Dilmun, the Lost Bronze Age Civilisation in the Gulf

Posted on by sabinebuena
Ancient history, Archaeology, Geography, Regional History
Modern Bahrain (image: worldatlas.com)

The culmination of archaeological excavations on the island state of Bahrain during the 20th century (see endnote) saw the emergence of a fully-formed Bronze Age city that had been buried for 4,000 years. The Saar settlement, as it is known, was found to comprise two sections, a residential zone and some distance away a “honeycomb” cemetery. Archaeologists working at the site described Saar as having all the elements of a modern city including houses, restaurants, commercial outlets and a place of worship [Sylvia Smith, ‘Bahrain digs unveil one of oldest civilisations’, BBC News, 20-May-2013, www.bbc.com].

Excavated sites on Bahrain (image: archaeologydataservice.ac.uk/)

The great Qal’at tell: Saar is the not the only Bahraini site to yield evidence of ancient civilisation. Located at the northern point of the island is Qal’at–al-Bahrain (Fort of Bahrain), a vast tell (artificial mound) 18-hectare in size, which when excavated revealed three early Dilmun cities (dating to 2,800BC) and one later Greek city (200BC), all built on top of one another!(ᗩ) Like Saar, Qal’at–al-Bahrain had multiple human uses, public, residential, religious as well as military, and was in all likelihood the capital of the ancient Dilmun state. There are also approximately 170,000 burial mounds, in Bahrain occupying some 5% of the of the island (Smith)(ᗷ)…including the royal tombs at A’ali which are 15 metres in height.

The Fort , Qal’at al-Bahrain (source: UNESCO World Heritage Centre)

The archaeological finds pieced together testify to the existence of an ancient civilisation known as Dilmun (also rendered as Telmun), which means in the Akkadian language “the place where the sun rises”. The Dilmun region in antiquity—populated by an East Semitic people—stretched over an area comprising Bahrain, the islands of Failaka (today part of Kuwait) and Tarout (now part of Saudi Arabia) and a coastal strip on the East Arabian mainland.

Mesopotamia, the Gulf, Dilmun (image: peterborougharchaeology.org/)

Dilmun as entrepôt for north and south: Dilmuth is mentioned in Near Eastern historical sources, in Sumerian economic texts of the Fourth Millennium BC, written on cuneiform clay tablets, which identify Dilmun as a regional commercial centre [‘Dilmun’, Encyclopedia Britannica, www.britannica.com]. Seen from the early Mesopotamian civilisations’ perspective, the key strategic location of Dilmun was central to trade. Sumer (and Babylon) wanted the luxury commodities produced by the Indus Valley civilisations (Meluha) – spices, precious stones, ivory, etc. But to facilitate trade with the Indian merchants and secure these highly desirable goods, the Sumerians sought to avoid the overland route which took them through a habitually hostile Persia…the sea route via the Gulf and Dilmun allowed Sumer to bypass Persian territory altogether [‘The Sumerian Connection’, (Jon Mandaville), Saudi Aramco World, (1980), www.archives.aramco.org]. By this circumstance Dilmun was able to establish itself as the hub for trade between Mesopotamia and South Asia. Dilmun merchants at one point maintained a monopoly over the supply of copper, a precious commodity produced in the mines of Oman (then called Magan), also much in demand in the cities of Mesopotamia as a metal of improved durability for weapons, utensils and tools(ᑕ). Dilmun also had commercial ties with other cities in the Near East, with Elam in Iran/Iraq, Alba in Syria and Haitian in Turkey (Smith).

“Boats from the land of Dilmun carried the wood”, inscription on a relief of Ur-Nanshe (c.2550–2500 BC)

By some time around 2,050 BC an independent kingdom of Dilmun was at the apex of its powers. Control over the Persian/Arabian Gulf trading routes had made Dilmun a very prosperous state. Agriculture played its part in Dilmun’s commercial ascent as well. The countryside was fertile land both for the farming of livestock and the growing of diverse crops due to the presence of artesian springs.

Early Dilmun burial mounds (photo: Danish Gulf Expedition/Moesgaard Museum)

Decline of Dilmun: From the mid-Second Millennium Dilmun started to enter a decline. Beginning before 1,500 BC the kingdom(ᗪ) is conquered by the first of a series of dominant regional powers – the Sealand Dynasty, followed by the Middle Assyrian Empire, the Neo-Assyrian Empire and the Kessite Dynasty (Neo-Babylonian Empire). Dilmun was further weakened after 1,000 BC by the flourishing of piracy in the Gulf. By 800 BC it is no longer a trading power, having entered a Hellenistic period, it becomes Tylos. By the time of the fall of Babylon, 539 BC, the Dilmun civilisation had been abandoned.

Saar site

Dilmun in the Sumerian creation myth: In Mesopotamian mythology Dilmun held special significance to Sumerians, referred to regularly in texts as a paradisal place to the south…a pure, virginal and pristine land which the (Sumerian) god Enki provides with abundant fresh water, a place where its inhabitants are no longer plagued by the ravages of disease and old age [‘Paradise Found? The Archaeology of Bahrain’ www.peterborougharchaeology.org]. The heavenly characterisation of Dilmun has led some scholars to hypothesise that arguably it may be the location of the Biblical Garden of Eden(ᗴ).

Endnote: The key pioneering work on the location and unearthing of Dilmun civilisation was undertaken by archaeologists Geoffrey Bibby and Prof Peter Glob in the 1950s. Bibby and Glob led a Danish expedition which was the first to excavate the ruins of the ancient civilisation at the Qal’at and Saar sites and date it to the early Dilmun era.

Dilmun excavations (photo: cphpost.dk)

(ᗩ) there is also a Portuguese fort at the Qal’at site built during their occupancy of Bahrain in the 16-17th centuries

(ᗷ) prompting one academic to conjecture that perhaps as many as 20,000 people lived in Dilmun at the ancient civilisation’s peak [C.E. Larson, Life and Land Use on the Bahrain Islands (1983)]

(ᑕ) Dilmun itself exported dates and pearls, the latter especially prized for their quality, thought to be the result of the mixing of salt-water and submarine spring-waters (www.ngwa.org)

(ᗪ) Virtually nothing is known of the Dilmun dynasties or rulers other than the names of some of the kings, garnered from discovered cuneiform inscriptions (eg, Yagli-El, Ilī-ippašra)

(ᗴ) also echoed in the great epic poem of the late Second Millennium, the Gilgamesh Epic

The 1895 Republic of Formosa: Defying a Japanese Fait Accompli for 151 Days

Posted on by sabinebuena
International Relations, Military history, Regional History

Since 1949, for the small island-state of Taiwan (ROC), the question of its security and independence has been dominated by its hostile and fractious relationship with its large mainland neighbour, communist China (PRC). But 130 years ago the people of Taiwan were preoccupied less with the threat of Chinese subjugation than with that of another emerging Asian giant, Japan. In 1894-95 the Empire of Japan and Qing Dynasty China fought a one-sided, eight-month war, resulting in a humiliating Chinese capitulation and the loss of a number of Chinese-controlled territories to Japan (Korea, Taiwan and the Pescadores (now Penghu Islands)){𝓪}.

1896 Meiji map of Taiwan under Japanese rule (image: pinterest.com.au)

Japanese spoils of war: Under the Treaty of Shimonoseki which ended the war, the Qing government ceded Taiwan (a province of China since 1887) to the victorious Japanese…the Japanese military has already captured the strategic Pescadores in the Taiwan Strait while peace negotiations were still taking place, thus blocking the possibility of Chinese reinforcements being despatched for the mainland to help the Taiwanese. This prompted a defiant reaction from within Taiwan…a group of Taiwanese notables led by politician Qiu Fengjia viewed the outcome as a betrayal and determined that they would resist the Japanese takeover. The group declared independence and proclaimed a free and democratic “Republic of Formosa”. The former Chinese governor of Taiwan Tang Jingsong was persuaded to take the office of president of the Republic of Formosa. As the Sino-Japanese treaty had already given legal status to the annexation, no international recognition was afforded the new republic. As for China itself, the Qing government kept strict adherence to the terms of Shimonoseki—compliantly cooperating with Japanese objectives—although there was considerable unofficial support, especially in Beijing, for the Taiwanese insurrectionists.

A Japanese triptych woodcut print of scene from the Japanese invasion of Taiwan

Baguashan and beyond: On 29 May 1895 the Japanese under General Kageaki invaded northeastern Taiwan and commenced their campaign to pacify the rebellious locals. They met little resistance in capturing Taipei, the Taiwanese capital, and the army pushed south. “Black flag” general Liu Yang-fu was now the effective leader of the republic’s resistance (the unnerved Tang having fled back to the mainland). Under Liu, the Taiwanese fighters comprising militia and volunteers were no match for the Japanese soldiers’ superior manpower and training, forcing them to resort mainly to guerrilla warfare. In central Taiwan the resistance was stiffer, with the Taiwanese militia almost halting the Japanese at the Battle of Baguashan (late August), ultimately though the numerically stronger and better armed Japanese attained their objective of taking the town of Changhua, opening up the south to its advance. The push rolled on, eventually reaching the remaining southern Republican stronghold Tainan. By this time Liu had fled the country and the disillusioned Qing troops defending Tainan were persuaded to surrender the city, bringing the short war to its long expected conclusion, with it the irrevocable collapse of the Republic of Formosa [‘The rise and fall of the Republic of Formosa’, Gerrit van der Wees, Taipei Times, 04-June-2018, www.taipeitimes.com]. The Japanese victory was comprehensive but it took five months to subdue the island, much longer than it had anticipated at the outset. After the war Japan declared Taiwan pacified, however scattered resistance to its rule continued in the form of uprisings by Chinese nationalists and Hokkien villagers engaging and harassing the occupying Japanese force for years after.

Imperial Japanese troops, capture of Taipei, 1895

The casualties of the Yiwei War (as it is known in Chinese) on the Taiwanese side amounted to around 14,000 deaths including civilians. The Japanese lost over 1,000 killed or wounded in action, a moderate toll compared to the Taiwanese losses, however disease, especially dysentery and malaria, exacted a much higher death toll on the Japanese troops (officially 6,903 dead) than the Chinese had inflicted on them in combat [Jonathan Clements, Rebel Island: The Incredible History of Taiwan (2024)].

The short-lived republic produced its own series of stamps for the purpose of raising finance to run its administration and military defence

A desire for progressive change?: Many critics dismiss the ephemeral Taiwanese ‘Republic’ as inconsequential, its material and military strength dooming it to failure from the get-go in the face of imperial Japan’s colonisation mission. Nonetheless the brief Formosa republican experiment did pave the ground for some lasting positive effects…helping to shape the island’s individuality and distinctive history, it demonstrated a genuine taste on the part of educated and literate Taiwanese for representative government based on democratic principles, and in the long term it signified to the Taiwanese people that their fate was ultimately in their own hands [Jonathan Manthorpe, Forbidden Nation: A History of Taiwan (2002)]. Its advocates and defenders in 1895 created the trappings and symbols of a modern sovereign state – its own distinctive (yellow tiger) flag. The Formosa government issued its own paper money and its own postage stamps. The experience was also valuable in playing a part in shaping a Taiwanese national identity, helping to unify disparate groups within the island society, Hoklo speakers, Hakka and the aboriginal population (Wees).

The Republic of Formosa (Lion) flag

{𝓪} the Liaodong Peninsula (Dalian, parts of Anshan, Dandong and Yingkou in China’s northeast) had also been given to Japan but under pressure from the Triple Intervention (Russia, France and Germany acting purely in their own self-interests), the Japanese accepted a deal to retrocede it back to the Qing Chinese

{𝓫} Formosa (Ilha Formosa = “beautiful island”) was the name Portuguese sailors had given to Taiwan, also used by Dutch colonists

Zorro, Caballero and Social Bandit: From a Pulp Fiction Story to a Rapier Sharp Template for Inspiring Iconic Screen Superheroes

Posted on by sabinebuena
Cinema, Literary & Linguistics, Memorabilia, Popular Culture, Social History, Society & Culture

The Zorro story is deeply embedded in western popular culture, especially in the world of Anglophone cinema and television which trades heavily on all the familiar tropes, “carving the ‘Z’ on someone or something (the zigzagging mark of El Zorro)”; “secret identity of the protagonist, the elusive fox”🇦; “masked avenging angel fighting the powerful in the cause of the powerless”, etc. The fictional Zorro inherits the tradition of storied folklore heroes like Robin Hood and the Scarlet Pimpernel…in this Zorro is a worthy member of that exalted pantheon of morally-superior righters of heinous wrongs.

Batman: wardrobe tips from Zorro
Clark Kent aka Superman

Before Batman, Superman and the Lone Ranger: Zorro, he of the rapid rapier and distinctive black mask covering only his eyes, was a precursor to the iconic, quintessential American heroes of comic book and screen. There are transparent linkages between Zorro, the caballero (Spanish gentleman)–cum–rebellious outlaw, and Batman, the crusading superhero of Gotham City…both heroes effect a double identity. Both Don Diego de la Vega (Zorro) and Bruce Wayne (Batman) are wealthy aristocrats who feign unheroic personalities in their open identities🇧(compare Don Diego’s foppish even effeminate affectations with Wayne’s playboy persona). The dual/secret identities trope is also exhibited in the Supermen franchise, in times of great crisis or peril mild-mannered loser-type Clark Kent only has to dash into the nearest phone booth to instantly transform into peerless crime fighter Superman. The parallels extend to popular American TV westerns fare in the 1950s with the masked Lone Ranger who “was little more than Zorro in a western guise”, substituting the swashbuckler Zorro’s black garb and accessories with a lawman’s white outfit, etc. Zorro and Lone Ranger share another similar trait to their makeup, as does Batman. Unlike Superman, they don’t rely on superpowers or extra human strength but utilise “stealth, dexterity and ingenuity” to best the bad guys and end “corruption and abuse, and establish a world of moral justice” [John J. Valadez. (2016). The Lone Ranger Unmasked: Zorro and the Whitewashing of the American Superhero. Filmmaker Essay. Chiricú, 1(1), 135–151. https://doi.org/10.2979/chiricu.1.1.11]. In Batman’s case, he relies on his “scientific knowledge, detective skills and athletic prowess” [Bradford W. Wright, Comic Book Nation: The Transformation of Youth Culture in America (1968)].

(source: archive.org/)

Over 40 films, several TV series, novels, a musical, cartoons and comics, and the obligatory merchandise, Zorro as an entertainment phenomenon has been the complete package for over a century. But it all started with a simple and seemingly nondescript adventure story, The Curse of Capistrano by Johnston McCulley, appearing in print in a dime pulp magazine. First serialised in 1919, the template was picked up almost immediately by Douglas Fairbanks Sr (a Zorro tragic!) and his production company and developed into a box office hit silent movie, The Mark of Zorro in 1920. On the strength of The Mark of Zorro’s success McCulley serialised the Zorro tale, producing in all over 60 stories by the time of his death in 1958. The Curse of Capistrano by itself has sold more than 750 million copies worldwide!

Time setting for ‘Zorro’? McCalley’s Zorro stories are vaguely set during the later era of Spanish California (ca.1800–1821), however some of the film adaptations locate Zorro much closer to the gold rushes and the US takeover (late 1840s).

Guy Williams, the iconic Zorro of ‘50s television, and creator Johnston McCulley

Chicano bandit prototypes for Zorro: McCulley drew on sources from literature and legend—primarily Robin Hood and Baroness Orczy’s The Scarlet Pimpernel—for inspiration for the Zorro character, but he also gleaned much from the pages of history, especially of early California. McCulley seems to have modelled Zorro partly on various 19th century Californio bandidos, in particular Joaquin Murrieta whose actual historicity is uncertain🇨. The popular legend has Murrieta immigrating to the California gold fields but when gringos committed murderous atrocities against his family, the Mexican wreaks revenge on the American killers and embarks on a short but violent career of robbery and banditry. Murrieta’s “exploits” polarised opinion, Californian authorities identify him an enemy of the state and place a high price on his head while to Chicanos the romanticised outlaw has become a symbol of Mexican resistance to Anglo-American economic and cultural domination in California [‘Joaquin Murrieta’, Wikipedia, http://en.m.wikipedia.org]🇩.

Moviemakers even roped Zorro into the Italian Sword-and-Sandals (peplum strongman) sub-genre during its apotheosis, with Zorro Contro Maciste (1963)

Another Mexican bandit (more historically authenticatable than Murrieta), Tiburcio Vásquez, provided similar inspiration for McCulley. Vásquez attributed his 20-year career in crime to retribution for the racist attitudes of the norteamericanos—the white settlers from the US who had taken over Alta California after it had become an American state—and their treatment of non-Anglo (especially Mexican) inhabitants of California. Vásquez’s bold defiance earned him a folkhero following within the 19th century Méxican-American community (Valadez).

William Lamport (by PP Rubens)

An Irish Gaelic Zorro?: A decidedly non-Latino historical influence on the creation of Zorro is attributed to the career of Irish adventurer William Lamport, noted for being both an accomplished swordsman and a ladies’ man. The peripatetic Lamport served as a captain in the Spanish army and was sent to New Spain (Mexico) with a new, Hispanicised name to spy for the Spanish crown. The Eirish adventurer was appalled by the treatment of Amerindians and Black slaves in Mexico and sought to advance their liberation. Lamport was eventually arrested and accused of sedition and intending to set himself up as king of an independent Mexico. The Irishman was tried by the Mexican Inquisition and executed as a heretic in 1659 [‘The Man Behind the Mask of Zorro’, History Ireland, www.historyireland.com].

Banderas & Zeta-Jones in the 2005 sequel to ‘The Mask of Zorro’

TriStar Pictures’ 1998 production, The Mask of Zorro, with a vigorous, athletic Antonio Banderas in the title role, revived interest in the Zorro story and earned a cool US$250,000,000 at the box office. In the 1960s Disney’s television adaptation of the Zorro story (starring Guy Williams, the Anglo-sounding screen name of Armando Catalano) was one of the most popular programs on the box, especially with kids. So is Zorro just some innocuous action-adventure entertainment fare? Well, not according to some critical voices from the Latino community who see the Zorro phenomena as perpetuating Hispanic myths within the wider white-dominated mainstream, reinforcing “classic stereotypes of the Latin Lover (see also Footnote below) fighting endless series of inept Méxican villains” and misrepresenting the “multiethnicity and cultural complexity of of early California [‘Zorro still makes his mark’, Lewis Beale, Los Angeles Times, 28-June-2005, www.latimes.com]🇪. Others are critical of Zorro’s ethnicity, UCLA professor, Rafael Perez-Torres, emphasises the point that the “Robin Hood of the pueblo” is Criollo, a white Spaniard born in the New World of purely Spanish blood, he is always represented as the “honourable good ” against the evil and corrupt Méxican officials (Beale). Novelist Isabel Allende with an unorthodox take on Zorro (El Zorro: comienza la leyenda, 2005) subverts this idea of Eurocentric Zorro by reinventing his origin as a mestizo (mixed parentage: Spanish aristocrat father and Shoshone warrior mother).

The dandy Don Diego & macho he-man alter ego Zorro in the Walt Disney TV ‘Zorro’

Footnote: Celluloid Zorros One of the tropes employed by filmmakers in Zorro’s frequent screen appearances is Zorro as “sexy Latino lover”, as portrayed in the versions (big screen and small) by a bevy of heart-throb testosterone-charged actors – Tyrone Power, Guy Williams, Alain Delon, Antonio Banderas, George Hamilton (though Hamilton in the 1981 Zorro: The Gay Blade, tagline: “Zexy, Zany and Zensational!”, plays the black caped avenger purely for (campy) laughs).

🇦 zorro in Spanish translates as “fox”

🇧 Bob Kane co-creator of the Batman character admitted Zorro—and in particular the Douglas Fairbanks Sr swashbuckling portrayal in Mark of Zorro (1920)—heavily influenced his shaping of the “caped crusader”

🇨 Murrieta’s story is mostly recounted through a contemporary novel, The Life and Adventures of Joaquin Murieta: The Celebrated California Bandit (1854)

🇩Californio Salomón Pico was another historical figure in 1850s California with a similar sounding story embellished by local legend – grievously wronged by white settlers so he turns to banditry against the powers that-be and shares his booty with the local Mexican poor

🇪all of which is not to deny that there are countless other Latinos (and other peoples) who have derived genuine inspiration from the story and legend of Zorro to help fortify them in their very real, everyday struggles against unjust, authoritarian and oppressive regimes