Does History Repeat Itself?

Not exactly.

First of all, let's get the fine print out of the way; every moment in time itself is unique and forever lost. You never obtain the exact same conditions (unless you happen to own a rather expensive real life Sim game). So technically history cannot literally repeat itself, unless you're a fervent believe in radical physics theories.

And now to the actual discussion. Does history in fact repeat itself? There are common themes throughout the history of human civilisations. Let's take the example of religion. All cultures, from the huts of the Mongolian steppes to the rainforests of Central America have a religion of sorts; Animism, Shamanism, Christianity, Islam and so on. The absence of a so-called 'Atheist civilisation' may be a simple coincidence. It could be a by-product of human curiosity; What is the warm life-giving Sun? Why does the Sun set and so on... It has to be a superior being (which is probably why religions from Germanic paganism to Roman mythology feature it so prominently). But I'll leave you to ponder on that.

But I digress with all this philosophy. Time for actual history. You'd be forgiven if you looked at certain events in the past and thought "huh, this is familiar? Didn't this happen before?", especially as the current media scramble over the Iran deal in the US Congress. Advocating for the invasion of a country which is allegedly constructing a nuclear stockpile without sufficient evidence (and whose aftermath would trigger a power vacuum that would cause the region to spiral into a chaotic darkness of perpetuity) sounds incredibly familiar, you may be thinking. 

History has a habit of striking similarities. Invasions of Russia in the winter (or ever) have never succeeded (see Napoleon's invasion in 1812 and Hitler's invasion in 1941)  unless you discount the Mongols who wisely invaded from the other side. The same could be said to Afghanistan, earning the title of Graveyard of Empires due to the exceptional difficulty of pacifying the region throughout history (Alexander the Great, the Mughal Khans, the British, the Soviets and currently, the American coalition).

A nation under financial turmoil breeds the rise of radical xenophobic nationalists of the far right; the rise of Hitler & the Nazi Party in a 1930s depression-hit Germany is the most noted of examples. Not too long ago in 2012 did the Greek far right party Golden Dawn win 21 seats (its first ever representation in Greek parliament). The good news is that in subsequent elections, that figure is now down to 17 and with even more elections around the corner, we can be hopeful that number slides down.

Allow me to bring the 5th century Byzantine historian Zosimus into the framework. Zosimus highlighted that great empires fell due to internal conflicts and disunity. Citing the fallen empires of the Greeks and Alexander's Macedon, he brought attention to the need for an external enemy. The rapid growth of the Roman Republic in 53 years, he credited, was due to the devastating Punic Wars fought against Rome's bitter rival, Carthage. Roman themes were embraced and thus championed in the the face of Carthaginian foes. The defeat of Carthage (and the Gauls) set the scene for internal quarrels and civil war, culminating in the replacement of Roman aristocracy with monarchy, which eventually decayed into tyranny.

The eventual fall of all empires was a notion brought up earlier by Dionysius of Halicarnassus who had anticipated Rome's eventual collapse after the defeat of her rivals  (Assyria, Macedonia, Persia). The iconic Italian historian Machiavelli commented on the recurrent themes between "order" and "disorder" within contemporary Italian states between 1434-1494:

..when states have arrived at their greatest perfection, they soon begin to decline. In the same manner, having been reduced by disorder and sunk to their utmost state of depression, unable to descend lower, they, of necessity, reascend, and thus from good they gradually decline to evil and from evil mount up to good.

Machiavelli accounts for this oscillation by arguing that virtù (valor and political effectiveness) produces peace, peace brings idleness (ozio), idleness disorder, and disorder rovina (ruin). In turn, from rovina springs order, from order virtù, and from this, glory and good fortune.

This post can go on forever. To paraphrase Mark Twain; history does not repeat itself. Not exactly, anyways. But it does rhyme. I'll conclude by sharing one of my favourite cartoons on the topic. Let me know what you think in the comment section below!

A History of Archaeology in Bahrain

It was a cool winter morning in 1878 when a young British officer by the name of Edward Law Durand (5 June 1845 - 1 July 1920) swept ashore onto the island of Muharraq in Bahrain. Sent by the British Political Residency to conduct an archaeological survey (funded by the British Museum) of the island, his report of the burial mounds was the first archaeological study conducted in the country and in the Gulf since the time of Alexander (or Rome even).

Sketch of a mound from Durand's report (via Qatar Digital Library)

It was on this occasion that he thus became the first European writer to comment on the Bronze Age burial-mounds there, and had the fortune to discover a cuneiform inscription (named the Durand Stone) which he brought back to his family home in Scotland but which was later moved to London where it is believed to have been destroyed during the Blitz.

Durand's Stone is important as it contained Old Babylonian inscriptions. Only when translated by Sir Henry Rawlinson (the forefront scholar in Mesopotamian affairs) did its content become known; it spoke of a devout servant of Dilmun divinity. This quintessentially cemented the Dilmun-Bahrain hypothesis, wherein it is believed Bahrain is the location of the fabled land of Dilmun.

First, a biography of the man;

One of three sons of Sir Henry Marion Durand (1812-1871), who had served with distinction in the First Afghan War and the Indian Mutiny. Educated at Bath, Repton and Guildford; entered the 96th Regiment of Foot in 1865 but transferred to the Indian Political Service in 1868 and in 1870 was selected as ADC and Private Secretary to the Lieutenant-Governor of the Punjab. From 1871-77 he filled various posts in Rajputana and Central India, before briefly serving as Acting Political Agent in Manipur in 1877. In the following year (1878) he was appointed Acting Assistant Resident in Bushire [during which he was sent to Bahrain]. In 1881 Durand was placed in charge of the former Amir of Kabul and from 1884-86 he was Assistant Commissioner for the Afghan Boundary Commission. In 1888 he was appointed Resident in Nepal , where he served from 1889 until his retirement in 1893. He was author of 'Cyrus the Great King' (verse; London 1906), and 'Rifle, Rod, and Spear in the East' (London 1911). He died in London.

                                                                                               - The British Museum

Durand's report on the island (completed in 1879) was forwarded by Ross to A.C. Lyall, then Secretary of the Government of India's Foreign Department, and was later published in 1880 in the 'Journal of the Royal Asiatic Society' (New Series) vol. XII (Part II), pp. 189-227, where it was entitled "Extracts from Report on the Islands and Antiquities of Bahrain" (reproduced with an introduction by Michael Rice in 'Dilmun Discovered: the early years of archaeology in Bahrain', London/New York: Longman 1984, pp. 9-36).

Durand, being a fervent watercolour enthusiast, was said to have painted hundreds of watercolours of Bahrain. Unfortunately, they have been lost to history (although his watercolours from his time in India and Afghanistan exist)

Fortunately, the lovely people at the Qatar Digital Library digitised and uploaded Durand's report, so you may browse it at your leisure. I recommend you go through it, it contains rather vivid descriptions of an island long gone. I'll conclude with Durand's eloquent description of dawn after a particularly sleepless night.

References:

• 'NOTES ON THE ISLANDS OF BAHRAIN AND ANTIQUITIES BY CAPTAIN E. L. DURAND, 1 ASSISTANT RESIDENT, PERSIAN GULF.' [‎31r] (24/32), British Library: India Office Records and Private Papers, IOR/L/PS/18/B95, in Qatar Digital Library [accessed 16 August 2015]  
• The Archaeology of the Arabian Gulf by Michael Rice

Why do we smile in photos?

Ever noticed how no matter when or where a photograph was taken in the 19th century, it was incredibly rare to come across a single smile. Surely they can't have been that gloomy back in the day (must've been all that evil smallpox and what not) , right?

Except for that smiling guy in the other post.

But hey, let's figure out WHY our long-gone 19th century colleagues seem to be so cranky. This is by no means a complete list but rather the logical assumptions.

(Source)

1. Primitive cameras with long exposure times 

Whereas we live in an age where we capture that split fraction of a second in time and send it to our colleagues on Snapchat or Twitter (or God-forbid MySpace), our deceased colleagues weren't as fortunate. Cameras were sturdy things, they had incredibly long exposure times often requiring people to stay rather still for several minutes or else the photograph would blur out. In case you haven't tried it, smiling for several minutes whilst remaining still (like you would if you won a lottery) is incredibly hard to pull off unless you're a masochist and love some serious muscle aches. 
  

2. They were expensive and you don't want to look stupid when applying for that one job

 Who knew our rotting colleagues had so much in common with us?  Getting the opportunity to have your picture taken was serious business. These photographs were basically a permanent profile picture that was carried around their whole life. As a result, it was taken very seriously and people strived to look as passive-aggressive as humanely possible.  
Mark Twain's attitude basically sums it up;

A photograph is a most important document, and there is nothing more damning to go down to posterity than a silly, foolish smile caught and fixed forever. 

It's also worth noting that the influence the art world of portraits had on the early use of photography.  Nicholas Jeeves commented, "Smiling in paintings was only seen in the 17th century in Europe, it was a well-established fact that the only people who smiled broadly, in life and in art, were the poor, the lewd, the drunk, the innocent, and the entertainment."

3. People had terrible dental hygiene

This really doesn't need any further elaboration. 

But why do we smile?

We're silly creatures, who knows why? 

The Gazetteer of the Persian Gulf, Oman and Central Arabia

The Gazetteer of the Persian Gulf, Oman and Central Arabia (nicknamed Lorimer) [2] is a two-volume encyclopedia compiled by John Gordon Lorimer. Published in secrecy by the British Raj government in 1908 and 1915, it served as a handbook for British diplomats in the Arabian Peninsula and Persia.[1]    

Declassified in 1955 under the fifty-year rule, it was widely praised for its extensive details of the region's history and geography.[2] It is considered to be "the most important single source of historical material on the Gulf States and Saudi Arabia" from the 17th to early 20th century.

History:

At the turn of the 20th century, the British empire sought to solidify its links to British-controlled India which in turn resulted in a greater interest in the Persian Gulf region, culminating in the visit of the Viceroy of India Lord Curzon to the Gulf in 1903. [1] To ensure that British agents in the region were adequately informed and prepared to strengthen their influence in the region, a convenient and portable handbook was needed. [3] 

The British Raj commissioned John Gordon Lorimer, a member of the Indian Civil Service serving in the North-West Frontier Province, to compile such a document in November 1903. Initially given six months to complete the task, Lorimer repeatedly insisted on being granted more time to ensure the work was completed thoroughly. Placed under special duty and with a team of researchers, over the next 10 years, data was collated from government archives in Calcutta and Bombay, and from multiple field expeditions to the Gulf.

The Gazatteer itself:

The gazetteer is a 5000 page document divided into two volumes; the first details the region's history and the second details its geography.[1] The geography portion of the gazetteer was completed first and was published in 1908. The history portion of the gazetteer was only completed and published in 1915, a year after Lorimer himself died in a shooting accident. 

History:

Entitled 'History, geography and geneaology', the volume was split off into three sections which were divided by ethnicity. Section 1 (the Arab section) was dedicated to the history of the Persian Gulf, central Arabia and Ottoman Iraq. Section 2 (the Persian section) regarded the history of Persia with particular interest to the predominately-Arab populated region of Arabistan. Section 3 consisted of 19 genealogical trees of the ruling families in the region. [4] 

Its research was compiled from Lorimer's own notes and colleagues such as J.A. Saldanha and C.H. Gabriel and covered various periods ranging the 17th to 20th centuries. [1] 

Geography:

Entitled the 'Geographical and Statistical' section, it is a 2000 page document and lists an extensive alphabetical arrangement of tribes, towns and villages across the region, divided into different countries.[4] 

This data was obtained through field trips and surveys conducted by Lorimer and his team.[1] Also in the volume are 56 reproduced images of the region taken from colonial records and two maps showing the distribution of pearling sites and the overall political geography.

Legacy:

Map of the Persian Gulf, Oman and Central Arabia, compiled by Hunter  (IOR/L/PS/20/C91/6, f. 1r)

 Classified for official use only, it was published in secrecy in 1908 and 1915 respectively with only dozens of copies in circulation. As such, there was no public awareness of the existence of such a document. Consequently, Lorimer's obituary makes no mention of his extensive encyclopedia.[2] Only when declassified in 1955 was he officially credited. [5]  

In 1971, The Times Literary Supplement praised the document, regarding its historical coverage as "stupendous" and its geographical section as "without modern substitute". The gazetteer, relying on British sources and written from a British viewpoint, is regarded as a valuable resource in researching the history of the Gulf. [1]  

The gazetteer in its entirety was digitised and uploaded online by the Qatar Digital Library in January 2015.[5]

Further reading and references:

"Gazetteer of the Persian Gulf, Oman and Central Arabia". Cambridge Archive Editions

Lowe, Daniel A. "‘Persian Gulf Tragedy’: the Death and Legacy of John Gordon Lorimer". Qatar Digital Library. Retrieved 10 August 2015. 

Leech, Nick (7 January 2012). "A reference book for every historian to rely on". The National. 

Lowe, Daniel. "Colonial Knowledge: Lorimer’s Gazetteer of the Persian Gulf, Oman and Central Arabia". Qatar Digital Library. Retrieved 10 August 2015.

 Lowe, Daniel (6 December 2014). "The diplomat’s portable handbook (wheelbarrow required)". BBC News. Retrieved 10 August 2015. 

Author's note: the above was previously posted onto Wikipedia first. 

"Your Spitfires At Work!" British Propaganda Poster in the Persian Gulf

© IWM (Art.IWM ART LD 5268)

The nature of propaganda is intertwined with that of human nature. Propaganda served as a way to solidify public support, decimate the reputation of the enemy, further one's ego and reputation (indeed, one of the earliest pieces of propaganda are those detailing the rise of Darius of Persia). In times of war, the home front is as crucial as the battlefront and propaganda is always an effective tool in a government's arsenal. In this post, I'm sharing this poster made by the British (likely the British Civilian Organisation) destined towards the British protectorates of the Persian Gulf whom had donated funds to the war cause (indeed, the hakim of Bahrain donated £30,000)

The title reads "Your [Persian Gulf] Spitfires in Action". Official transcript of the poster lies below:

[top left] One of the four fighter aircraft donated by the people of the Persian Gulf. The other three aircraft are called 'Bahrain', 'Kuwait' and 'Oman'.

[top right] When enemy bombers come close to Britain, fighter aircraft go to chase them and drive them away. The picture shows one of your fighter aircraft shooting down an enemy bomber.

[bottom left] Your fighter aircraft participate in sweeping raids on enemy territory, and their machine guns inflict huge losses on enemy ships, transport and communication routes.

[bottom right] Your fighter aircraft protect the Allies’ commercial ships against the attack of enemy aircraft. Good surveillance and vigilance of the fighter aircraft only played a major role in the arrival of many military shipments into their destination ports.

[bottom text] Countries of the Persian Gulf voluntarily participated in the daily punishment administered by the RAF to the aggressive Nazi State.

This photograph shows the spitfire (entitled Bahrain) that was donated to the Royal Air Force after raising £15,000 to buy it. The plane itself was piloted by Air Vice-Marshal (Flying Officer during the Battle of Britain) Francis David Stephen Scott-Malden.

His entry at ‘The Airmen’s Stories’ section of the Battle of Britain London Monument website reads:

‘Bearing the initials "S-M" below the cockpit and the legend "Bahrain", Scott-Malden's Spitfire W3632 - built at the Supermarine factory at Woolston, Hampshire - was a gift from the people of Bahrain, who had raised £15,000 to buy it.’

In his Bahrain plane, Scott-Malden led one of the Free Norwegian fighter squadrons leading three sorties in one day during the disastrous Deippe raid of August 1942. Scott-Malden was later awarded the Distinguished Service Order and decorated by the King of Norway.

 If you are interested, you can read about the role of Bahrain during the Second World War

The Treaty that Outlawed Slavery in the Gulf

Officially known as the General Treaty for the Cessation of Plunder and Piracy by Land and Sea, this treaty was initially signed between the British government (represented by the British India government) and  the rulers of Abu Dhabi, Sharjah, Ajman and Umm al-Quwain on the 11th of January 1820. Bahrain later signed the treaty in February. This treaty is significant due to the simple fact it effectively outlawed piracy and slavery in the Gulf, whilst also requiring seaworthy ships to be registered with the British.

This was part of a greater strategy employed by the British to exclude European powers (especially the ever-threatening Russian Empire) from exerting influence in the Middle East and disrupting communication lines with British-controlled India.

Thanks to the wonderful people at the Qatar Digital Library who have digitised more than 500,000 scans & documents from the archives of the India Office records and many more; we are able to see a transcript of the actual document signed below. Wikisource also has a transcribed copy.

Page 1, from the Qatar Digital Library

Page 2, from the Qatar Digital Library

• A Collection of Treaties and Engagements relating to the Persian Gulf Shaikhdoms and the Sultanate of Muscat and Oman in force up to the End of 1953' [‎19v] (40/92), British Library: India Office Records and Private Papers, IOR/R/15/1/738, in Qatar Digital Library <http://www.qdl.qa/en/archive/81055/vdc_100023550810.0x000029> [accessed 27 June 2015]

A History of Contemporary Theatre in Bahrain

Below I'm reposting the Wikipedia article I've written:

The history of the theatre in Bahrain is one example of the modernisation that swept Bahrain in the 20th century, as a result of the British-backed reforms.  Contemporary Bahraini theatre, in its present form, originated in the early 20th century, resulting from the introduction of formal education in the country.
Traditionally, shadow plays and puppet shows were widespread forms of entertainment in Bahrain. The European-style drama plays were first introduced in schools and plays written by Arab dramatists would be later included in the school curriculum.

As civil society became more interested in theatre and influenced by the likes of Tawfiq al-Hakim and Saadallah Wannous, Bahrain experienced a golden age by the 1970s of playwrights such as Ali Al Shargawi, Ebrahim Al-Arrayedh, Aqil Sawar and Yousef al-Hamdan. The country hosts three notable theatre companies; Awal Theatre, Al-Jazira Theatre and the Al-Sawari Theatre companies

History 

Archaeological excavation of sites dating back to the Dilmun civilisation of the Bronze Age in Bahrain have revealed the existence of a ritualistic polytheistic religion that was believed to contain elements of theatre. However, limited information is known about it. In the 7th century AD, Bahrain converted to Islam. Islam did not encourage human representation or drama; however, the events of Ashura inspired a form of dramatic expression called Ta'zieh (Arabic: تعزية‎). These dramatic re-enactments occur during the Islamic month of Muharram and commemorates the Battle of Karbala where the grandson of the Prophet Muhammed, Imam Hussain, and his companions were killed. Furthermore, there exists two related forms of drama in the Islamic world; Maqama and shadow plays.

Aside from this, other forms of performance art in Bahrain included puppet theatres and shadow plays, which were popular between the Middle Ages up to the 18th century. European drama plays were first brought to the Arab world as a result of the Napoleonic invasion of Egypt in 1798, eventually reaching the island nation of Bahrain.

20th Century

Drama in the Arab States of the Persian Gulf was pioneered by Kuwait and Bahrain in the early 20th century.^[4] The first recorded theatre production was A Judge from God's Will (Arabic: القاضي بأمر الله‎) which was performed in 1925 at the Hidaya Al-Khalifa Boys School in Muharraq.^[5] As a result of the formal education system in place in Bahrain, plays written by European playwrights, Arab and eventually Bahraini dramatists were staged by students and teachers in school. Religious, moralist and historical plays were primarily written by Syrian and Egyptian writers and performed at school. The earliest credited pioneers of Bahraini theatre were the two poets Ebrahim Al-Arrayedh and Abdulrahman Almoawda, whose plays in the 1950s were primarily based on historic figures and events in Islamic Arab history.^[2] Influenced by the likes of Egyptian playwright Ahmed Shawqi, both writers authored a combined ten plays, with Almoawda basing his plays on historical characters in Arab history such as Al-Ala'a Al-Hadrami.

In the 1940s, literary societies began expressing interest in amateur theatre, eventually culminating in the establishment of multiple theatre companies and a generation of Bahraini playwrights by the 1970s. Most plays were translated from English such as Shakespeare, with the later introduction of Arabic plays from Egypt and Syria. Eventually, a home-grown dramatic movement was born in the 1970s. Notable writers from this time include:

• Ali Al Shargawi (born 1948), who primarily produced children's plays,.
• Aqil Sawar (born 1946), who was a realistic author and playwright of Al-Nawkhidha (1985) and Al Baraha (1990),
• Yousef al-Hamdan (born 1956) was an experimental dramatist and respected academic critic, who published his memoirs Al-Jathoum in 1990.
• Amin Salah (born 1949) was a novelist and later-turned dramatist who gained recognition after rewriting Romeo and Juliet, titled Romeo al-Fareeg in 1988. Other works were satire of current events such as Al-Jutah on capitalism.

Censorship was a common obstacle for playwrights; any content deemed politically motivated was subject to censorship by the Bahraini government, making it difficult to highlight seemingly apolitical social problems in plays.

Companies

Traditionally, there have been three notable non-profit theatre companies operating in Bahrain. They receive subsidies from the Bahraini government.

 Awal Theatre

Established in 1970, it is the oldest theatre company in the country and the first to be formed independent of any civil society or club. Headquartered in the city of Muharraq, its performances were mainly carried out in the nearby capital city, Manama. Relying on government subsidies, the Awal Theatre company promoted local playwright talents and actors. Its first play was Kursi Ateeq in 1970, an original play written by Mohammed Awad. Since then, the company had performed regional Arab as well as international plays

Al Jazira Theatre

Established in 1971 as an extension of the Al Jazira club and included former Awal Theatre members, its members were semi-professionals and frequently trained in the higher institutes of dramatic arts in Kuwait. Both Awal and Al Jazira theatre companies performed seasonally in Bahrain and toured in drama festivals across the Arab World.

 Al Sawari Theatre

Founded by Abdullah al Sawari in 1991, the company primarily focuses on experimental theatre, adapting Asian elements of theatre such as Kathakali from India and Kabuki from Japan<sup>.

Reference:</sup>

• Rubin, Don (1999). The World Encyclopedia of Contemporary Theatre: The Arab world. Taylor & Francis. ISBN 9780415059282. Retrieved 5 June 2015.