Although I've established that the Japonic language family belongs to the broader Dene-Yeniseian family, which presently spans Siberia to the American Southwest, I had no idea what the time-frame for this relationship was, when first exploring the matter.
But upon further investigation of linguistic, mythological, and ritual relationships, I've not only uncovered further shared shibboleths, but determined that their common-ness lasted up through fairly recent times. Their common ancestor was not from 10, 20, or 100-thousand years ago. Not every element of their cultures dates back to the exact same time-period. Still, the earliest shared cultural ancestor they have goes back no earlier than 2000 BC. And in some cases the shared ancestor only goes back to between 500 BC and 300 or so AD. They could have been in lingering contact with each other through the 1st millennium AD.
This totally blows up the notion that the culture of the New World was either brought with long-distance migration from the Old World on the order of 10s of thousands of years ago, or that it evolved only in the New World after that initial wave of migration. For some New World cultures, that's true. But for others, who speak Na-Dene languages, their bodies and haplogroups may have come over 10,000 years ago, but their present-day culture did not, nor did it evolve solely in situ after settling into the Americas. There was a transmission of Siberian culture from the Old World starting as early as 2000 BC and perhaps lasting through 500 AD.
This is a great illustration of the non-correlation between genes and culture, or between migration of bodies and migration of culture. Cultural forms can spread by contagion, from one adjacent group to the next, and so on in a chain. Group A transmits it to group B, B transmits it to C, and then C to D. The fact that it is present in A, B, C, and D does NOT show that it began with A and then A migrated through all the intervening regions, leaving it behind them at each stop. In fact, it doesn't imply that A has migrated at all -- maybe they had contact with B (without, however, migrating to replace B, just interacting with neighbors), but not C, D, or any further link in the chain. And contagion is a far faster transmission process than migration of one spreader group to all regions affected -- as the phenomenon of epidemic diseases shows.
That's not to say that cultural forms spread just like epidemic diseases -- the key difference is how "susceptible" one group is to the cultural influence of another. Pathogens don't care about cultural groups or which other groups they choose as role models vs. groups they shun / avoid. Cultural transmission is not necessarily transitive either, unlike diseases -- in some cases, A influences B, and B influences C, but C rejects the influence of A (directly). In such a case, B acts as a gatekeeper between A and C, a role that does not show up in epidemic disease transmission. This is where all of the real art-and-science of cultural transmission happens -- just saying it can spread from one adjacent group to the next is not very surprising, it's what relationships must be in place for the transmission to take place, and when it will stop.
With that big-picture in mind, let's now look at some shared cultural shibboleths in Northwest America and cultures of the Eastern Steppe, including the off-shoot that wound up in Glorious Nippon. Some of these examples are from the comments in the previous post, some are ones I discovered just in the past few days.
I'm going to try breaking these up into smaller, more digestible separate posts, instead of having a long string of 250 comments on a single post.
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First, we'll start with ritual. An earlier post demonstrated that ancient Japan (starting sometime before 300 AD) shared a cultural shibboleth with the Xiongnu and the Pazyryk cultures of the Eastern Steppe (and Silla, in Korea) -- breaking precious bronze mirrors as a funeral rite, and burying them as grave goods. See that post for all the details, which begin in the 3rd section.
For the time-frame, this ritual began in the mid-1st millennium BC (Pazyryk) and lasted through the mid-1st millennium AD (Kofun-era Japan). After then, the practice seems to have faded away...
But not in Northwest America, where a strikingly similar ritual lasted up through the conquest of the frontier by the Americans. Perhaps in the Old World, gradual sedentarization and civilizing influences from China led to the abandonment of this Eastern Steppe barbarian ritual, while in Northwest America there never was a sedentary mega-state civilizing influence until the white man showed up. They certainly were not in the cultural orbit of the Aztec, Maya, or Inca empires. So perhaps the Mongolians and Japanese would still be practicing this funeral rite, if there had been no China for them to interact with...
Metallurgy was never widespread in North America before European colonization. But there was a limited amount of iron and copper production in the Northwest, where the raw material was sourced from Alaska. We'll get to the mythical or not-so-mythical legend behind that, when we look at myths!
But after they began working with copper, various groups in Northwest America, not only those speaking Na-Dene languages, began to practice a ritual of breaking precious copper ceremonial shields, sometimes as part of a funeral, although sometimes as part of a potlatch. In both occasions, though, the broken fragments were buried somehow -- either under the ground or tossed into the sea, where they sank to a watery grave.
In both occasions, the "coppers" or copper shields were not very utilitarian, they were symbols of status and wealth and perhaps a connection to the supernatural and to ancestral lineages. They were decorated as art-works. They were owned and traded as decorative status symbols, with some degree of otherworldly power -- just like those bronze mirrors in the Eastern Steppe.
The main difference in the New World ritual is the shape -- they are beaten smooth and are between half a foot to several feet in length, like the Old World round mirrors, but they take the form of a T-shaped shield (again, not used as an actual shield in battle). And the adornments are also local patterns. So there was some degree of syncreticization between the Old World ritual and existing Northwest American arts-and-crafts traditions.
They don't seem to be treated as magical for their ability to collect and reflect light, as though they were mini-suns, like they were in the Old World, where they played into the solar cult of the Eastern Steppe.
We can't tell if their use at potlatches is different from their Old World context, which was funerals -- perhaps the only difference is when potlatches were held in the Old World, like mainly during a funeral, whereas in Northwest America, potlatches were held outside of funeral contexts as well. But in both cases, their breaking and burial can be viewed as a form of conspicuous wealth destruction, as an honest signal of the large amount of wealth held by the leader. In this way, it's no different from human and animal sacrifice, on the same occasions (potlatch and/or funeral) -- it's the sacrifice of precious objects, which only a wealthy household owns.
However, it's not just a vague conceptual similarity like "sacrificing precious objects" -- they are made of copper, beaten smooth into a sheet, adorned as decorative objects, used in a ceremonial context rather than a valuable object that sees real-world use, and their method of sacrifice is the same -- breaking into fragments.
Most inclusion of precious objects in a funeral or other ceremony does NOT involve breaking them or rendering them worthless as utilitarian objects, or even as decorative objects. Indeed, if they were just decorative objects made from copper, they would not seem so similar to the Eastern Steppe versions -- it's the fact that they're ceremonially sacrificed by fragmentation that jumped out at me when reading about them.
All these unnecessary / arbitrary points of similarity show that it is a shared shibboleth, not just independent variations on a universal theme.
This New World ritual goes back no further than the mid-1st millennium BC, when it is observed among the Pazyryk culture in the Eastern Steppe. It was still practiced in Japan during the early Medieval era. When was it transmitted into the Pacific Northwest? Sometime after the prerequisite adoption of copper metallurgy, which was more limited regionally and occurred later in the New World.
I'm guessing sometime at the twilight of its use in Japan, or just afterwards -- when the Siberian transmitters would have still been familiar with the ritual, but since it was no longer de rigueur in Siberia, it was not emphasized as strictly to the New World adopters. It was likely transmitted by the same Siberians who taught the New Worlders about copper in general -- "Y'know, this isn't just utilitarian stuff. Where we come from, we beat it into sheets, decorate it, and break it into fragments during major ceremonies like a funeral. You guys should do that, too!"
Maybe they specifically said to make it into a round mirror, and the New Worlders said that wasn't as relevant to their local culture, and made them into shield-like shapes instead. Or maybe since the ritual was fading away in Siberia, the Siberian transmitters didn't insist on every element being preserved -- what the hell, the ritual was dying out anyway, just give them the basic understanding, which is that copper is valuable, it can be beaten into a smooth canvas for artwork, and this valuable object can be broken into fragments for a major ceremony like a funeral.
I doubt it was too much later after it died in the Old World, since hardly anyone would still remember it in order to pass it on. Probably not 1000 AD. But also not too early, since it only began in 500 BC, and it required use of copper or bronze. So perhaps more like 300 to 700 AD, though after being transmitted, lasting right up through the "present" (closing of the American frontier circa 1900). Pacific Northwest natives never had to worry what a civilization like China might think about them sacrificing people, animals, and precious mirrors, well after the Dark Ages...
Marine gave a great karaoke performance, with classics as well as recent hits. She kept saying, "Let's sing oldies, to make teenagers cry". ^_^
ReplyDeleteAs always with Marine, I learned a new classic Japanese song -- "Nagori Yuki" by Iruka, from the good ol' Sad Seventies. It has a very Carpenters-like fusion of folk music, a jazz-y / funky bass, and a plaintive female vocal singing about love.
So far, the only other Hololive girl to sing it is Noel, several years ago. It would really suit Irys, who loves the Carpenters. ^_^
And Marine has sung it many times -- it's clearly a favorite of hers, and I can see why. Her rich, honey-dripping voice really adds something to the original. It's not her usual seductive, sexy voice... it sounds more like a nuturing lullaby from a pretty babysitter. The high level of resonance is not for va-va-voom seduction, but like a cat purring -- to calm and soothe and reassure.
I really love when Marine lets this side of her personality show, the role of "cat purring on your lap, in order to soothe and comfort you".
And as someone who is easily possessed by the spirit of the music, she really gets into the performance. She's doesn't get stage-fright. So, even if that is not her usual personality, it's a secret part of her, and she can easily turn it up to the max by being possessed by a song that has that personality in it.
Of course, when the song is seductive, then Marine can also become possessed by *that* spirit as well, and her resonant voice does sound like a seductive cat in heat, hehe. But she's not faking it just for clicks -- it's a real side of her personality, and she can't help but become possessed by the spirit of the music, no matter what it is.
Speaking of "Ihojin" again, Marine performed that in a duet with Azki during her concert that was made in the "Showa TV concert shot on video" style. I'm so glad that someone who is as popular as Marine is using that role to preserve the classics of Japanese culture, and make them cool to newer younger audiences, as well as drawing in older audiences.
Every girl in Hololive who preserves the classics, whether it's songs or movies or TV series or video games, is part of the team effort to keep Japanese culture alive. Culture doesn't keep itself alive, and is not transmitted passively by genes -- it needs to be actively transmitted, every single generation after the other, or it dies.
Living in the collapsing American Empire that is demolishing its own culture, it's a relief to see that *some* wonderful cultures are continuing to preserve themselves, and not with a groan as though it's a chore that must be done, but with an enthusiastic smile cuz it's fun and exciting and awesome.
It's no surprise that Americans, from all walks of life, are jealous of Glorious Nippon... ^_^