Sunday, 5 May 2013

Of Forge, Factories, Computers and the Information superhighway:Regarding people's clamor for Industrialization in the Information age

Of Forge, Factories, Computers 
and the Infomation superhighway:  
Regarding people's clamor for Industrialization
 in the Information age



"The Industrial Age was over. The wealth of nations had already shifted from production to international capital. The Internet had revolutionized anything. During the Industrial Age, the Philippines was a regional power. It had a manufacturing base for products but it died a natural death during the 1990's when the trade barriers where eradicated."

These are the words stated in a writeup concerning the need for industrialization in a predominantly agricultural country such as the Philippines. A sentiment what middle class intellectuals choosing contentment over free trade and foreign investment than those of domestic based development as means to solve the crisis especially those of unemployment and access to goods from the countryside.

At first, this writeup was made in response to the trade liberalizationists speaking in favor of trade and commerce than those of promoting industrialization and domestic based development. It's all but strange so to speak that as they favor trade and commerce had to deindistrialize in the name of International capital and opening of trade barriers.

However, despite having industrial bases, the Philippines failed to industrialize as it failed to generate development such as those of the rural areas; otherwise policies from abroad tend to limit Filipino industry to those of consumer goods and to some extent, assembly line production in the guise of import substitution. Volkswagens under Guevara and Carrier under Concepcion are as examples of these policies that mainstream media announceth as "Industrialization". Otherwise, international policies tend to emphasise further the Philippines as a predominantly agricultural country and giving a semblance of industry may meant modernization and perhaps domestic growth in the cities like Manila.


But why to deindustrialize the way flour factories, blooming mills, or any other industrial complexes ought to be dismantled in favor of commercial complexes surrounding Metro Manila? Yes, the information age has risen, but in regards to underdeveloped and developing countries, they shouldn't been developing themselves first and innovating?
Looking at the example of Japan during the Meiji period, Soviet Russia under Lenin, Singapore during Lee Kwan Yew and China during Deng Xiaoping,  these require planning despite opening themselves to private investment.


Japan may had opened to the world as the outside had been dwellth in modernity such as steamships and iron-clad armor while theirs had been dwellth in feudalism and the samurai sword; of course the system had no chance but to modernize the way they should replace their decades-old matchlocks with those of guns made in England and America. But still, despite opening themselves to the world lies the domestic-based artisans, especially those who had studied Rangaku 蘭学 (Dutch learning) to practise further western knowledge and of course, spearhead then "modern" technology in developing their homeland and reclaim its prestige in countering a deteriorating China of the 19th century.
And although it was closely monitored and heavily subsidized by the Meiji government, it enhances the power of the great zaibatsu firms such as Mitsui and Mitsubishi to create foundations for domestic-based industry as alternative to dependency on western goods. To modern parlance, these Zaibatsus are deemed as oligarchs as they monopolize industry. However, these zaibatsus, supported and guided by the government had steered the nation in its modernization scheme especially those of borrowing technology from the West to improve its domestic industry. Most had even utilize their Rangaku learning enough in the field of Medicine, Military science, Arts and Trades to create a "prosperous nation" and a "strong army" in Asia,
Thus, Japan gradually took control of much of Asia's market for manufactured goods, beginning with textiles. The economic structure became very mercantilistic, importing raw materials and exporting finished products—a reflection of Japan's relative poverty in raw materials.


Meanwhile, in Soviet Russia, the New Economic Policy of Lenin had allowed private individuals to own small enterprises while the state continued to control banks, foreign trade, and large industries. The policy itself was at the same time a strategy with Lenin himself stating about a strategic retreat to recuperate from the damages during the civil war with small scale enterprises being heavily regulated if not being sequestered by the state under "War Communism".
It took years to develop and innovate in pursuit of recovering Soviet society from the civil war. However, the said policy paved way to the first five year plan that emphasises further the role of industry and collectivization, mechanization of agriculture. Soviet Russia had used the NEP temporarily as a mean to create foundations then paving way to Stalin's first five-year plans in pursuit of a more rapid development with greater state control, taking the view, among other things, that profits should be shared among all people, and not just among a privileged few.

These examples, despite being described as "past" somehow lies the bottom line that there's a need to revisit technology, and despite modern day periods, industrialization and innovation will always be a call for the third world in pursuit of developing their communities rich in resources yet having worse poverty conditions. In other words, why keeping themselves as gardens and breadbaskets of the developed nations if they have enough intelligentsia and laborers to create good foundations for their own economy and society?

It is all but strange for those who speak on behalf of "information revolution" to disregard "industrialization" not noticing that the latter requires innovation such as those of developing the country's capabilities especially in the field of  science and technology. They had even forgot that in Agrarian Reform lies increasing productivity since agriculture serves as the base for a self-reliant economy. Industrialization does not mean building factories and creating massive industrial complexes to the extent of sacrificing agriculture, but also involving appropriate technology to the interest of the people such as the farmers who are in dire need of making produce easier for distribution such as making their villages also involve in manufacturing activities.
And through these efforts will be aimed at building up the country’s science and technology infrastructure: research and development in the basic and applied sciences; upgrading existing indigenous technologies; adapting technology advances in other countries and ensuring an adequate supply of skilled and competent scientific and technical human resources. 

And despite having the internet, computers, modern day gadgetry had further modernized everything, it does not mean that industry should be disregarded and get contented in trade and commerce as others tend to say so. The fact that how come China had to innovate in the field of science and technology during Mao Zedong such as those of a rocket made by a US-trained engineer? The latter chose to serve China after years of serving in the US military in creating rockets and hence his capabilities had to improve, innovate the existing Chinese technology that was partially based from the Soviet model. Even the Soviets during Stalin's era had even used IBM, Ford and Buick, but at the same time supported the domestic industry that brought MiG, ZiL and others as it modernizes the society. Anyways, long before they had names owned by foreign and capitalist, they are all but tools with a purpose.
Quite strange that to those who preach globalization had limited idea on nationalism and hence treated as a mere chauvinist tendency; or Capitalism that those who are against the system afford to use modern technology whose names are well known amongst the Capitalists. But, come to think of this: haven't they heard about those things are like ropes that used to hang? Or is patriotism should disregard appreciate modern idea, technology because it is foreign? Seems too narrow for those who oppose and even those who justify. Otherwise, not all anti-imperialist or anti-capitalist are similar to the Luddites who had destroyed machines simply because they had no jobs.

And although for years the Philippines had been widely acknowledged for its strategic location for trade and commerce, in engaging trade with its southeast Asian neighbours like Vietnam, China, or the Majapahit empire, it doesn't mean that those communities had to get contented to it, for they even had to produce its own, to the extent of gathering knowledge such as the creation of foundries for iron, aquaculture and good farming methods, the Lantaka gun, despite being brought from the arabs and perhaps the west had even produced such as those made by Panday Pira and other craftsmen known for using brass or iron.
Even during the Spanish era, it had to make effort in encouraging industry such as Governor Blanco's Sociedad del Amigos de Pais, that other than cash crops also include the creation of cloth that suddenly end crippled because of the influx of manufactured ones from England and America.
Furthermore, attempts to revive industry especially during the early American, Commonwealth and the new Republic had been limited despite efforts to stimulate such as those from the National Development Company and the "Filipino first policy" that involved attempts for Industrialization like Araneta's RFM. Policies from IMF, WB, GATT and WTO had to limit attempts if not to impose gaps in what industry should be set upon, a semblance would be to show how modern and growing a nation would be during those times.
But still, the Philippines had been dependent on imports while exporting materials essentially for the US and other markets; that even Industry, even until today had been limited to consumer goods other than assembly line production and import substitutes that mainly owned by foreign companies if not being "died out" as what the commentator quoted above.
Cosmos Bottling? End controlled by Coca Cola as one example.

But does it mean that Industrialization in the information age should be disregarded in midst of unemployment and rural development? Nope. The Singaporean model had started from developing its own capabilities prior to opening itself for foreign investment, their Temasek holdings had been the state's investment arm yet compared to the National Development Company, it carries sufficient share in regards to joint state-private enterprises compared to the latter that chose to create prior to privatization, just to stimulate industry, to funnel funds and just acting as a steward rather than a partner in building joint state-private enterprises, cooperatives, other than state-controlled in steering development as a sovereign wealth fund (investment fund, held in foreign exchange reserves, that is owned and managed by the national government. The excess foreign liquidity is invested in various financial instruments or used to acquire shares of stock in corporations, mostly multinational firms.).
However, the latter chose to be a government's arm in privatization than to support for what being stated in this writeup. Development is just a sentiment of the state in currying those from outside than to put action from the inside, all in pursuit of making things possible such as those of solving the unemployment crisis and developing numerous results then as prototypes or worse, figments of imagination.


Once, in seeing pages concerning military modernization they clamor for tankettes, guns, missiles, planes, or any kind of military materiel yet how about a call for industrialization to make these happen about tankettes and missiles? All after thinking how makers of Hari Digma had been rejected as the state favors a British-made Simba for an APC. Also to remember that the armed forces, while clamoring for modernization is at the same time maintaining a self reliance stance yet local makers are rather making prototypes with officials acting quite skeptical over these; of course they would congratulate the effort but they stick to buying British or American made weapons so to speak. Japan started these with buying, but they developed their own, so was Malaysia and Indonesia, how about the Philippines then if they rely on buying in pursuit of modernization while disregarding industrialization with the same purpose for the armed forces? Perhaps, they had nearly forgotten the past when craftsmen like Panday Pira had to copy foreign made rentaka, and made it better for the lantaka.
Well, self reliance is all but a word to be spoken for the thinking class and hence be pressed to the so-called "lazy" workers who worked long hours yet calls for a wage increase, to the individual itself in order to make effort for their income. But not in a sense what a resource-rich society should had been. That even a nail had to be imported from China despite having local factories capable of doing the same nail, where's the self-reliance in it then?

Anyways, according to Giovanni Tapang, saidth:

"Having a sound industrial policy that focuses on modernizing agriculture and shoring up our capability to locally produce capital goods is key to the establishment of a modern and diversified industrial economy. We need to build, among others, our own base metals industry, chemical industries, machinery manufacturing, pharmaceuticals, electronics, industries for food processing, textile, garment, mass housing and agricultural commodities. Having these built here in the country would not only address the problem of producing our basic needs but would also secure jobs for many so that they will stay home instead of going abroad.


The objective of building these industries is to maximize self-sufficiency in the local industrial production of capital, provide intermediate and consumer goods for domestic needs and to ensure food security and self-sufficiency in the country. In generating and mobilizing domestic capital, we create real jobs and ensure rapid and sustained economic growth."


However, people who dared to be against the idea speaks about failures and the like simply because of foreign enterprises able to compete with domestic ones, coupled with imports from abroad that cripples industrialization; obviously, they wanted to say "give up and focus on the service sector, on tourism and foreign investment " but in looking at the failure of the past does not mean that industrialization should be scrapped in favor of just focusing on trade and exports as what others stated, rather than looking at the lessons and the means to rectify to prevent future mistakes to be happen. Yes, it is true that foreign investment can be helped in promoting national development but how about efforts of the people in building the nation further? Otherwise, this is a question of sectors to be preferred: does it mean that the only sector should be emphasised thoroughly is the service sector by the government and the middle class whilst the farmers and workers had to be left away and say that their suggestions as "passé"?

Perhaps, in this so-called information age and days when production is shifted to international capital, of opening borders, it's all but making half of the world a town and country as Lin Biao stated before. The Philippines had been a farm and garden controlled by the local oligarchs, landlords, and corrupt bureaucrats, compradores, that in turn as agents for the trusts that controlled major enterprises including those of technology like Japan and America. The policies? All but alibis that justifies neocolonial economic practises as been sought. 
To think that if the Philippines is indeed rich in resources yet the system had preferences which sector to emphasise upon, and having dependent on trade in which exploiters, foreign or bureaucrat alike had to extract just for export, why not as well create basic industry instead? This is not mere out of nostalgia as people who dare against used to say, but rather looking at reality in which the Philippines should solve upon. Especially in terms of developing the countryside for its resources, solving unemployment and balancing town and country. 

And as for the system that describe such calls as "passé"? Then damn that system, not just the landlords, bureaucrats, imperialists, oligarchs what the middle class state much but also those of the middle class who think less and drank more for Christ sakes! They can't even give the right for a worker a decent wage then how about redistributing the land and promote domestic based development?

Again, damn those people!

Thursday, 2 May 2013

The fee, the wage, the comments and all other shit

The fee, the wage, the comments and all other shit

By Katleah Ulrike



At first, it is indeed fact that the Cardinal and the Dominican institution had no relation. But in the message shown had to dig deeper or scratch the surface in order to understand the matter. 

Based on their comments from a well-known page, it's all but a hodge-podge of nonsensical statements and ad hominem attacks rather than understanding what comes behind. And quite usual that in resorting to ad hominem, comments like "Hayop Ka" (You're an animal) lies a person who can't understand further what comes behind those pictures, or in reading their words somehow meant crass personal attacks as it emphasises the commenter than the comment being posted. Obviously, that guy who said "hayop ka" shows his irrationality as he vent emotions too much and undermine someone else's personality.
Anyways, like any other page, Argumentum ad hominem seems to be too much amongst these commentators no matter they use pen names or their real ones, even this person had to play some of their sentiments for attacking this person for christ's sake.
Otherwise, it's their choice to do so.

But as for the topic based from the picture, it would say that Tagle and UST are different in its ways and means, that the former speaks of wage increase while the other had yearly increased its tuition. Contradicting so to speak about their statements all despite belonging to the same entity.

And in reading their so-called sentiments, one example of their comment tried to present as intellectual-like in its leaning and those who dare to oppose hence as indirect fallacy (partially based from Filipino):

"What's the connection of Bishop Tagle over that matter? And UST is a private school! Tagle's statement is all about the Government should increase its wages, why is the tuition increase in a private institution got involved there? You may complain if Public Schools have tuition. UST administration and not Tagle decides these and you don't even know the reasons, breakdown that made tuition and other fees be increased."

Well, that commentator doesn't understand although it somewhat tends to justify UST having increased its tuition and at the same time complaining what's the connection between Tuition increases and Tagle's statement concerning Wage Increase.
At first, Tagle's statement about the need for wage increase is a need for the workers whose children who also studied in private schools (including those of UST) who yearly increase their tuition and other fees. And as for Public Schools, come to think of the tragic events in UP, that with its own STFAP (Socialized Tuition Fee Assistance Program) and no late payments resulted to Kristel Tejada's death. Tertiary education had even experienced decreasing number of students studying due to the policies being imposed especially those of yearly increases thanks to the treatment of education as a corporate affair.
It may look indirect, but still, workers, full or part time had to demand wage increase in midst of increasing prices of commodities and services including those of EDUCATION-related expenses like those of tuition and other fees.

Meanwhile, another comment tends to be too emotional:

"Hypocrites! Tagle isn't involved with the Dominicans and how they handle UST as an institution. You shitty people, everything you see is all but wrong!"

Well, like others, that person behind that overtly emotion triggered comment justifies yearly increases. A sentiment of a laissez faire that undermines both right and wrong in regards to imposing policies. Yes, everything being sought in regards to the Church is all but wrong such as interfering such as in a supposed secular society! Worse, how come the church afford the right to invest shares in Philex Mining, BPI and San Miguel if that's the case while having themselves "Ok'ed" in yearly tuition increases? "They Giveth and Taketh away" according to one rebuttal. Thinking how the church of the poor had to invest every tithe in corporations like Philex or BPI than to support the masses in the name of social justice.
So, frankly speaking, that person who's against the "shitty people" described as "hypocrites", tends to defend a hypocrite who uses faith as a tool for their interests according to the secular minded and the atheist. 

Also to think that all despite any major differences or no direct relations such as the Dominicans,  the Jesuit-bred Tagle and the Catholic Bishops Conference of the Philippines (CBCP), they are all belonged to the same entity that usually speaks of Social Justice and Preferential Option for the Poor other than forgiveness and reconciliation. People may had looked at the picture with those who justify ToFI had resort to ad hominem that unveils mere stupidity and aloofness to the topic that they don't dig deeper in the issue behind such as  those of working class parents whose children also studied in private schools not just UST; thinking that they increase tuition fees yearly and likely to complain about expenses and low wages. 
It is indeed fact that UST is also a private institution, a corporation that they afford the right to do tuition increases that effects most of its students such as those who had to stop. But Activists within its confines even pressed  the order behind the corporation, aka the administration that they should open their accounts and books in order to look for its breakdown of expenses and the like concerning the increase and yet, being a private institution lies exemption to accountability. Otherwise, during consultation, had to vent grievances about yearly increases especially in midst of socio-economic crisis as evidenced by increasing prices of commodities and services. Yes, if administrators have the right to do so, so are the students who have the right to complain in the spirit of academic freedom.

That somehow Gerry Lanuza called as "Private corruption" in having institutions exempt from accountability especially regards to their financial-related matters. Not noticing its profound effects to the the students, employees and the like especially in midst of continuous socio-economic crisis like those of increase in prices of commodities and services. Workers whose children had studied in private institutions had difficulties especially in paying tuition as well as other basic expenses. People who dare to complain about these working class would dare to say PUP and other state-supported institutions as solution, but it is enough? Nope, the laboring people had spend long hours working, making value of human labour only according to its economic purpose such as those of paying debts. Yearly increase in tuition fees somehow added complains to the laborers as well that urges students to stop or work part time, but as for the latter may resort to work full time especially if that establishment afford to pay 20.000 for a minimum and thus forgetting academics in favor of plain simple economism as workers do.

"There are different groups or organizations within Christianity." What a smart comment to hear that, but does it mean they afford to do their want using faith as its pretext? It's all but same that they tend to interfere in secular matters especially those of politics as they present themselves as sentinels of morality. Different groups, but same book, different organizations but same morality they tend to carry the way Calvinists and some Catholics acknowledge usury in a form of additional interest in paying fees and the like.

And in midst of increasing prices of commodities and services the state can't even provide a "GO" signal for wage increase especially in companies owned by millionaires? Foundations providing scholarships can be good but not enough the way most of it had became fronts for not paying their obligations especially those of taxes and other contributions. Meanwhile, the Church had afford to say so in opposing exploitation while another had people face the music such as paying fees that increased yearly; they can't even pay taxes since they're excempted from it, but come to think of these as the Atheists dare to speak about: is the Church who preaches social justice had to exploit as well? Like Janus, it became a two-faced institution, hence confusing in the eyes of an individual who is exploited thoroughly by time and expenses to pay for.

Perhaps, there will always be a barrage of opposition in regards to the picture other than those who justify tuition increases, that CBCP, the Cardinal, and UST are different; but come to think of this, why there's a need to speak about social justice while another church-supported institution had to increase its fees yearly? Well, there lies the contradiction. 
Come to think about their Encyclicals such as Rerum Novarum and Laborem Excercens, they even emphasised primary concern with "the need for some amelioration of misery and wretchedness pressing so unjustly on the majority of the working class", but how about the corporations controlled by the church? Did they ameliorate the misery of those who pay increasing expenses yearly such as those in UST? Once, the Federation of Free Workers staged a strike in UST decades before, but the order chose to oppose, not noticing that the union are leaning to Catholic Social Teaching such as those from the encyclicals.

And also thinking that not all students who belonged to the working class are scholars, nor all working class students are those who are studying in State Colleges and Universities, "Public Schools" as what one commentator said. Worse, concluding that Church-controlled Universities are only for the elites, and trying hard middle class who afford to pay and religion is a business corporation with a vow of secrecy in regards to financial matters and monies invested in certain institutions whether in the field of Education, Mass Media, and even Beer making like San Miguel. 
As for San Miguel, matters regarding labor issues been discussed thoroughly especially about wages. They even had the right to strike, but still like any other workers, they still clamor for a real living wage not a "libing wage" as what Kilusang Mayo Uno stated in one of their press releases.

Frankly speaking, If private institutions like UST, ADMU or even Public institutions like UP afford to do ToFI, then it is Tagle's right to call for Wage increase the way Workers have the right to strike or sabotage. Plain and simple. 
If not, then why getting serious if the answer is all but sarcastic or satire especially in attacking the person other than the statement such as "Hayop Ka". After all, they love brawls with balls instead of brains all in their heads showing bravado all the time. 

Tuesday, 30 April 2013

The mythological roots of working class symbols and its significance


The mythological roots of working class symbols 
and its significance


People had noticed much that the Hammer and Sickle, Red Flag, or even the Red Star had been deemed as a symbol of Communism. As it had been represented the unity of the laboring people of town and country, their symbols manifested the tools of the exploited in the struggle for social revolution as envisioned by the past especially those of Babeuf, Marx, and others that until today had been struggling for. 

However, despite its high social significance, and to the disdain of every systems such as Capitalism, it also had traditional meanings as been understood deeply. 


For the Druids of the past, the sickle is the tool that used for gathering sacred or healing herbs for the ritual especially during the season of harvest, especially those of crops would be dead and still offer life, with Druids whom generally see no difference in the concept of life and death but both part of the wheel of the universe. 


While the hammer, being symbol for the workers, is also the tool that is being held by the god Thor, Hephaestus for the Greeks, as well as Neptune for the Romans, all as those who forge weapons and tools. Futhermore, Thor's hammer, Mjölnir,  is related to words such as the Icelandic verbs mölva ("to crush") and mala ("to grind"), and Swedish noun mjöl ("flour"), all related to English meal, mill, and miller. Hence, with the Sickle to reap the wheat, the Hammer serves as the grinder as its analogy.

These two symbols united, other than a union of workers and peasants lay a significant meaning such as those of a union between man and the sacred, a contact to the divine in a way the sickle corresponds to the harvest whilst the hammer for the forge, all but creation inherited by the divine to the people whom tirelessly trying to create a society "in each according to work, in each according to need." 

However, it is quite strange for people so to speak that the symbol became a "bogeyemblem" for the so-called free world especially during the cold war. But in looking at its roots somewhat lies a different meaning that brought curiousity for the writer prior to making this writeup such as Druids and ancient gods, harvest and forging as basis for the symbol itself; obviously, for the fanatics of the Christian or any kind of faith would say that it is hence deemed as a symbol for the anti-Christ or an evil being simply because of its pagan roots, not noticing that those symbols corresponds to creation left by the divine and hence entrusted to the people. As peasants, and guildspeople of the past also took revolt against the wealthy landlords and the established order, they often took their tool as its very own weapon the way being used as for their labor. 


That even the Red flag, whose meaning is the blood of the workers is itself a colour for the royalty; and it also corresponds to the intermediate stage of human spirituality as a follower after black (as an initiate) and before white (as a master). The red star, representing the five continents, also had significance to religion such as Christianity and Islam. 

Perhaps, it takes long time for people to understood deeply the symbols deemed as contrary to the system as Marx's "Spectre of Communism" continues to wander throughout the ages that even until today with the laboring people, being creators of history continues to struggle with its tools of trade raised against the rotting, dilapidated social order. 

Or as what Suzanne Collins said in her Hunger Games:

"May the Odds be ever in your favor."

Monday, 29 April 2013

Of martyrdom and vengeance: Revisiting Iranian "Revolutionary" art

Of martyrdom and vengeance: 
Revisiting Iranian "Revolutionary" art



Young Girl Carrying Rifle, 1979
Middle Eastern Posters Collection
Box 3, Poster 60
Special Collections Research Center
The University of Chicago Library



In seeing its posters that bore faces of martyrs, blood, vengeance with its warriors marching under the flag of Ali and the Islamic crescent, this writer somehow sought how Iranians during those times bear the culture of martyrdom that, according to their faith lies paradise and victory.

Once, according to an article from Time magazine regarding Islamic warriors and its action in Afghanistan, said that a person who had joined the Mujahidin and lived victorious hence called a Ghazi, but to die in a battlefield for its own faith becomes a Shahid; Ghazis tend to be known for its exploits as it gains respects from the adherents of its faith and even the enemies because of its gallantry, but for a Shahid lies paradise with its door open for them, that they fought for their faith and home, all despite being killed violently such as wiling to charge in a field full of mines or captured and executed as an enemy combatant.

This writer happens to be not into their belief, but in its history lies how Iran's "Islamic Revolutionary" past also tends to show something significant through art not just the protest marches and their stubborn defense against Iraq, or even the paranoia against the United States whom they described thoroughly as the great satan that represses the entire world. Thinking how people rarely looked at their art, such its posters, murals, and other stuff while looking at Iran's very rich historical artifact such as silverware, calligraphy, sculpture, everything Persian in particular that the land really known for.

Quite strange for others to think of how Iran chose to think of martyrdom than steering for a stereotypical progress, that they cling into their faith than to build a stereotypical modern future in accordance to the standards brought by the west especially the United States, not noticing how the former also tends to show modern yet deeply rooted in its heritage the way Pahlavis tried to present decades before as evidenced by its Azadi monument that highlights heritage by presenting modern architecture as an embodiment of the ideas presented before.


Giving faith, life, freedom, and struggle to the world

During the 20th century, everything ideological encompassed everything from the use of speeches, papers, to the use of visual art especially those of graffiti and posters. Vast mass-produced images were created to understand, educate, organize and mobilize the people against the system. Obviously, artists had to innovate according to their preference in conveying a "Revolutionary" message depending on which ideology they cling on. Posters produced and disseminated before and during the Islamic Revolution in Iran were no exception. Engaged artists, depending on their preferences had created posters or any visual art whose iconography opposed and inverted ideas and images that supported the status quo like those of the Pahlavi regime and its iron-fisted rule. Not just a secondary reflection of the revolutionary movement, these posters played a vital role in the struggles for change and in the articulation of collective ideologies.

According to the writeup made by New York University  regarding the history and significance of the posters, it stated that:

"As social discontent increased throughout the 1970s, some of Iran's leading contemporary artists assumed an active role in the production of political posters. Inspired by the French student movement of 1968, a group of Iranian artists opened a workshop at the University of Tehran in 1978. The workshop provided the materials and equipment for printing posters to members of various political groups. Professional artists worked alongside amateurs. Their results were displayed throughout Tehran—in schools, in factories, and on the walls of other buildings, often defacing public monuments built by the Pahlavi regime as symbols of its authority and grandeur. As government agents tore them down or covered them with paint, protesters would replace them with replenished supplies."

Moreover, they were also influenced by the posters found in Cuba, China, even in the Soviet Union with the latter, as its neighbor had been inspiration for the left with some of its refugees providing material, if not moral support for the struggle.

However, posters and other visual art produced by the government and its supporters after 1979 re-imagined the Revolution rather as an ideologically Islamic one, even though that  it had been comprised of a mixed political constituency such as the Communists or Islamic Marxists like those of the People's Mojahedin. Obviously, regime-sponsored graphic media stressed the Shi'ite aspects of the Revolution, especially with those of Islamic iconography, the virtue of Martyrdom, above all others like social reality or advancing popular interest in order to forward the newly formed government’s claims to religious authority and political legitimacy.


Struggle through the use of traditional and contemporary icons

Most of the visuals made during the Iranian Revolution reflected the fusion of Iranian and modern culture all making direct appeals to action by defying power, subverting authority, and inverting icons as a means to authorize oppositional ways of thinking and behavior. One which example is the use of Tulips.


Tulips, c. 1978–79
Artist: Morteza Momayez
Silkscreen
Inscribed (at top): "Tulips have bloomed from the blood of the
nation's youth."
Collection of Nicky Nodjoumi

Tulips had been a part of ancient belief in Iran,  that dating back to ancient times that if a young soldier dies fighting for its own homeland and freedom, a red tulip will grow on his grave. That said idea was revived by that visual from and it has considered as symbol of martyrdom; the Emblem of Iran for instance, being a stylized form of "Allah" is also based from the Tulip.

Emblem of Iran.svg

Emblem of Iran 
by  Hamid Nadimi, 
and  approved by Ayatollah Ruhollah Khomeini 
founder of the Islamic Republic of Iran on 9 May 1980.

Moreover, it also featured certain symbols somewhat related to Persian culture and hence applied to posters deemed as subversive. According to the same article from NYU, stated that:

"In one poster, the Shah's oil regime becomes a weapon of its own destruction. An oil derrick stands in for the hilt of a dagger plunging through the United States–supported Pahlavi crown. In another poster, the Revolution is visualized as a red arrow that is aimed at a blissful future, exemplified by a red sun. First, however, the revolutionaries must overcome three forces, represented by columns. The revolutionary arrow has already broken through the first column, on which the Pahlavi crown teeters precariously. The second column is marked "internal reaction" and upholds a silhouette of the Shah's profile. Uncle Sam's top hat sits atop the third column, which is labeled "imperialism.""


Muharram: Victory of Blood Over the Sword, ca. 1970–1980s
Middle Eastern Posters Collection,
Box 2, Poster 56
Special Collections Research Center
The University of Chicago Library

This poster, in reference to the battle against the Iraqis and perhaps repression, it reflects martyrdom as evidenced by the blood that broke the sword signifying victory over persecution. Blood somehow meant the struggling people as they do direct and indirect action against the enemies of faith and home.  

Such symbols had tried to instill Revolutionary consciousness to the people as it correlates with Persian setting like oil derricks, red sun, tulips, as well as reactionary symbols like the Pahlavi crown alongside the top hat of Uncle Sam that corresponds to Imperialism.


Using scenes as evidences of struggle

Other than symbols, Iranian revolutionary posters had to show scenes that speaks of Revolutionary consciousness against the Shah's regime as well as outside enemies such as the United States and the Soviet Union. However, the former was highly regarded as the main adversary and being branded as "Great Satan" being the exploiter of people and resources throughout Iran for decades.


A Great Day, 1984
Kazim Chalipa
Iranian, b. 1957
Middle Eastern Posters Collection
Box 3, Poster 117
Special Collections Research Center
The University of Chicago Library

This painting, made in 1984 by Kazim Chalipa reflected the actions taken during the Iranian Revolution. As evidenced by the toppling of the statue of the Shah in Tehran, it showed the people's clamor despite violent reprisals from the military and from the dreaded SAVAK (Secret Police). Chalipa commemorates the event through an oil painting that presents the scene in warm, lush colors typical of the French Romantic style (also prevalent in posters reflecting Revoutionary sentiment such as those of David).

According to the painting, the crowd of protesters are carrying a wounded fellow protester reflecting the violent reprisals especially those from the streets of Tehran while the lower part of the Shah's statue is in midair as it falls off its large pedestal. Fires still burn in the background, illustrating the extreme force the Pahlavi regime used to try to repress the protests and armed action taken by the Revolutionaries.


Photograph of Crowd Around a Toppled Statue of the Shah, 1980
'Abbas ‘Attar
Iranian, b. 1944
Middle Eastern Posters Collection
Box 2, Poster 20
Special Collections Research Center
The University of Chicago Library

In contrast, this poster reflected the victorious action taken by the Revolutionaries as  'Abbas ‘Attar, a famous Iranian photographer, took shots of the events leading to the major uprising of 1978. Street shots of demonstrations had paved way to direct action as the dreaded SAVAK and the military provoked peaceful actions violently leading to similar reprisals such as those of students and protesters carrying guns grabbed from the enemy. The buildup was so slow but chaotic as evidenced by the poster given.


Black Friday Massacre, ca. 1980
Middle Eastern Posters Collection
Box 1, Poster 8
Special Collections Research Center
The University of Chicago Library

However, this poster, although simple, speaks of commemoration especially those of the martyrs of the Revolution. Iranian Revolution speaks of martyrs same as its heroes trying to advance people's interest other those from the Mullahs like Khomeini. The poster, at first is in fact a highly charged tribute to the Black Friday massacre, an event often seen as the point of no return in the momentum as security forces opened fire on protestors in Zhaleh Square in Tehran, killing an estimated 84 demonstrators in 1978. With the map as its evidence, as well as the bilingual Persian-English text instills the fact how the regime that tries to speak "Change" through the so-called "White Revolution" had failed to reach the hearts of the vast majority because  of its repressive policies as well as makes use of martyrial rhetoric (encouraged thoroughly by the Islamic regime), which lauds the importance of Shiite mourning rituals as vehicles for revolutionary fervor against the Pahlavi regime.


Using Islamic Iconography and tradition,
(alongside pop art and realism) as inspiration

As the Iranian Revolution been end controlled by the Mullahs, lies the use of Islamic icons and martyrial rhetoric in invoking Revolutionary sentiment and its consolidation especially during the war against Iraq. Western media somehow described the Iranian Revolution as "Islamic" despite its supposed left-wing and nationalist roots; hence called as "Islamic Revolution" with Imam Ayatollah Khomeini as its supreme leader.


Graffiti Wall with Ayatollah Khomeini and ‘Ali Shariati, 1981
Middle Eastern Posters Collection
Box 4, Poster 175
Special Collections Research Center
The University of Chicago Library

This painting, featuring personalities from Islamic left (as evidenced by Ali Shariati) and right (with Khomeini) showed the prevalence of Islam as a contributory force in the Revolution. People had even used blood attained from injuries or even before their demise to write every wall such as "down with the Shah" or leaving a handprint as an evidence of their struggle. Khomeini's portrait somehow meant the dominant force such as those led by the militant right over those of the militant left including those of Ali Shariati and its successors like the Peoples Mojahedin. White smears smacks of earlier posts being painted, washed off in pursuit of erasing earlier slogans people shouted up to 1978 or 79. But Icons like Khomeini meant the prevalence of Islam as both faith and force of the Iranian Revolution.


Cry Out: The First Night of Muharram, 1979
Khusrawjirdi
Middle Eastern Posters Collection
Box 3, Poster 95
Special Collections Research Center
The University of Chicago Library

Made by Khusrawjirdi, it was based  from an Islamic event known as Muharram, and it carried martyrdom as one basic feature of the Revolution. The art of course depicted angry people as Shiite public mourning ceremonies honoring the deceased for forty days became the platform from which protests against the government spread.   At the forefront of the group, a man rips at his shirt, expressing the emotional anguish over the loss of Imam Husayn after a battlefield at Karbala against the Umayyad Caliphate. These acts of self-mortification replicate the suffering of the seventy-two martyrs of Karbala especially those of Ali who had been venerated by the Shiites as one of important holy persons in Islam. The energy of the crowds during the month of Muharram in 1978 and 1979 had spilled over into protests that eventually turned into a popular uprising that toppled the Pahlavi monarchy.


Every Day is 'Ashura and Every Soil is Karbala,
By Kazim Chalipa ca. 1981
Middle Eastern Posters Collection
Box 3, Poster 96
Special Collections Research Center
The University of Chicago Library

Kazim Chalipa depicted Imam Huseyn and his mean as an inspiration during the war effort against the Ummayad Caliphate. His role at Karbala somehow inspired people to organize and fight against the Iraqis during the battle over the Persian gulf, the words "Everyday is Ashura and every soil is Karbala" emphasise self sacrifice, martyrdom as the people willingly take their lives at the service of the "Islamic Republic." Like Soviet Russia during the Civil War as well as North Korea it may meant a call to unite for the war effort and martyrdom also meant heroism for a struggling state.



Khomeini as "Guide"


The Shah’s Exile and Khomeini’s Return, 1979
Hasan Isma’ilzadah
Iranian, b. 1922
Middle Eastern Posters Collection
Box 1, Poster 11
Special Collections Research Center
The University of Chicago Library

As it follows traditional Persian "coffee-house" paintings in Tehran, the said art showed Imam Ayatollah Khomeini as a leader of the struggle against the Shah. It also acts as a "stroytelling" tool with the Shah exiling from Iran while the Imam, coming from Iraq (with the Najaf shrine), then France (with the Eiffel tower) made an eventual and victorious return to his homeland with people protesting against repression as evidenced by executions against dissidents violent reprisals against protesters. 

Of course, as evidenced by the Qur'an Imam Khomeini carried, the Islamic flag, and even the devil, showed religious iconography as part of the art encouraged by the regime.


Wounded Protester under Khomeini Breaking Through US Flag, ca. 1980
Middle Eastern Posters Collection
Box 2, Poster 59
Special Collections Research Center
The University of Chicago Library

Reminiscent of art used in Cuba and Latin America, the poster shows the dramatic representation of the protests happened in 1978.  There, a wounded protestor lies bleeding on the ground holding up a green banner that bears the slogan: “Independence, Freedom, Islamic Republic.” Above the revolutionary fray, Khomeini’s face bursts through a tattered U.S. flag, symbolizing Islamic Iran breaking free from American tutelage for decades. Obviously, the art showed as Khomeini, being known much by the Iranians as one of the leading personalities during the Revolution and of the young Republic present himself as a face, guide, head of the "Revolution" countering the "Great Satan" (United States) by means of mass action while critics described it as fanaticism over "Political Islam" through the "Islamic Republic".


Iranian Oil Facilities Under Khomeini
ca. 1980s
Middle Eastern Posters Collection
Box 4, Poster 198
Special Collections Research Center
The University of Chicago Library

In this poster, made during the war against Iraq used Khomeini as a leader trying to avert exploitation of natural resources, especially those of oil by the faith of the people. As evidenced by the Soviet Union, depicted as a serpent impaled by a spear and the United States, as a hand chopped by an axe, the will of the people and its faith can counter US and Soviet Union's eagerness to exploit Iran's resources. It also showed the words "God is Great" as well as the message stating: "If the Muslim world is united, the influence of big powers on all Islamic resources will be eliminated."

Obviously, this is somehow partly based from Soviet or Chinese posters depicting a leader as a great helmsman trying to lead its people against the "enemy" especially those of Imperialists and domestic exploiters.


Battlefield as Pilgrimage, and the Dead as Immortal

As Iran trying to consolidate its rule against the "Great Satan" as well as Iraq during the first "Gulf War", its art depicted defense as sacred, battlefield as pilgrimage and the dead as immortal trying to seek paradise and to absolve their sins.


Blindfolded Soldier Shot at Gunpoint, ca. 1981
Middle Eastern Posters Collection
Box 4, Poster 197
Special Collections Research Center
The University of Chicago Library

As evidenced by this poster below, this art reflects both faith and martyrdom with a captured member of the Basiji corps being executed while Imam Huseyn awaits him to escort towards paradise. The poster capitalizes much on the rituals such as those of the Ashura the way they describe the battle as Karbala and its fallen as martyrs. It also utilizes colours signifant to the Islamic faith such as Green and Red  with the former corresponds to Muhammad and Red for Ali and Huseyn.


Headless Imam Husayn with Dove, ca. 1981
Middle Eastern Posters Collection
Box 4, Poster 200
Special Collections Research Center
The University of Chicago Library

Contrary to the typical posters of the period, this poster somehow lies contemporary, but it bear significance as it depict the headless Imam Huseyn as the martyr of Karbala. This poster corresponds to the people who had died fighting during the "Gulf War" especially in defending towns and cities near the Iraqi border. As the white cloak eerily disappears into the sea of blood resembles the deep mourning of the people for their loved ones fighting in the battlefield. Imam Huseyn's white robe symbolizes purity, martyrdom, and paradise; while the dove corresponds to the peace yearned by the people, especially by the families of the martyrs trying to defend the "Islamic Republic".


Certitude of Belief (Yaqin), ca. 1981
Kazim Chalipa
Iranian, b. 1957
Middle Eastern Posters Collection
Box 3, Poster 67
Special Collections Research Center
The University of Chicago Library


Reminiscent of Pieta, the said poster reflects the belief in Martyrdom as a salvific power according to Shiite and Persian beliefs. There the dead body transforms into a tulip as his mother cradles him. On the left side lies the tulips that meant martyrs while at the right side represent those of warriors marching into their holy battle. Imam Huseyn, alongside the martyrs of Karbala serves as attendants and represents the religious fervor that made Iranians tirelessly making effort for the battle.


Women, Children, Religious against the misfits

The Revolution and its Sacred Defence encompasses everyone especially those of Women, Children, as well as the Religious trying to make effort in pursuit of defending the Homeland, Faith, and the Revolution being attained. Most of them had became Martyrs to the struggle itself in facing the enemy and Heroes in steadfastly contributing in the war effort. 


Stoning of the Devils, ca. 1980s
Habib Sadeqi
Iranian, b. 1957
Middle Eastern Posters Collection
Box 3, Poster 122
Special Collections Research Center
The University of Chicago Library

This poster lies the Iranian religious ceaselessly defying the odds of evil as a pilgrim towards Mecca. With the Kaaba in his heart symbolizing faith and purity, he casts stones against the devils surrounding especially those of temptation, repression and hatred as evidenced by the money and armed men sponsored by the Imperialists and its domestic cohorts. It also shows the people of the "Islamic Republic", all united under the banner of Islam trying to reclaim the faith from its corruptors.


Boy Going to War with Crying Girl, 1980
Muhammad Taraqijah
Iranian, b. 1943
Middle Eastern Posters Collection
Box 4, Poster 209
Special Collections Research Center
The University of Chicago Library

Made during the first "Gulf War", Iranian troops also include children who even voluntarily joined the Basiji corps. Accoirding to the poster, the boy's look of determination and steadfast resolution is contrasted by his sister's mournful cries at his impending departure. The sacred battle also lies innocence lost by the struggle as people, including those of children are trying to consolidate all for the war effort and to strengthen the Revolution against the enemies both domestic and foreign. The walls bear their closeness to the Islamic faith such as "Allahu Akbar" that meant "God is most Great."


White Silhouette of Fatimah, 1979
Middle Eastern Posters Collection
Box 2, Poster 30
Special Collections Research Center
The University of Chicago Library

Released in celebration of "Women's day" in Iran, the said poster depicts Fatimah al-Zahra, the daughter of the Prophet Muhammad.  Above, the text stated: "Fatimah's rising, celebrating the true leader of women." The said celebration also corresponds to the birthday of one of Islam's important personalities being the mother of Imam Huseyn and symbolizes the purity of the Muslim woman imbued with the virtues of Patience, Piety and Obedience.


A Woman Holding a Rifle, ca. 1980
Nasser Palangi
Iranian, b. 1957
Middle Eastern Posters Collection
Box 3, Poster 65
Special Collections Research Center
The University of Chicago Library

In contrast with the poster depicting Fatimah al-Zahra, this poster made by Nasser Palangi depict an Iranian woman as Militant all after witnessing the frontlines during the "Gulf War." There, Palangi depicts one of these women, determined as she carries the rifle and heading toward the front line. 


Heirs of Zaynab, 1980
Nasser Palangi
Iranian, b. 1957
Middle Eastern Posters Collection
Box 3, Poster 85
Special Collections Research Center
The University of Chicago Library

Also made by Palangi during the war, shows the defiance of an Islamic woman as she carries the ammunition for the troops being "heirs of Zaynab" as they follow the footsteps of Muhammad's granddaughter and sister of Imam Huseyn. Despite being captured by the Ummayads, Zaynab didn't submit to the wishes of the latter as they killed her brother alongside others in the battle of Karbala. 


Conclusion

These posters depicted lies how Iranians tend to preserve their Home, as well as their Faith against their enemies especially those of the United States. Artists like Chalipa and Palangi also served as those who record every scene of their efforts in making Iran what is known today as different from the typical Iran as "Persia" of the past. 

There may be no posters shown nowadays, but these examples meant something for the people that somehow this writer tirelessly making research about these and hence posted in this site. His views as well as theirs be deemed as different and contradictory, but there are some that somehow lies compatibility such as defying the odds especially those who exploit the people and its resources, everything that made a nation great in the eyes of the almighty.

Obviously, it also shows how Iran trying to bridge the past and present with virtues of Martyrdom side by side with those of innovation and modernity. People had tirelessly making efforts in doing things possible simply because of their love for homeland and the faith that guides them, especially that there are demons near and far trying to create a face of threat that is, ought to be destroyed.



Sources:

http://www.lib.uchicago.edu/e/webexhibits/iranianposters/index.html
http://www.nyu.edu/greyart/exhibits/iran/imageposters/
http://shahrefarang.com/en/martyrdom-cityscapes/