similar process play out in real life since Shiver was a lot more well received at launch and Frye took more time to grow on the fandom.

4. Marina and minority excellence

So we've established some similarities between Frye and Marina in that they are likely both introverts affected by racial anxieties, but it's also worth discussing the ways in which they differ. I feel that Frye and Marina take two different approaches to address their racial anxieties, and this accounts for their very different personalities as characters.

Marina represents a picture perfect image of black excellence on an Octopus. She's a prodigy composer that knows every fucking black music style and a genius engineer and she can even draw manga; girl works three jobs. Marina's approach to her minority status is to work hard to be an exceptional representative of her people in the hopes that it will help them be accepted in Inkling society. She's determined to be presentable to the degree that she will hide some parts of her past (although those parts involved a lot of weapons engineering so maybe it's for the best that she's not proud of that). Also, and this is a very lukewarm take, Marina is hot.

Frye has to take a different approach out of necessity, because Frye is not a genius. As talented as she is, Frye is a more average person with anxieties and flaws that she can't hide, and she doesn't have the talent to excel in multiple fields of expertise or the patience to learn how to present herself in polite society. Rather, Frye channels her flaws into her art: her violent tendencies and her social anxieties both inform her villain performance, giving her a distinct edge and charisma that suits her chosen art form. In Japanese, Frye also speaks with distinct country bumpkin mannerisms which are also associated with low societal status. Thing is, Frye embodies Splatoon 3's theme of Chaos as a non-conformist: she can't succeed by conforming to polite societal standards, so she chooses to promote her own, rough around the edges style as a viable art form.

I'm fascinated with this particular interpretation of Frye, whether or not it was intentional by the original designers at Nintendo, because of how much depth it gives Frye's personality. Not only that, but this version of Frye also creates some interesting implications for her contrasting partner, Shiver.

5. Making sense of Shiver

Shiver's role in Splatoon 3 is rather mysterious when you think about it. Our previous understanding was that Octolings was an oppressed racial underclass that come from the military dictatorship in Octo Canyon and have only been integrated into Inkling society for 2-4 years. And yet, Shiver's family history goes back pretty far with very specific artistic traditions that they've preserved, and she has distinctly different visual features than the Octolings of Octo Canyon. I should also point out that the systematic oppression of Octolings draws heavy parallels to the experiences of Black people in America and Japan, and Shiver is… very not black.

Shiver doesn't really work as an Octoling from Octo Canyon, but she also doesn't have to. The Splatlands is a new region with new history and racial politics, Shiver starts making more sense if we assume that she's been in Splatsville this whole time, and her family simply wasn't living under DJ Octavio's rule. If Shiver's history isn't tied to the Octo Canyon narrative, then we have some very interesting angles to explore through the lens of her IRL racial identity as a Japanese girl and how that effects her design and personality. If we follow this line of logic to its conclusion, we'll start to understand how Shiver is actually the new Pearl.

Shiver as a character design is defined by privilege, or at least, the ILLUSION of privilege (more on this later). She's conventionally attractive by Japanese standards in a Japanese setting, so she has the natural advantages of being a member of the racial majority where Frye does not. Shiver's Japanese dialogue speaks in a very formal theatrical tongue which is… fucking weird admittedly but also a clear allusion to high social status, in the same way people use Shakespearen English to sound fancy as shit. Shiver has the looks and mannerisms of a highly presentable racial default Japanese entertainer and she takes advantage of that to achieve her personal goals.

Shiver's goal is to be on TV. Shiver is Deep Cut's newsroom specialist, she wants to be on camera and to be seen by everyone, she's a little obsessive about attention really. Shiver knows her looks are naturally appealing and wants to be in a format where people can see her face, and she uses stage makeup to accentuate her strengths. This is in direct contrast to Frye who prefers stage performance for smaller, curated audience's, and even then Frye uses a mask to hide her face in battle.

This is where Shiver's relationship with Frye starts to resemble Pearl and Marina. Shiver is perfectly aware of her natural advantages as a fair skinned person and has extended that privilege to include her dark skinned partner. This is similar to the same that light skinned Pearl makes it a mission to promote Marina as a minority artist (Pearl's privilege in this case being mountains of money rather than attractiveness). Even though TV is not Frye's specialty, Shiver insists that Frye (and Big Man) be included because Shiver thinks they deserve a spotlight.

That being said, Shiver's style of partnership differs greatly from Pearl. Pearl has a partner with confidence problems, so Pearl takes a very hands on approach to push Marina to seek out new artistic styles and opportunities because Marina is directionless without guidance. Pearl has high expectations for Marina because Marina is a prodigy who will rise to meet those expectations, and Marina appreciates Pearl's involvement greatly. Marina in turn helps Pearl with her destructive vocals, they fill in each other's weaknesses while working towards a similar goal.

In contrast Shiver takes a hands off approach to Frye. Both Shiver and Frye are confident entertainers in different fields of expertise and do not need external motivation, so they do not need to push each other in the same way Pearl and Marina do. What they instead do for each other is provide safe spaces to participate in each other's art forms without judgment: Frye comes to the TV studio despite being awkward on camera, and Shiver gets to play a villain despite being clumsy and manic on stage. Big Man gets to show up to both despite having little ability in either field.

6. Shiver x Frye

I'm not saying Shiver and Frye have to be a romantic couple, they form an excellent platonic duo dynamic that is just as narratively valuable to the world of Splatoon. I would never be so crass as to suggest that Shiver and Frye should kiss passionately on the mouth. But like, with the information we now have we can dive a little deeper and make some educated guesses on the inner workings of this particular pairing.

Shiver and Frye directly influence each other's personalities, each member of the duo changes when the other is around. Frye becomes softer around Shiver: Frye on her own is tough from a life informed by adversity, she's focused and takes losses with dignity. However, Shiver is using her personal privileges as a light skinned, presentable Japanese girl as a shield for Frye's racial disadvantages to get Frye TV opportunities that Frye would not have had access to alone, and I think Frye appreciates the protection. Frye feels safe enough around Shiver to let her guard down, she feels less pressure to be strong and competent and has an opportunity to be goofier and more vulnerable. This is the Frye we see most often on screen.

Shiver becomes edgier around Frye: Shiver gets to play a villain when treasure hunting with Frye, And we discover that her villain performance is BUCK WILD. This is the second layer of Shiver's personality that I've only alluded to so far, but it's very important to discuss what Shiver gets out of her relationship with Frye.

Shiver's character is about presentation; she has gone to great lengths to learn the behaviors of a traditionally feminine, high class entertainer. She's polite to a fault and extremely particular about her movements both on TV and on a dance stage. There's no reason to believe this is a facade, Shiver has put so much energy into her act that it's more likely that this is Shiver's idealized self, the image she actually wants to present to the world.

What is simultaneously true is that Shiver DOESN'T perfectly conform to her own idealized self image. There's a messier side to Shiver's personality that she tries very hard to hide: she's competitive, petty, and vindictive under specific circumstances, all traditionally unfeminine traits. She's not doing a great job at hiding them either, these traits are part of her personality and slip out despite her best efforts. It's important to consider that Shiver likely also grew up in Splatsville, making her a country girl too with the same rough rural upbringing as Frye. This just makes her attempt to present as high-class even funnier.

My personal interpretation of the dynamic of Frye's relationship to Shiver is that Frye accepts all of Shiver's messier personality traits, enjoys them, even. Frye is a deliquent that stands for conflict and non-conformity to begin with, so Frye offers a safe space where Shiver can both embrace her messier side and be celebrated for it. Shiver can take nasty verbal jabs at Frye and Frye will fire back cheerfully. This is why Shiver is so wild as a villain, the repressed parts of her personality comes out in full display when she's in a space with only Frye and Big Man, and Frye in particular seems to know all of Shiver's secrets to a level that Big Man does not. This way, Shiver feels no need to erase the messier parts of her personality, she simply saves it for the people she trusts. And Frye is the person Shiver trusts the most.

7. Shiver's Gender

I saved this for last because we have little evidential support for it in canon, but the Shiver character analysis really isn't complete without it. Up to this point I have referred to Shiver with She/Her pronouns because that is Nintendo NA's current official stance on the matter (I'm going to keep doing it for consistency but I really don't feel strongly about this), and my analysis is written with the assumption that Shiver is a cisgendered woman. BUT. I actually see no reason that an alternative interpretation cannot be true.

The overall art community has already figured out that there's a VERY potent TRANS narrative that can be told with Shiver. Shiver's narrative is about presenting as a traditional cisgendered girl while struggling with all the ways she does not conform to tradition, but there's an entirely new layer of meaning to this if Shiver is not, in fact, cisgendered in some way. There's a lot of visual information that initially led the community to this interpretation, Shiver's features are more androgynous than feminine, she wears a Sarashi wrap that has cultural connotations of being a binder, and she has a half shaved punk hair cut which is traditionally considered to be very unfeminine. Shiver's art form itself is gendered, as she has the design elements of a Geisha which is a feminine job, but the gender she presents on the job doesn't have to match her personal gender identity: drag queens exist, for example. I'd also like to point out that historically, there were in fact, MALE geishas that went by the title of Taikomochi, they are just less common in modern days.

In practice, Shiver's gender expression is so complicated that ANY interpretation is viable. Not only that but the various trans interpretations have VERY interesting implications. This would recontextualize Shiver's advantages not as majority privilege, but PASSING privilege, or the ability to LOOK heteronormative while not actually being that. It adds a lot of meaning to Shiver's focus on presentation, and her desire to be validated by a lot of people on TV.

Additionally, this would reinforce the idea that Shiver needs an outlet to address her gender nonconformity off screen, and trusted, accepting friends to keep her secrets while she perfects her preferred forms of gender expression. It's the exact sort of thing that would draw her to the delinquent Frye who has no respect for tradition, and who would encourage Shiver to embrace the most literal interpretation of "be gay, do crimes". It would connect Frye and Shiver as two parallel interpretations of minority anxiety in the same game: one who passes for "normal" and one who does not, and how differently they see the world. And that's… kinda beautiful?

At this point I don't have the relevant personal experience to dive any deeper into possible trans interpretations of Shiver, I think there are other artists with more relevant backgrounds that are already exploring this topic. Just know that I've seen the art that depicts Shiver with top surgery scars and they are my favorite.

8. Conclusion

Deep Cut's only been out three months and I've already written this much about their lore, good lord. I'm an artist who works on Splatoon fan fiction so the story and themes of Splatoon matter a lot to me as they influence the direction of my work, but my god, does Deep Cut give me a lot to work with. Some of this will have to be retracted as we learn more about Deep Cut's lore, there's lots of ways Nintendo can introduce canon to contradict my take, and that's fine GIVE US THE LORE. Regardless I plan to be making more Deep Cut fan content in the future and I really wanted to share the information that my future work will be based on.

[literary-illuminati]

2024 Book Review #27 – From the Ruins of Empire: The Revolt Against the West and the Remaking of Asia by Pankaj Mishra

Yet another work of nonfiction I picked up because an intriguing-sounding quote from it went viral on tumblr. This was the fifth history book I’ve read this year, but the first that tries very consciously to be an intellectual history. Both an interesting and a frustrating read – my overall opinion went back and forth a few times both as I read and as I put together this review.

The book is ostensibly a history of Asia’s intellectual response to European empire’s sudden military and economic superiority and political imperialism in the 19th and 20th centuries, though it’s focus and sympathy is overwhelmingly with what it calls ‘middle ground’ responses (i.e. neither reactionary traditionalism nor unthinking westernization). It structures this as basically a series of biographies of notable intellectual figures from the Islamic World, China and India from throughout the mid-late 19th and early 20th centuries - Liang Qichao and Jamal al-Din al-Afghani get star bidding and by far the most focus, with Rabindranath Tagore a distant third and a whole scattering of more famous personages further below him.

The central thesis of the book is essentially that the initial response of most rich, ancient Asian societies to sudden European dominance (rung in by the Napoleonic occupation of Egypt and the British colonization of India) was denial, followed (once European guns and manufactured goods made this untenable) by a deep sense of inferiority and humiliation. This sense of inferiority often resulted in attempts by ruling elites and intellectuals to abandon their own traditions and westernize wholesale (the Ottoman Tanzimat reforms, the New Culture Movement in China, etc), but at the same time different intellectual currents responded to the crisis by synthesizing their own visions of modernity, and tried to construct a new world with a centre other than the West.

I will be honest, my first and most fundamental issue with this book is that I just wish it was something it wasn’t. Which is to say, it is a resolutely intellectual and idealist history, convinced of the power of ideas and rhetoric as the engine for changing the world. Which means that the biography of one itinerant revolutionary is exhaustively followed so as to trace the evolution of his world-historically important thoughts, but the reason the Tanzimat Reforms failed is just brushed aside as having something to do with europhile bureaucrats building opera houses in Istanbul. Not at all hyperbole to say I’d really rather it was actually the exact opposite – the latter is just a much more interesting subject!

Not that the biographies aren’t interesting! They very much are, and do an excellent job of getting across just how interconnected the non-Western (well, largely Islamic and to a lesser extent Sino-Pacific) world was in the early/mid-19th century, and even moreso how late 19th/early 20th century globalization was not at all solely a western affair. They’re also just fascinating in their own right, the personalities are larger than life and the archetype of the globe-trotting polyglot intelligentsia is one I’ve always found very compelling. While I complain about the lack of detail, the book does at least acknowledge the social and economic disruptions that even purely economic colonialism created, and the impoverishment that created the social base the book’s subjects would eventually try to arouse and organize. And, even if I wish they were all dug into in far more detail, the book’s narrative is absolutely full of fascinating anecdotes and episodes I want to read about in more detail now.

Which is a problem with the book that it’s probably fairer to hold against it – it’s ostensible subject matter could fill libraries, and so to fit what it wants to into a readable 400-page volume, it condenses, focuses, filters and simplifies to the point of myopia. Which, granted, is the stereotypical historian’s complaint about absolutely anything that generalizes beyond the level of an individual village or commune, but still.

This isn’t at all helped but the overriding sense that this was a book that started with the conclusion and then went back looking for evidence to support its thesis and create a narrative. Which is a shame, because the section on the post-war and post-decolonization world is by far the sloppiest and least convincing, in large part because you can feel the friction of the author trying to make their thesis fit around the obvious objections to it.

Which is to say, the book draws a line on the evolution of Asian thought through trying to westernize/industrialize/nationalize and compete with the west on it’s own terms (in the book’s view) a more authentic and healthy view that rejects the western ideals of materialism and nationalism into something more spiritual, humane, and cosmopolitan, with Gandhi kind of the exemplar of this kind of view. It tries to portray this anti-materialistic worldview as the ideology of the future, the natural belief system of Asia which Europe and America can hope to learn from. It then, ah, lets say struggles to to find practical evidence of this in modern politics or economics, lets say (the Islamic Republic of Iran and Edrogan’s Turkey being the closest). It is also very insistent that ‘westernization’ is a false god that can never work, which is an entirely reasonable viewpoint to defend but if you are then you really gotta remember that Japan/South Korea/Taiwan like, exist while going through all the more obvious failures. One is rather left feeling that Mishra is trying to speak an intellectual hegemony into existence, here. (The constant equivocation and discomfort when bringing up socialism – the materialistic western export par excellence, but also perhaps somewhat important in 20th century Asian intellectual life – also just got aggravating).

It’s somewhere between interesting and bleakly amusing that modernity and liberal democracy have apparently been discredited and ideologically exhausted for more than one hundred years now! Truly we are ruled by the ideals of the dead.

I could honestly complain about the last chapter at length – the characterization of Islam as somehow more deeply woven in and inextricable from Muslim societies than any other religion and the resultant implicit characterization of secular government as necessarily western intellectual colonialism is a big one – but it really is only a small portion of the book, so I’ll restrain myself. Though the casual mention of the failures of secular and socialist post-colonial nation-building projects always just reminds me of reading The Jakarta Method and makes me sad.

So yeah! I felt significantly more positively about the book before I sat down and actually organized my thoughts about it. Not really sure how to take that.

[hobiebrownismygod]

Headcanon: Pavitr knows Kalaripayattu and uses it when he fights

History:

Kalaripayattu is an ancient form of martial arts that was specifically designed for the battlefield. It originated in a state named Kerala, in South-western India and is actually fairly similar to Kung-Fu.

In the 13th-16th century, Kalaripayattu was a way of life in Kerala, believed to have been often taught to children as customary training. However, after the British Invasion and imperialism of India, Britain set laws in place to quell any possibility of Indian rebellion, preventing people from practicing or training in this martial art form. After this, it was only taught and practiced in very rural areas in order to avoid confrontation with the law.

Eventually, in the 1920s, it was revived and during a period of traditional rediscovery. There was a rise in the number of Kalaripayattu schools and Kalaripayattu presentations gained a lot of popularity. Now, although still not as well-known as many of the other Asian martial arts, it is a widely-known martial art form in South India and practiced by many.

It is also believed to be the oldest surviving martial art in the world, with a history spanning over 3000 years.

Style:

Like most martial arts, Kalaripayattu focuses on mind over body. Having complete control over your mind is essential to being able to succeed in mastering this art.

Ashtha Vadivu are 8 poses derived from the instinctual movements of wild animals, poses that were designed to make your body more flexible and powerful. They also help the student develop balance and stability.

Maithari are 18 different exercises practiced to achieve peak physical fitness and heightened reflexes. By practicing these, one can strengthen their body and their mind in order to be able to properly participate in combat situations.

Kalaripayattu also involves the usage of different kinds of weapons. Spears, swords and shields are all used, along with maces and really any weapon that can slash, stab or cut. Special wooden whips, knives and staffs can also be used.

This is an example of a Kalaripayattu tournament!

Headcanon:

In the comics, Pavitr was often bullied because of the fact that he came from a small town and wore different clothes than the other boys in Mumbattan. He was given his powers by an ancient Yogi, gaining the magical powers of a spider.

Because Kalaripayattu is very spiritual and based off the religious myths, it would make sense for Pavitr to incorporate it into his fighting style! I think he would've learned it prior in order to protect himself from his bullies, and eventually began to use it when he fought villains as Spider-man as well.

Its a lethal fighting style with weapons, but in hand-to-hand combat, wouldn't be as deadly so it would make sense for Pavitr to use it when he fights, in order to defend himself or strike his enemies.

Just random thoughts <3

Sources below the cut!

[politijohn]

Hey, I was a bit curious. You mentioned you support democratic socialism. Most of the historical examples we can pick of socialism are inherently non democratic, we can also take examples of some current ones like Venezuela. We can take that a bit further if we include communism in this conversation. How do you propose that fits in today's world, especially when socialism (or communism) is not sought after by world leaders? Even countries who claim to be socialists (for example India) are moving towards capitalism, they are in fact capitalists in everything but name. So I was curious as to how America could be a democratic socialist when it was the one who proposed and actively advocated for capitalism. I suppose what I really want to know is, is that even plausible? And if so, how do you think that could practically happen?

Also wanted to add that I really love the content you put out! Very informative. Sorry if I went too over board!

You posed good questions! It's my view that the next realistic step the US should make is to social democracy, which still adheres to the capitalist framework. Imagine a country where Bernie Sanders' platform is the norm rather than our broken neoliberal status quo.

This is not the end goal, however. Even though social democracies significantly improve their citizen's quality of life, they still perpetuate injustices globally.

Socialism - true socialism - ensures a truly democratic society while addressing injustices. But it is also fragile; greedy entities, which the world is full of, can quickly corrupt the system because the state, by its publicly-owned nature, has been given sole power over societal services and goods.

Socialism, today, has a sour taste to the average American because of propaganda and bad-faith actors co-opting socialist movements did terrible things in its name (We can't forget many of these states were forced into terrible conditions by Western imperialism in the first place). This sour taste poses a real challenge to convince Americans that socialism is a worthwhile goal. Anything progressive in the political realm is painted as socialism, as if it is some evil to be avoided at all costs.

To shift the narrative, we must continue fighting for leftist policy and interventions. They're widely popular, despite what politicians and mainstream media say, and we must make them a reality by demanding that of our public officials. Running more leftist candidates, engaging in direct action, and participating in organized civil disobedience will help hold government institutions accountable. During the FDR years, we saw how our government can work FOR us in a more socially democratic fashion. Convince people that these policies propel society further compared to the status quo and force an 'ah-ha' moment that socialist government and policies aren't so bad.

This, I believe, will allow us to keep moving further left toward democratic socialism. When people's basic needs are met under social democracy, they can increasingly turn their attention and energy to bigger issues like climate change, imperialism, and other global crises.

[octuscle]

What's up bro? After that lunar landing, India seems like the place to be! Problem is, I don't think the suitcase I brought will be enough for me to last seeing everything from the Taj Mahal to the golden temple. Can I borrow one of the DEL suitcases?

There is actually another suitcase. A fairly new aluminum suitcase from RIMOWA. Looks very expensive. And doesn't necessarily match your dusty and sweaty tourist outfit…. But since no one else has contacted me: Have fun with it!

Delhi… A really huge city. But also really challenging for a tourist who doesn't speak Hindi. But slowly you get used to the strange English they speak here. And somehow you finally find the Airbnb in the old city, a stone's throw from the Red Fort. It smells of sweat, urine and exotic spices in the stairwell. The stairs are steep and you are pretty tired. Heaving your suitcases up is really exhausting. But you have made it. You'll see what's in the big new suitcase tomorrow. You just want to sleep. It looks like the bed in the room hasn't even been made yet. You don't care about that now. Just sleep…

When you wake up the next morning, your old suitcase is gone. But also your old pajamas are gone. You lie naked in bed. And something is different… Your morning wood is hard as steel. Hehehehe, that's not bad… But it's also darker somehow. A shade like a coffee with a shot of milk. Coffee! Yes, you need it now. You get out of the silk-sheeted bed and your boner leads you like a divining rod to the coffee maker in the alcove between your dressing room and the master bath. After the first coffee, quickly take a shower and then get dressed.

And then a second coffee. Your driver will be here soon. Good thing your suitcase is already packed next to you.

You don't like Noida. But many of your friends live there because they have located their startup companies there and it is easier to find capable software developers. But that's not your world either. Your family made their money generations ago in real estate and in the textile industry. And you now head the banking and finance division in your family holding company. After all, you have financed some of your friends' startups. And today one of your friends is getting married. In Noida. You'll survive that, too.

The journey was long, as usual. Getting out of Delhi takes time. But at least you were able to make a number of phone calls while your driver navigated the car safely through the traffic chaos. Now you have moved into your suite. In the corridor hectic movements between the rooms. Bridesmaids and other guests scurry from room to room. You hate this hassle. In life, you would never think of getting married. But the bellboy who carried your suitcase upstairs was hot. You call the front desk and ask for someone to help you unpack your luggage and get dressed. The hotel is one of the most preferred locations for weddings in Noida. You are a regular guest here. They know your preferences. And the bellboys love your cock. You can already imagine that now there will be a fight again, who is allowed to blow you and gets the tip for it.

Yes, that was good… Your cock dangles relaxed between your legs. Your clothes fit perfectly. So on to the ballroom. And let's see who is your boring dinner companion this time.

[nateconnolly]

Two styles of narration dominate the field of history: progress and alteration. These are two ways of describing change. Progress narratives and alteration narratives are mutually exclusive. The first tells the story of the past as a movement, or “progress” toward some ultimate end. Alteration narratives do not analyze the arc of history as movement toward any destination.  An “ideology of progress” (Chakrabarty 7) posits that humans and events move toward a teleological endpoint. Progress narratives are defined by their implicit or explicit assumption that history is a process of development. They are “stagist” (Chakrabarty 9) because their stories of history proceed in delineated stages. In this type of model, societies and/or Society grows in the same way that child becomes an adult. Humanity has a “Youth” and will have an “Old Age” (Nietzsche 30). The growth never ceases — every action, every accident, makes “the world… more complete” (Nietzsche 6). The world moves closer to “its end in every moment” (Nietzsche 6). That end is a moral, religious, or cultural completion. Progress narratives declare that all nations or cultures begin incomplete, and that they will — they must — become complete over time. History, in these models, is the journey toward the End.  Progress narratives are as diverse as they are plentiful. Marxism posits that societies and/or the globe as a whole move toward the Communist state. Social Darwinianism directly compares historical changes to the evolutionary concept of fitness. Colonialist ideology is based on the assumption that societies undergo a process of “development and civilization” (Chakrabarty 8). One such colonial philosopher is Mill, who believed “[humans] were all headed for the same destination,” and that India had to become like Europe (Chakrabarty 8). Schiller describes the end as “a harmonious totality” (Nietzsche 24). Note that there is not a shared endpoint in all progress narratives. Nietzsche writes that the endpoint of a progress narrative could be “happiness, resignation, virtue or repentance” (6). Sometimes, two progress narratives directly contradict each other. Marx’s ideal endpoint is a secular, atheistic state; Mill’s colonialism is fundamentally religious. But they share their belief in a “shape” of history that bends in service of a great good.  On the other hand, alteration narratives accept that human societies change, but do not assume that this change is a form of evolution. They do “not entail any necessary assumptions of teleology” (Chakrabarty 23). While it is true that societies are always “developing” (Chakrabarty 23), there is no universal endpoint toward which they must move. Alteration narratives do not only dispute that society must move toward this or that end. They dispute that society must move toward any ideal at all. The alteration from one organization of society to another is always “secular, empty, and homogenous,” according to Walter Benjamin (Chakrabarty 23). 

You can read the rest on Substack:

[iismmumbai]

Barriers to pursue Sports as a Mainstream Career-SAI RC Mumbai-Panel Discussion-IISM Mumbai

Sports Authority of India, Regional Centre Mumbai, is organizing a Y-20 Panel Discussion at IISM, Mumbai, on 29th May 2023, from 10 a.m. onwards.

Topic of Panel discussion: "Barriers to pursue Sports as a Mainstream Career." The panel discussion intends to reach the greatest number of youngsters and provide a lively and energetic debate on the same.

Join us for the panel discussion and stay tuned to learn more about our esteemed panelists from the sports background.

International Institute of Sports & Management-IISM

[eatmangoesnekkid]

Even if you are celibate, you want to still have access to arousal in your body instead of numbed out. You still want to have connection to your orgasmic range as well. I also know it's tender thing too because we weren't necessarily taught to think of arousal or orgasm beyond being in relationship to men or a lover. That's the huge shadow I'm seeing buried in the female psyche that hinders us in accessing deeper mysteries. We are literally the only mammal on the planet who has an organ whose sole function is pleasure: the clitoris. I want to be pristinely clear though that when I speak about "arousal" or "orgasmic range," I'm not necessarily talking about sex with a lover. I am, however, speaking the primal truth of the divine nature of a healthy female body and how it functions best--with orgasmic arousal energy flowing throughout from root to crown, whether due to seeing a stunning sunset over the wild horizons of South Africa, feeling the seat of the machine move deeper into your body while doing seated calf raises at the gym, or taking your time while making sourdough bread or incredible love with your Beloved lover. What's important to emphasize is that when you have high arousal or a large orgasmic capacity, you also have an enlarged amount of creative energy. Even if you are celibate, you have to transmute this energy beyond chronically masturbating, moving it up your spine and turning it into spiritual energy to manifest the most incredible ideas, next step directions, and advanced intuition. With celibacy, a movement practice is essential so that your energy doesn't pool or become too dense or heavy. And masturbation is fine, but too much masturbation drains your chi. You need art, hobbies, skills like learning a new language, fitness, creative projects, entrepeneurship, music, dance lessons, and the like. -India Ame'ye, Author

[teaah-art]

Desi LGBT Fest 2023 (hosted by @desi-lgbt-fest)

Day 7 : Faith/Rituals of Love

Definitely geared heavily towards the 'Faith' part of this prompt as soon as I read it!

If being Queer is defying conventions and if being a part of the Queer community means going against heteronormativity and gender conformity, is it not Queer to forego materialistic ties and the love of a human partner and embrace the love of a greater being you have only heard about in stories?

All four individuals featured here were integral part of the Bhakti Movement and/or Sufism in South Asia. None were married other than Meerabai.

(Panel order from top to bottom)

Chaitanya Mahaprabhu (1486-1534) : A key name of the Bhakti Movement and the Gauriya Vaishnav tradition in 15th Century Bengal, Chaitanya Mahaprabhu was believed to have been a vessel for both Radha and Krishna. Bengali doesn't use pronouns or gendered language and we may never know what they would have preferred to be identified as in a language they didn't know (English), I will simply resort to using They/Them for them. Their written teachings are few and far between but the verse mentioned here is the seventh verse of the only written record of their teachings, the Shikshastakam - a collection of 8 total verses. The translation here is my own and quite literal so that the interpretation is left to the reader.

Meerabai (1498-1597) : [CW : IMPLIED QUEERPHOBIA/APHOBIA] Meerabai was born into Rajput royalty and was married off, also to Rajput royalty, in likely an arranged marriage. While most of the stories surrounding her are folklore whose historicity is yet to be confirmed, her marital status can be confirmed, and so can her devotion and affection for Krishna and the divine, which she has herself penned in numerous poems and songs. Folklore does strongly imply that she was non-committal to her marriage and that her in-laws tried to poison her to death multiple times for it.

Kabir (1398–1448 or 1440–1518) : Found as an orphan by a Muslim weaver couple, Kabir's religion grew to become somewhat of an enigma for future generations. His stance, however, on the topic romance and marital relationships is quite clear - he looked down upon them and a huge chunk of his couplets strongly imply that romantic and sexual relations simply obstruct spiritual enlightenment.

Bulleh Shah (1680-1757) : Bulleh Shah, though an ardent proponent of loving the divine, was declared a Kafir, a non-believer/non-Muslim by a quite a few Muslim clerics of the time. He was known for speaking up against existing power hierarchies of the time and used vernacular speech for his writings (Punjabi, Sindhi) which not only served to popularize his works, but also let people connect to his words.

A personal note on my motivations under the cut.

A while back when I was actively going through the anxiety of finding out that I am ace and that I will never fit into the current South Asian society that the wedding industry has a chokehold on, I desperately wanted to see people from my own culture living happily without a partner. During one of my history rabbit hole escapedes, I restumbled upon the story of Meerabai, how she always insisted on loving and devoting herself towards Krishna, despite being married into a normative and wealthy household and despite her in-laws repeatedly attempting to poison her for not committing to her husband. Most of us from India grow up hearing about Meerabai, her spiritual connections to Krishna, and her struggles. The moral of those stories is always framed as 'believe in god, he will help you through tough times'. But this was the first time I was making a different connection, I was drawing different morals. And when I took Meerabai's non-conformity to her married life and started looking for more examples like hers, I was overwhelmed by how many more individuals existed without a partner, condemned being in a normative, married relationship, admitted to having lost human connections and faced resistance even, and yet stayed true to their orientation and sounded HAPPY! It was extremely hard to narrow it down to these four, but these do make my point! Labels are hard to transpose across cultures and history. But if being queer means being nonconforming of marital structures and being aspec/arospec implies neutrality, indifference, or aversion to romance and intercourse, then no one fits the label if they don't.

[ovwechoes]

DPS Girls & what's on their FYP (headcanons) This is very self indulgent but these are my hcs for what I think would be on each dps girls' fyp on tiktok c: they're under the cut - enjoy !

Elizabeth Caledonia “Calamity” / Ashe: Elizabeth's fyp is definitely littered with weaponry videos, especially historical ones where they restore them. Chainmail, swords, guns used in the American Revolution, things like that. She likes the videos where people show off their historical lighters too, and her fyp reflects that. On the other hand, she's definitely got a good amount of luxury lifestyle videos where people show off their designer items, high end perfumes, etc.

Echo: Echo's fyp is often a reflection of her need to understand humans - she watches a lot of TED talk videos reuploaded to tiktok, and likes to watch those ai generated videos from reddit with the story times. It's her guilty pleasure, and she often finds them interesting, especially when she reads the comments and sees the plethora of different opinions and perspectives. Plus, it helps her unwind after a difficult day since she doesn't need to focus on them too heavily to know what's going on.

Mei-Ling Zhou: Mei has an affinity for those calming, relaxation videos with rain sounds that have the most beautiful sceneries. She likes vicariously living through the pictures of mountains or fields people post when they're hiking, and loves to indulge in the beauty of the scenes they're in. It's something that helps bring back her passion if she's lost it in that moment. Besides from that, she gets a lot of activism posts ever since she deep dived the meaning behind the phrase ‘flowers are blooming on Antarctica’ and heard Lena talking about the Just Stop Oil movement in the UK. Mei enjoys seeing people actively fighting for the planet, and it's something she'll always interact with.

Fareeha Amari / Pharah: With Fareeha's lifestyle, she would definitely have gymtok flooding her fyp - she likes to get new ideas for workouts, and loves exploring new brands to try for her own leisure and fitness. She gets the occasional video about family and generational trauma, with it being something she resonates with. But, she likes to have some humour on her FYP and she'd definitely be the type to have freaky bob sort of videos on it.

Vivian Chase / Sojourn: Vivian enjoys alcohol related videos, especially if they're aesthetic. She likes to watch wine bottle dipping, the process of making wine out of unconventional ingredients like sweets. It's her guilty pleasure, and she finds them pleasing to the eye. On the other hand, she'd probably have those reuploaded tiktok videos with the questionable videos next to them (iykyk), and she unironically likes them a lot.

Olivia Colomar / Sombra: Olivia's fyp is definitely in the ravetok sort of area of things - she loves to watch videos of Boiler Room sets, rave outfits, etc. and it's her guilty pleasure. Anything related to rave or club culture is on her fyp for sure. She loves videos about fashion too, especially cyberpunk fashion. It's something she'll always like and it gives her ideas for her own outfits.

Satya Vaswani / Symmetra: Satya has a guilty pleasure for videos where people make digital art on roblox, in VR, that sort of thing. Something about it tickles her brain just right. On that note, she definitely enjoys those ASMR slime/clay videos too for the fact that they help her unwind mentally (even when she's somewhat judging small details in the video like the creator's nails or movements). However, she would definitely have videos about Indian culture, exploring her heritage. She misses India, and so her fyp would have the occasional video about Sarees or about the upcoming Diwali date/plans people have to celebrate. 

Lena Oxton / Tracer: On Lena's fyp, you can expect to see videos about extreme sports or thrill-seeking activities, like skydiving, bungee jumping, pole vaulting, BMX racing, drag racing, etc. She enjoys watching and envies them for their ability to have the guts to go through with it. It inspires her and makes her want to explore more avenues of adventure in life, especially with Emily. On the other hand, she definitely gets a lot of Olympic content on her fyp and is up to date with the current events and drama surrounding the Olympics.

Amelie Lacroix / Widowmaker: Amelie binge-watches Nara Smith's content sorry not sorry. She loves aesthetic, calming cooking videos she can mindlessly watch. She lives vicariously through the videos, especially if the creator is a married woman with children. It sometimes brings her mood down, but she mostly focuses on how good the food looks and how accurate French dishes are. She likes to watch videos of people attempting to bake desserts, especially macarons, and always comments tips and tricks she's learned or been taught in the past to help the creator and others.

[fatehbaz]

Yes, it is critical to acknowledge the centrality of Britain to the world economy in order to understand how Chinese and Indian tea fitted into it. [...] Asian tea relied on forms of employment [...] such as independent family farms in China and indentured ‘coolies’ in India. [...] It would be very difficult to explain how and why Asian tea became driven by the modern dynamics of accumulation then, unless we connect China and India to the broader global division of labor, centered on the most cutting-edge industrial sectors in the north Atlantic. [...] But I also wish to reframe the idea of British capital as “protagonist,” because when we think about capital, agency is a weird thing. [...] Nothing about accumulation is inherently loyal to this or that region, though it has been concentrated in certain sites, such as nineteenth-century Britain or twentieth-century US, and it has been territorialized by nationalist institutions. Thus, although British firms drove the Asian tea trade at first, by the twentieth century Indian and Chinese nationalists alike protested British capital [...].

Most economic histories were focused on whether other countries could ever develop into nineteenth-century England. For labor historians, Mike Davis recently wrote, the “classical proletariat” was the working classes of the North Atlantic from 1838-1921. These modular assumptions jump out when you flip through the classics of Asian economic and labor history, almost always focused on some sort of textile industry (silk, cotton, jute) and in cities such as Shanghai, Osaka, Bombay, Calcutta. By contrast, I was really inspired by a field pioneered by South Asia scholars known as “global labor history” — especially the work of Jairus Banaji — which has been critical of the centrality of urban industry in economic history. Instead, these scholars reconsider labor in light of our current world of late capitalism, including transportation workers, agrarian families, servants, and unfree and coerced labor. These activities have enabled global capitalism to function smoothly for centuries but were overlooked because they did not share the spectacular novelty of the steam-powered factories of urban Europe, US, and Japan.

As far as how tea production worked: in simple terms, Chinese tea was a segmented trade and Indian tea was centralized in plantations known as ‘tea gardens.’ The Chinese trade relied on independent family farms, workshops in market towns, and porters ferrying tea to the coastal ports: Guangzhou (Canton) then later Fuzhou and Shanghai. By contrast, British officials and planters built Indian tea from scratch in Assam, which had not been nearly as commercialized as coastal China or Bengal. They first tried to replicate the ‘natural’ Chinese model of local agriculture and trade, but frustrated British planters ultimately decided to undertake all of the tasks themselves, from clearing the land to packaging the finished leaves. [...] Indian tea was championed as futuristic and mechanized. [...]

In India [...] the tea industry’s penal labor contract became one of the original cause célèbres of the nationalist movement in the 1880s. The plantations later became a site for strikes and hartals, the most famous occurring in the Chargola Valley in 1921. But even though tea workers chanted, “Gandhi Maharaj ki jai” at the time, Gandhi himself had allegedly visited Assam and declined to see the workers, meeting instead with British planters to assure them they were safe. While Indian nationalists had politicized indenture in Assam tea, their main complaint was the racialized split between British capital and Indian labor. Their remedy was not to liquidate the tea gardens but to diversify ownership over them. The cause of labor was subordinated to the nationalist struggle.

---

Words of Andrew B. Liu. As interviewed by Mark Frazier. Transcript published as “Andrew B. Liu - Tea War: A History of Capitalism in China and India.” Published online by India China Institute. 23 March 2020. [Some paragraph breaks and contractions added by me.]

[tubetrading]

Key Design Considerations for Pantograph Support Insulators in High-Speed Rail Systems

In the realm of high-speed rail systems, every component plays a crucial role in ensuring safe and efficient operations.  Among these components, pantograph support insulators stand out as critical elements that facilitate the seamless transmission of power from overhead lines to the train's electrical system.  As a leading pantograph insulator manufacturer in India, Radiant Enterprises recognizes the importance of meticulous design considerations in crafting reliable and durable insulators.  In this blog post, we'll explore the key design considerations essential for pantograph support insulators in 25 KV high-speed rail systems, shedding light on Radiant Enterprises' commitment to excellence in manufacturing.

Understanding Pantograph Support Insulators

Pantograph support insulators are integral components of the overhead electrification system in high-speed rail networks.  These insulators provide electrical isolation and mechanical support for the pantograph, which is the apparatus mounted on the train's roof responsible for collecting electricity from the overhead wires (catenary).  In 25 KV high-speed rail systems, where trains operate at exceptionally high speeds, the performance and reliability of pantograph support insulators are paramount.

Design Considerations for Pantograph Support Insulators

Material Selection:  The choice of materials significantly influences the performance and longevity of pantograph support insulators.  At Radiant Enterprises, we utilize high-quality, durable materials such as silicone rubber or composite polymers that exhibit excellent electrical insulation properties, mechanical strength, and resistance to environmental factors such as UV radiation, pollution, and temperature variations.

2.   Electrical Insulation:  Ensuring reliable electrical insulation is paramount to prevent electrical arcing and ensure the safe transmission of power.  Our pantograph support insulators are engineered to withstand high voltage levels (25 KV) and exhibit low electrical conductivity to minimize power losses and mitigate the risk of electrical faults.

3.   Mechanical Strength:  Pantograph support insulators are subjected to mechanical stresses induced by the pantograph's movement and external forces such as wind loads and vibrations.  Therefore, our insulators undergo rigorous mechanical testing to ensure they can withstand these forces without deformation or failure, ensuring uninterrupted operation and minimal maintenance requirements.

4.   Corrosion Resistance:  In outdoor environments exposed to moisture, pollution, and corrosive agents, corrosion resistance is essential to maintain the structural integrity of pantograph support insulators over their operational lifespan.  Our insulators are engineered with corrosion-resistant materials and undergo surface treatments to enhance their resistance to rust and degradation, ensuring long-term reliability and performance.

5.   Dimensional Accuracy:  Precision engineering is critical to ensure proper fit and alignment of pantograph support insulators with the overhead wires and the train's pantograph.  Our insulators are manufactured with tight tolerances and undergo strict quality control measures to guarantee dimensional accuracy and compatibility with the rail infrastructure, minimizing installation challenges and optimizing performance.

6.   UV Stability:  Exposure to ultraviolet (UV) radiation can degrade insulator materials over time, compromising their electrical and mechanical properties.  Therefore, our pantograph support insulators are formulated with UV-stabilized materials that withstand prolonged exposure to sunlight without degradation, ensuring reliable performance and longevity in outdoor applications.

Radiant Enterprises:  Your Trusted Pantograph Insulator Manufacturer in India

As a leading manufacturer of pantograph support insulators in India, Radiant Enterprises is committed to delivering superior quality products that meet the stringent requirements of high-speed rail systems.  Our state-of-the-art manufacturing facilities, coupled with a team of experienced engineers and quality assurance experts, enable us to design and produce pantograph insulators that excel in performance, reliability, and durability.

Conclusion

In the dynamic world of high-speed rail systems, the reliability and performance of pantograph support insulators are critical for ensuring safe and efficient operations.  By adhering to meticulous design considerations such as material selection, electrical insulation, mechanical strength, corrosion resistance, dimensional accuracy, and UV stability, manufacturers like Radiant Enterprises can deliver pantograph insulators that meet the demanding requirements of 25 KV high-speed rail systems.  As a trusted pantograph insulator manufacturer in India, Radiant Enterprises is committed to providing innovative solutions that contribute to the advancement of railway electrification technology and the seamless operation of high-speed rail networks.