Ivory Monkey Spread The Word 1995
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Ivory Monkey Spread The Word 1995
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Monica Y. sent a collection of vintage ads and cartoons illustrating how soap and cleanliness has been used as a metaphor for colonization. The first two ads show how soap manufacturers and colonialists alike colluded in suggesting that the colonized were unclean/uncivilized and needed to be cleansed/enlightened.
This first ad for Pears’ Soap reads:
The first step towards lightening The White Man’s Burden is through teaching the virtues of cleanliness. Pears’ Soap is a potent factor in brightening the dark corners of the earth as civilization advances while amongst the cultured of all nations it holds the highest place — it is the ideal toilet soap.
The phrase “White Man’s Burden” refers to the colonial-era idea that white men were burdened with bringing civilization to the uncivilized. See our post on a modern-day Pamper’s commercial invoking a white woman’s burden for another example.
This ad for Ivory soap depicts Uncle Sam (I think) passing out soap to American Indians (in blankets, no less) (text transcribed below):
A NEW DEPARTURE
SAID Uncle Sam: “I will be wise,
And thus the Indian civilize:
Instead of guns, that kill a mile,
Tobacco, lead, and liquor vile,
Instead of serving out a meal,
Or sending Agents out to steal,
I’ll give, domestic arts to teach,
A cake of IVORY SOAP to each.
Before it flies the guilty stain,
The grease and dirt no more remain;
‘Twill change their nature day by day,
And wash their darkest blots away.
They’re turn their bows to fishing-rods,
And bury hatchets under sods,
In wisdom and in worth increase,
And ever smoke the pipe of peace;
For ignorance can never cope
With such a foe as IVORY SOAP.”
This political cartoon, circa 1886, uses the metaphor of washing to describe the cleansing of the Chinese from the U.S. At the bottom it reads, “The Chinese must go.”
Anne McClintock does a fantastic analysis of these images in her book Imperial Leather.
I don't think that's Uncle Sam in the first image; I've seen a clearer reproduction (perhaps in McClintock's text) that makes him appear to be a typical captain-figure. Also, Pears is a British company, not an American one.
I don't believe the third item is a political cartoon but rather an actual advertisement, and one based on Nativism and xenophobia rather than colonialism. The Library of Congress has further information here : http://www.loc.gov/pictures/collection/pga/item/93500013/
You've elsewhere on this site pointed out the connections between Chinese stereotypes and clothes cleaners, especially in the mid- late-1800s. I take from this third ad a sense of 'use our soap to do your own washing, because then we can kick out the Chinese.' The LOC version (apparently identical) has the text below "The Chinese Must Go" reading as:
"We have no use for them since we got this WONDERFUL WASHER. What a blessing to tired mothers It costs so little and don't (sic) injure the clothes"
Jean-Michel Massing, an art historian, has written a series of articles on this subject (I would particularly recommend 'From Greek Proverb to soap advert: Washing the Ethiopian' in The Journal of the Warburg and Courtauld Institutes, 1995); the articles trace the development of this line of thought and feature some rather strange advertisements which actually show soap as literally removing skin pigmentation.
The second image down made me laugh. The native people in contact with the first European colonists in (what is now) the United States had very high cultural standards of personal hygiene. The Europeans bathed ~once per month. The native people thought the Europeans were, for the most part, absolutely disgusting.
I found this treasure at the museum of immigration in Paris.
http://www.histoire-immigration.fr/upload/file/ext_para_col1_image_217_17-05-23_228.jpg
[...] Sociological Images gibt es einen Beitrag, der anhand von alten Werbungen den Zusammenhang von Seife und Kolonialismus aufzeigt. In den [...]
[...] beauty. This means in the public consciousness, those characteristics are demeaned and equated with dirty, objectionable [...]
[...] I want you to stop giving me a bar of soap to wash with without giving me the water to rinse. If you’re going to include me, go ahead and do it. [...]
[…] beauty. This means in the public consciousness, those characteristics are demeaned and equated with dirty, objectionable […]
[…] http://thesocietypages.org/socimages/2010/08/10/colonialism-soap-and-the-cleansing-metaphor/ […]
[…] The connotations of the ad instantly drew negativity and led social media users to draw parallels with racist soap adverts that were prominent in the turn of the 20th century. […]
I was checking out some of the articles on your site and found this post about the topic eg (skincare) & I really loved it
https://thesocietypages.org/socimages/2010/08/10/colonialism-soap-and-the-cleansing-metaphor/
It will be a great help for us if you can add https://crystalglow.in/all-you-need-to-know-about-crystal-glow-advanced-brightening-cream/
On your website.
It might be worth a mention in your article.
Either way, keep up the awesome work
Hey
I was checking out some of the articles on your site and found this post about the topic eg (skincare) & I really loved it
https://thesocietypages.org/socimages/2010/08/10/colonialism-soap-and-the-cleansing-metaphor/
It will be a great help for us if you can add https://crystalglow.in/all-you-need-to-know-about-crystal-glow-advanced-brightening-cream/
On your website.
It might be worth a mention in your article.
Either way, keep up the awesome work
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Sociological Images encourages people to exercise and develop their sociological imaginations with discussions of compelling visuals that span the breadth of sociological inquiry. Read more…
MONKEY MYTHOLOGY IN JAPAN, PAGE THREE
Introduction (Page Three Overview) Word Play (Monkey Ideograms)
Kōshin 庚申 Stone Tablet 1808 AD Six-armed Shōmen Kongō 山王権現 atop three monkeys. Yakumo Shrine 八雲 (Eight Clouds Shrine) in Kamakura City
INTRO PAGE THREE. JAPANESE MONKEY LORE. Monkey lore in Japan resonates with deep Chinese undertones and strong Shintō overtones. These are blended together into a hybrid symphony of Buddhist beliefs and practices, making Japanese monkey lore a very complex, confusing, curious, and challenging topic -- a topic that stretches back to Japan’s first encounters with Chinese Geomancy , Chinese Taoism, the Zodiac Calendar , and Mahayana Buddhism . This page presents a wide array of Japanese ideograms, folk beliefs, and artwork about the monkey, with a special emphasis on the monkey’s close association with early Japanese Tendai Shintō-Buddhism. By the time Buddhism reaches Japan (mid-6th century AD), the monkey and monkey lore are already common elements in Buddhist legend, art, and iconography in India, China, and mainland Asia (see Monkey Page Two ). Thereafter, monkey worship in Japan grows greatly in popularity, especially among practitioners of Taoist Kōshin rites introduced from China and among followers of Tendai Shintō-Buddhism, the latter centered around the syncretic Tendai shrine-temple multiplex located at Mt. Hiei 比叡 (Shiga Prefecture, near Kyoto).
Three Monkeys Netsuke, Boxwood Late 19th Century H = 1.25 inches (3.2 cm) Courtesy asianart.com
WORD PLAY #1 MONKEY AS DEMON QUELLER 猿 = Monkey (Jp. = Saru) and 去る = Expel (Jp. = Saru) Monkey lore in Japan (and fox lore too) is closely related to Chinese geomancy (Ch: feng shui), a system for determining auspicious or inauspicious placements and orientations of cities, temples, houses, and graves. In Chinese thought, the northeast quarter is considered to be particularly inauspicious. The northeast direction is known as the “demon gate,” which can be loosely translated as the place where “demons gather and enter.” This belief was imported by the Japanese and is referred to as Kimon 鬼門 (literally “Demon Gate”). Kimon generally means ominous direction, or taboo direction. In Japan, both the monkey and the fox are guardians against evil Kimon influences. In Japan, the monkey’s role in guarding against demons originates from the Japanese word for monkey (猿, pronounced saru), which is a homonym for the Japanese word “expel” (去る, also pronounced saru). The latter word means to “dispel, punch out, push away, beat away." According to the legends of Japan’s Mt. Hiei shrine-temple multiplex, this makes the monkey an “expeller of demons” -- in other traditions, the monkey is also thought to ward off thieves. In addition, Mt. Hiei proved to be a very fortunate choice for Saicho, 最澄 (766-822 AD), the founder of Tendai Buddhism in Japan, for the Tendai sect’s main temple (Enryakuji) on Mt. Hiei is located to the northeast of the old imperial capital (Kyoto). According to Chinese geomantic views then popular at the Japanese court (early Heian Era), Kyoto was thought to be particularly vulnerable to evil influences from the northeast. The success of Saicho and Tendai Buddhism in Japan is thus related, in part, to the geomantic significance of Mt. Hiei’s location northeast of Kyoto. The success of monkey lore in Japan is likewise partly due to this association. At the Hie Shrine (Hie Jinja 日吉神社; also called Hiyoshi Taisha 日吉大社) on Mt. Hiei, the protective monkey is named MASARU 神猿 (マサル).
Chart Courtesy of Professor Kelley L. Ross
Says Professor Ross (see chart above; courtesy his site ). The arrangement of the I Ching trigrams ( Book of Changes , China) around the compass reflects Chinese geomancy (feng shui), i.e., the determination of the auspicious or inauspicious situation and orientation of cities, temples, houses, or graves. Chinese cities are properly laid out as squares, with gates in the middle of the sides facing due north, east, south, and west. The diagonal directions are then regarded as special "spirit" gates -- northwest is the Heaven Gate; southwest the Earth Gate; southeast the Man Gate; and northeast the Demon Gate . The northeast was thus the direction from which malevolent supernatural influences might particularly be expected. The situation of the old Japanese capital city of Kyoto is particularly fortunate. To the northeast is a conspicuous, twin-peaked mountain, Mt. Hiei (corresponding to the Mountain trigram), which is crowned with a vast establishment of Shinto shrines and Buddhist temples to guard the Demon Gate . Please visit the Zodiac page for more on I Ching trigrams and Chinese yin-yang dualism.
Masaru The demon queller Photo from shrine site Munamochi-saru 棟持猿 Pillar-Supporting Monkey Nishimoto Shrine (Mt Hiei) Photo from shrine site
WORD PLAY #2 MONKEY AS MANIFESTATION OF SHINTO KAMI The Japanese character for KAMI 神 (lit. Shintō deity , spirit, god, or force) is composed of two elements. When separated, the two elements mean “Manifestation Monkey.” This explanation is attributed to the Tendai shrine-temple multiplex on Mt. Hiei. The central deity at Mt. Hiei is SANNOU (Mountain King). It should come as no surprise, then, to learn that Sannou’s messenger and avatar is the monkey.
Another version of KAMI - MONKEY word play NEZARU 寝ざる (literally “avoid sleep, sleepless, no sleep”) 1. NERU 寝 is the word for sleep; word stem is read “ne” ネ 2. ZARU ざる means “not;” a homophone for monkey 申 (saru) 3. Combining ネ and 申 (1 + 2) yields the term KAMI 神 Thus, once again, monkeys are manifestations of Shinto kami. This particular word play is closely associated with the “sleepless vigil” observed in Kōshin rituals.
Shinra Myōjin of Mt. Hiei wears a three-pointed hat
NOTE ONE. The conventional spelling for this mountain deity is SANNŌ (or Sanno). Based on modern rules for romanizing Japanese terms, however, the deity’s name should be spelled “Sanou” (or Sano) -- without two Ns. For the sake of consistency, this web site uses the conventional spelling, retaining the double Ns. NOTE TWO: The Tendai shrine-temple multiplex on Mt. Hiei is a prime example of the syncretic merging of Buddhist and Shinto deities in Japan. The idea of KAMI as Gohoujin 護法神 (guardian deities of the Buddhist doctrine) was a common element in the Heian period. This Shinto-Buddhist syncretism was actually formalized and pursued based on a theory called Honji Suijaku 本地垂迹 , with the Buddhist deities regarded as the honji (original manifestation) and the Shinto kami as their suijaku (incarnations). Another similar term denoting the association between Buddhas and Kami is Shinbutsu Shuugou ( 神仏習合 ). Furthermore, one resource identifies the "honji" of Sannou (Mountain King) as Ichiji Kinrin Butchou (the central Buddha of the "Court of the Perfected" (Jp. Soshitujibu ). Click here for more details.
LEGEND OF SANNŌ (SANNO). Saichō (Saicho, 最澄, 766-822 AD), the founder of the Tendai Sect in Japan, was walking on Mt. Obie 小比叡 (alternate names Ushio 牛尾, Hamo 波母, Hachiouji 八王子) within the Hiyoshi (Hie) Shrine boundaries, when the three main buddhas of Enryakuji Temple -- Shaka , Yakushi , and Amida -- appeared in the sky before him. When Saicho requested their names, they answered:
“Draw one horizontal stroke along the side of three vertical strokes, and to three horizontal strokes add one vertical stroke. We (I) come to this mountain in order to keep the teaching of the law of the Perfect (= Tendai) Sect within the sect, and to further the means of salvation for those outside.” With these words the Great Master (Saicho) set this up in characters. Drawing one horizontal stroke along the side of three vertical strokes he got the character SAN 山 (mountain), and when he added one vertical stroke to three horizontal strokes he got the character OU 王 (king). Thinking it must be a name, since mountain expresses a form both large and immovable and king expresses the virtues in the three fundamentals (sanzai 三才) of heaven, earth, and man, he worshipped the deity there as SANNOU. As Mt. Hiei expresses the three teachings (三学) he built three temples, and because human beings can perceive three thousand realms in one thought (ichinen sanzen 一念三千) he made three thousand the number of monks (shuto 衆徒). NOTE: The three main Buddha -- Shaka, Yakushi, and Amida -- were also associated with the “Days of Dharma,” which are divided into three periods -- the period of Correct Law (Age of Shobo 正法), the period of the Copied Law (Age of Zoho 象法), and the period of the Decline of the Law (the Age of Mappo 末法). Elsewhere, the classic Chinese tale Journey to the West makes numberous references to the number three. The number is of great significance in Hindu, Chinese, and Buddhist lore, and is not specific to Japan.
OTHER LEGENDS ABOUT SANNŌ'S ORIGINS The name SANNŌ was given to the original Japanese mountain deity Ōyamagui (Ouyamagui) 大山咋 by the Japanese monk Saichō 最澄 (766-822 AD) when he returned from China
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