Sydney’s Long-vanished Iconic Boxing Stadiums

Posted on December 16, 2021November 17, 2023 by funambulator@live.com

Inter-ethnic relations, Leisure activities, Local history, Memorabilia, Music history, Popular Culture, Sport, Sports history

Any Sydneysiders born in or prior to the 1890s would have been aware of the opening of Sydney Stadium. 1908 was the year this iconic boxing arena on the eastern outskirts of the city’s CBD first saw the light of day…literally saw the light of day as it was originally built as an open air stadium. The brainchild of promoter Hugh D McIntosh who constructed a ‘temporary’ outdoor boxing ring on the site of a former Chinese market garden in Rushcutters Bay to hold the world heavyweight boxing contest featuring Canadian title-holder Tommy Burns and Australian challenger “Boshter Bill” Squires. The fight was however just a warm-up for a legendary pugilistic bout in the same arena four months later between Burns and African-American fighter Jack Johnson. The fight garnered a lot of attention in Australia and internationally as Johnson was the first black boxer to contest (and win) a world title… and the heavyweight title at that!

The Australian press of the day predictably invoked the race card in the lead-up to the fight, racist descriptions of Johnson abounded, “coloured pugilist” was one of the few politer characterisations of Johnson (Bush Advocate, 28th December 1908). Burns’s thrashing at the hands of his much bigger black opponent—physically it was a real “David and Goliath” mismatch—prompted a backlash from white supremacists. Writer Jack London (ringside at the fight) put out the call for a “Great White Hope” to restore the white man to his ‘rightful’ place atop the professional boxing tree. The decisiveness of Jack Johnson’s triumph tapped into the prevailing currents of eugenic belief of the day, doing nothing to soothe anxieties about the “moral decay and decline” of the white race.

Stadiums Ltd
For almost its entire lifespan (from 1915 to its closure) Sydney Stadium was owned by Melbourne entrepreneur and gambling identity John Wren’s Stadiums Ltd…during that epoch the company enticed most of the top Australian professional boxers including Vic Patrick, Fred Henneberry, Dave Sands, Jimmy Carruthers and Tommy Burns (not the Canadian heavyweight champion) as well as renowned international prize-fighters such as Emile Griffith, Freddie Dawson and ‘Fighting’ Harada, to Sydney Stadium (‘The Wild Ones: Sydney Stadium 1908-1970’, Sydney Living Museums, www.sydneylivingmuseums.com).

“The old tin shed”
In 1912 the stadium was given a lid, an octagonal shaped roof of corrugated iron, and equiped for a capacity of 12,000 seated patrons. As the decades passed, hosting countless boxing and wrestling matches (in operation several nights a week at one point), it acquired the affectionate sobriquet “the old tin shed”❈. From the 1950s while boxing was still its core entertainment, the Sydney Stadium became a venue for popular music entertainers and television stars (eg, Frank Sinatra, Little Richard, Chuck Berry, Buddy Holly and the Crickets, Walt Disney’s Mouseketeers, and so on⚘. This continued into the Sixties with “The Samurai” star Koichi Ose, and perhaps its pinnacle, the Beatles performing there on their 1964 Australian tour (‘Sydney Stadium’, Milesago – Venues, www.milesago.com; ‘World Heavyweight Boxing Championship Title Fight 1908’, Woollahra Municipal Council), www.woollahra.nsw.gov.au).

Leichhardt Stadium in Sydney’s inner west never managed to capture the limelight of Rushcutters Bay but was still very popular in its time, it’s Thursday night boxing events regularly ”packed to capacity” (‘Packing a punch’, James Cockington, 01-Jul-2009, SMH, www.smh.com.au). Leichhardt was Sydney pro boxing’s ‘Medina’ to Sydney Stadiums’ ‘Mecca’, together, this brace of stadiums was the home of professional pugilism in Sydney in the early to middle part of the 20th century. The suburban stadium on Balmain Road, Leichhardt, first opened its doors in 1922. The two Sydney stadiums featured many of the popular active Aboriginal fighters, typically stepping up from the touring boxing tents to try to earn their livelihoods inside their square rings, including Ron Richards, Jack Hassen, George Bracken, the Sands brothers and many more. Other names regularly featuring on Leichhardt Stadium’s draw cards included Jack Carroll, Jimmy Kelso, ‘Kid’ Rooney and Hockey Bennell.

ᗝ 𝔚𝔯𝔢𝔰𝔱𝔩𝔦𝔫𝔤 𝔞𝔱 𝔏𝔢𝔦𝔠𝔥𝔥𝔞𝔯𝔡𝔱 𝔖𝔱𝔞𝔡𝔦𝔲𝔪, 1936 (𝔖𝔬𝔲𝔯𝔠𝔢: 𝔖𝔱𝔞𝔱𝔢 𝔏𝔦𝔟 𝔬𝔣 𝔑𝔖𝔚

ஓ๑ஓ

‘Blood’ sports and ”show biz” mash-up
Like it’s older relative at Rushcutters Bay, Leichhardt Stadium’s “bread-and-butter” remained pro-boxing and wrestling. However, during the Depression, the suburban stadium, perhaps anticipating Lee Gordon, innovated by incorporating the prevailing popular form of stage entertainment…Saturday night featured a program of boxing contests intermixed with “Vaudeville entertainment” acts (‘Leichhardt Stadium. 1922.’, Sydney Morning Herald, 08-Dec-1930 (Trove); Milesago).

𝔖𝔬𝔲𝔯𝔠𝔢: 𝔉𝔞𝔠𝔢𝔟𝔬𝔬𝔨

ஓ๑ஓ

By the mid to late 1960s Australian professional boxing was in the doldrums and the stadium itself at Rushcutters Bay closed in 1970. Three years later the complex was demolished to make way for the Eastern Suburbs Railway. Leichhardt Stadium’s demise as a boxing venue occurred not long after in 1975.

◥ 𝓦𝓱𝓲𝓽𝓮 𝓒𝓲𝓽𝔂 𝓯𝓾𝓷 𝓹𝓪𝓻𝓴 (𝓢𝓸𝓾𝓻𝓬𝓮: 𝓦𝓸𝓸𝓵𝓵𝓪𝓱𝓻𝓪 𝓜𝓾𝓷. 𝓒𝓸𝓾𝓷𝓬𝓲𝓵)

Footnote: White City’s fleeting existence
In 1913 another landmark was erected in Rushcutters Bay, a 9-iron’s distance from Sydney Stadium. The White City Amusement Park, also built on former Chinese market gardens, was a precursor of Sydney’s better known Luna Park. White City offered pleasure-seekers a smorgasbord of lakes, canals, river caves, “pleasure palaces”, “fun factories”, the city’s first roller coaster and it’s pièce de résistance, a gigantic (Pennsylvanian-constructed) carousel. White City lasted less than four years before being burnt to the ground after a lightning strike in 1917 (‘Lost Sydney : White City Amusement Park’, Pocket Oz, www.visitsydneyaustralia.com.au). In the early 1920’s the White City tennis complex was erected on the site.

𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬

❈ also known as ” the old barn”

⚘ expat American promoter Lee Gordon was the brains behind this move into pop music, bringing out big US bands, singers and duos for concerts at Rushcutters Bay, backed by Australian support acts

Juggling the Double-edged Sword of Late Antiquity Imperial Migration: The Roman Empire’s Mishandling of a 4th Century Gothic Refugee Crisis

Posted on November 3, 2021July 10, 2022 by Sloane Snodgrasse

Inter-ethnic relations, Military history, Regional History

2015 was an apogean year for international refugee influx into Europe, the dislocation of war and the fear of persecution in Syria, Afghanistan, Iraq and Eritrea brought more asylum seekers to the continent than any time to that point since WWIIa.The sheer scale of the refugee movements, the tragedy of mass drownings, military interventions and border controls, the hostility of some governments towards the continuous tide of migration, the utter chaos and misery of the refugees’ plight, the whole humanitarian disaster all has echoes from distant history.

The Huns, movers and shakers in the barbarian lands
The refugee crisis in Europe reminded some observers of a chapter in the declining days of imperial Rome. The catalyst for this Late Antiquity migration story was the emergence of the nomadic and war-like Huns. Leaving their homeland (not known for certain but possibly Kazakhstan in Central Asia) after AD 350, the Huns moved along the Black Sea, engaging and defeating the Vandals, the Alans, the Goths and other Germanic and Slavic peoples that they encountered on their path of destruction. By circa 370 the military success of the Hunnic hordes had forced many of the defeated peoples to migrate west toward the Roman Empire. As a consequence, in 376 a large group of Goths comprising perhaps 100,000 men, women and children from two tribes—the Thervingi and the Greuthungi—suddenly turned up on the banks of the lower Danube River, the boundary of Rome’s eastern imperial reach, fleeing from the Huns. The Goths pleaded with Valens, emperor of the east for sanctuary, pledging their allegiance to the empire. The absorption of ‘barbarians’ within the Empire was an established policy of assimilation practiced by Rome, an initial step on a process of transforming foreigners into Roman citizens, albeit with certain limitations on their rights [‘1,700 years ago, the mismanagement of a migrant crisis cost Rome its empire’, Annalisa Merelli, Quartz, Upd. 09-May-2016, www.qz.com].

⍓ Valens’ numismatic likeness

Receptiob or denego?
After lengthy deliberation Valens made a momentous decision…allowing the Thervingi into the imperial territory in return for loyalty to Constantinople and that they provide infantry for the emperor’s armies. At the same time Valens denied permission to the second group of Goths, the Greuthungi, to enter Roman territory. According to the main source we have for this period, historian Ammianus Marcellinus, Valens thought he had secured himself a great deal, a cheap supply of foreign labour and a boost to the empire’s tax revenue [Dan Jones, Power and Thrones: A New History of the Middle Ages (2021)].

⍓ Moesia/Danube border, Roman Empire

⁻

Roman border security
Traditionally, the Romans were very efficient at managing the flow of migration within the empire. Rarely using walls, they relied on natural barriers in the landscape such as rivers and mountains. To defuse any potential threats, the foreign tribes were customarily relieved of their weapons, broken up into smaller groupings and sent off to underpopulated regions. Unfortunately for this project, the traditional practices were not implemented. The operation, delegated to two venal Roman officials to coordinate, was a disaster. The two, Lupicinus and his deputy (dux) Maximus, were incompetent, corrupt and exploitative in their duties. The Thervingi were not made to hand over their weapons, nor were they divided into smaller numbers and dispersed to different regions. In their greed the Roman officials allowed too many of the Thervingi to cross the Danube at the same time, with the result that many Goths perished in the river. When it came to settling the Goths, the two officials committed a series of abuses against the new settlers including selling them the desperately needed supplies at massively inflated pricesc . And to top off the snafu, Lupicinus and Maximus failed to prevent the barred Greuthungi from crossing the Danube illegally by their own means further downstream [‘Immigration: How ancient Rome dealt with the Barbarians at the gate’, Cavan W. Concannon, The Conversation, 13-Feb-2019, www.theconversation.com].

Spirally out of hand fast
From there things went from bad to worst between the Romans and the ever more aggrieved Thervingi. Valens tried to eliminate the Thervingi leadership which backfired spectacularly…a riot ensued and their chieftain Fritigern reneged on his allegiance to the emperor, and most dangerously allied with the Greuthungi against the Romans. Valens was faced with “a unified, massive Gothic army, loose and armed in Roman territory” (Concannon). The increasingly formidable Goths launched a series of revolts and plundered wealthy Thracian villages and estates (Jones).

Blundering into a military catastrophe
In 378 Emperor Valens, underestimating the strength of the enemy and imprudently declining to wait until reinforcements arrived from the western Roman emperor (his nephew Gratian), engaged a combined army of Goths and Alans (with cavalry) in the Battle of Adrianopled . The battle went badly for the Romans, Valens made tactical errors and the army was outnumbered and outmanoeuvred by the barbarians led by Fritigern, resulting in a crushing total defeate .This time Valens paid for his blunder with his life, along with that of roughly two-thirds of the Roman army. Reverberations from the debacle went deep, both Christian and pagan contemporaries saw it as the beginning of the end of the Roman Empire. For St Ambrose, Bishop of Milan, it signified “the end of all humanity, the end of the world” [Lenski, Noel. “Initium Mali Romano Imperio: Contemporary Reactions to the Battle of Adrianople.” Transactions of the American Philological Association (1974-) 127 (1997): 129–68. https://doi.org/10.2307/284390.]

⁻

The new emperor, Theodosius I, brokered a peace with the Goths in 382, the circumstances after Adrianople compelling him to accept the settlement of the semi-autonomous group of the Thervingi between the Danube River and the Balkan mountains. Within the Roman Empire, the Goths and other barbarians were granted the status of foederati (a federation of client peoples allied by treaty to Rome – in return for certain subsidies and benefits the barbarians were required to provide manpower for military service, eg, as auxiliary mercenary forces to guard the Empire’s frontiers, AKA līmitāneī). At best Theodosius’s pax Gothica was a holding operation, buying the declining Empire time only. The barbarians once inside the imperial borders evolved swiftly into an entrenched force and a growing threat, as the rise of the Visigoths (see note below) and their king, Alaric I, was to demonstrate in the 390s.

⍓ Delacroix’s painting of Attila the Hun

⁻

Postscript: The Huns’ invasions of the lands to the south and west, a decisive push to expand its empire, stimulated the “Great Migration” of peoples, successive waves of migration, raids and rebellions, which weakened the fabric of Roman civilisation, contributing to the eventual collapse of the Roman Empire (AD 410).The Hunnic empire reached its peak in the two decades from 434 when its most famous leader Attila attained power. Under Attila the Huns cut a swathe through Eastern Europe (even invading Gaul), forcing the eastern Roman emperor to agree to pay him an annual tribute of 2,100 pounds of gold in return for peace. Attila died in 453 and bereft of his cohesive and dynamic leadership the Hunnic empire collapsed within six years.

(Image: Historical Atlas of the Mediterranean)

Note: Visigoths vs Ostrogoths
Visigoths was the name ascribed to the western tribes of Germanic Goths, who are thought to have descended from the Thervingi tribe. In the 5th century their sphere of influence extended as far west as the Iberian Peninsula. Ostrogoths is the corresponding name for the eastern tribes of Goths, their antecedents coming from the Greuthungi tribe. From their base north of the Black Sea the Ostrogoths in the 5th century extended their influence into Italy.

⁌~~—————————————————~~⁍

a 1.3M, escalating rapidly thereafter, by the end of 2016 the numbers had reached 5.2M (‘Refugee crisis in Europe’, www.unrefugees.org

b receptio (Latin) was the Roman term for integrating external groups seeking asylum in the Empire

c even forcing the starving Goths to sell them their children for slavery in return for dog food!

d modern-day Edirne in Turkey

e Rome’s worst military reversal since Cannae and Hannibal (216 BC)

Biography of a Small and Unassuming Zulu Pop Song: ’Mbube‘ versus the Goliaths of the Music Industry

Posted on September 30, 2021March 4, 2022 by Wolfgang Childerglas

Biographical, Commerce & Business, Inter-ethnic relations, Music history, Performing arts, Popular Culture

According to Guinness World Records the pop song that has been covered more times than any other record is the 1965 Beatles’ 1965 Paul McCartney-penned Yesterday (a staggering 1,600-plus recorded versions). Conversely The Lion Sleeps Tonight trails far behind the record-holder with a mere 160 or more covers (still a very large number of covers), but few popular songs in the modern era of music can match it’s convoluted, controversial and even tragic history.

The Evening Birds, 1939 (Solomon Linda on the far left)

Ripped off from the debut single
The story starts in the Gallo Recording Studio in Johannesburg in 1939. Migrant labourer Solomon (Ntsele) Linda and his troupe of a capella singers (the Evening Birds) cut a record in the Zulu asisicathamiya style. The tune with its spartan lyrics is called Mbube or perhaps more correctly Imbube (‘lion’ in the Zulu language). The tune they sing is not a particularly remarkable piece of music except for Solomon’s melody. As Cape Town music journalist Rian Malan, who is to play a key role in the Mbube story as it develops, puts it, “there was something terribly compelling about the underlying chant, a dense meshing of low male voices above which (soprano) Solomon yodeled and howled (“a blood-curdling falsetto”) for two exhilarating minutes” improvising as he went along…“a haunting skein of fifteen notes” (’In the Jungle: Inside the Long, Hidden Genealogy of “The Lion Sleeps Tonight”’, Rian Malan, Rolling Stone, 14-May-2000, www.rollingstone.com). Recorded, the song sells over 100,000, copies in South Africa by 1948. Linda’s cut, 10 shillings for the recording plus a menial job in the record company (in the process signing over all rights to the song to company proprietor Eric Gallo).

From a humble back room recording in Sub-Saharan Africa’s only recording company to the American Top 40
This pattern of exploitation, injustice and racism (both overt and by omission) escalates when the story moves to America. Struggling folksinger Pete Seeger hears Solly and the Original Evening Birds’ 78 record, digs the sound and records it with his group the Weavers. But Seeger misinterprets what Solomon Linda is singing, changing the Zulu refrain ‘Uyimbube’ (“You’re the Lion”) to ‘Wimoweh’ on their recording (‘Mbube’ becomes the song ‘Wimoweh’). It’s a hit in the US in 1952 and Seeger’s career receives a big boost. No credit and no royalties for composer Solomon – although later Seeger motivated by pangs of guilt sends Linda a cheque for $1,000 via TRO/Folkways, however it gets siphoned off on-route and never reaches the impoverished Linda in the slums of Soweto in Jo’burg.

In 1961 a new chapter in the story opens, “doo-wop” band the Tokens, like all pop music enthusiasts in the US, are familiar with the super-catchy “Wimoweh” refrain and want to record it. Their RCA producers get songwriter George David Weiss to revamp the song. Weiss adds new lyrics (“In the jungle, the mighty jungle”, etc) and shifts the focus of the song on to Linda’s chanting melody. ‘Mbube’ having previously morphed into ‘Wimoweh’ is repackaged by Weiss as ‘The Lion Sleeps Tonight’, all three versions still bearing the essential imprint of Solomon Linda (Malan). The Tokens’ single—with singer Jay Siegel’s distinctive high falsetto—reaches # 1 in the US and internationally, eventually selling more than three million copies§. Again, no credit and no moolah for Linda who dies destitute in 1962 with just $25 in his bank account, leaving a widow and a half-dozen young children behind.

Spreading the largesse to TRO
While credited songwriters Weiss and RCA’s Creatore and Peretti cash in big time on ‘The Lion Sleeps Tonight’s’ soaring sales, other formidable industry figures in the US were getting in on the act from another angle – again to the exclusion of the song’s original creator. Eric Gallo in South Africa injudiciously trades his rights to Linda’s song in America to big international music publishers TRO, (The Richmond Organisation) cutting himself off from benefitting from the ongoing “gravy train” and enriching TRO founder Howie Richmond and his partner Al Brackman.

Industry eyes only on the prize
Rather than making an act of goodwill or perhaps an atonement of sorts for the wrongs done to Solomon Linda by shuffling a financially meaningful sum in the direction of Linda’s daughters, the major stakeholders, fixating on the riches they see before them, at the beginning of the Nineties dig their heels in, even resorting to wrangling among themselves. TRO and Richmond on one side and Weiss and co-writer Creatore on the other end up fighting each other in arbitration presided over by copyright law judges…”rich white Americans squabbling over ownership of the most famous melody ever to emerge from Africa” (Malan).

‘The Lion King’ jackpot

Disney’s turn to exploit the melody’s popularity
The “golden egg” of ‘The Lion Sleeps Tonight’ explodes to new astronomical heights in 1994 when the Disney Corporation releases The Lion King, a blockbuster of a a movie—using ‘The Lion Sleeps Tonight’ song—which by 2019 has raked in $1.65 Bn at the box office, plus spin-offs such as videos and merchandise. Not stopping there, Disney follows it up with a 1998 sequel Lion King II and a Broadway musical theatrical release (highest grossing Broadway production of all time – >$1 Bn). Added to all this is about another thirteen films that includes ‘The Lion Sleeps Tonight’ song, plus its use in television commercials, endless airplay on radio and so on.

The long quest for justice and some light at the end
An amelioration of the unconscionable plight facing Linda’s family only emerges after Rian Malan takes up their cause in the Nineties, writing a penetrating exposé (published in 2000) which gets their predicament publicity and legal support, and also embarrasses the “fat cat” beneficiaries who make some insultingly meagre financial concessions to the family. A series of court cases ensue but untangling the complicated web of ownership of the three versions of ‘Mbube’ is not straightforward – for one thing both Linda and his two surviving daughters have already signed over their rights to ‘Mbube’ in transactions which were legal, also there are issues with expiry of copyright in both RSA and America. In 2004 the Ntsele sisters with the aid of copyright lawyers initiate a lawsuit against Disney. The 2006 ruling acknowledges that ‘The Lion Sleeps Tonight‘ was of South African origin and rooted in Zulu culture (‘Copyright in the Courts: The Return of the Lion’, Owen Dean, Wipo Magazine, April 2006. www.wipo.int). In an (undisclosed) out-of-court settlement Disney (keen to avoid a PR disaster) and Abilene Music❆ agree to make an equitable and substantial payout to Linda’s surviving daughters. (’The Lion Sleeps Tonight’, Lydia Hutchinson, Performing Songwriter, 01-May-2017, www.performingsongwriter.com; ‘In the Jungle, the Unjust Jungle, a Small Victory’, Sharon LeFraniere, New York Times, 22-Mar-2006, www.nytimes.com).

Malan estimates (2002) that given the seeming limitless sales potential of ‘Mbube’/‘The Lion Sleeps Tonight‘ in all its versions and forms, the royalties owing to the song’s composer would lie in the region of US$15 million, a figure that Solomon’s descendants won’t ever see in their bank accounts…however through the unflagging, dogged persistence and refusal of Malan not just to grasp the nettle but to never let go of it⇼, and the stirling pro bono services of lawyers stirred to action by the injustice, the future is now secure for them, and credit for the classic song is now rightfully attributed to their father. One of those South African copyright lawyers Owen Dean expresses optimism that royalties will be secured for “the use of Mbube in all its derivatives, including ‘The Lion Sleeps Tonight‘, for the benefit of the family” (Malan), noting also that there is “some pride in having successfully championed the cause of the small creator among entertainment industry giants” (Dean).

Postscript: Remastered: The Lion’s Share, a 2019 documentary shows writer and documentarian Malan’s quest to trace the roots of the mega-successful ‘The Lion Sleeps Tonight‘ song, one of the most instantly recognisable pop melodies in American music, and his untiring efforts to help get fair compensation for the surviving daughters of the Black South African composer air-brushed from his part in music recording history.

🎶➿🎶➿🎶

—————————————-———————

§ artists to cover ‘The Lion Sleeps Tonight’ include the Springfields, Roger Whittaker, The Tremeloes, Robert John, Glen Campbell, Brian Eno, R.E.M., They Might Be Giants and Tight Fit

☥ another go-to pseudonym—one used by Al Brackman to grab a cut of the songwriting royalty payments pie—was “Albert Stanton” (www.secondhandsongs.com)

❆ who licensed the song to Disney for the movie

⇼ The Guardian aptly summarises this irrepressible trait of the controversial RSA journalist: “Malan is at his best when he finds a story that allows him to employ the full power of (his) instinctive reluctance to take yes for an answer” (Tim Adams, 2nd March 2013).

The Law of Jante: Scandinavian Anti-exceptionalism and the Wealth and Social Status Taboo

Posted on September 5, 2021September 5, 2021 by Sloane Snodgrasse

Comparative politics, Creative Writing, Inter-ethnic relations, Literary & Linguistics, Regional politics

(Image: Scandinavian Standard)

Contemporary Scandinavian society is rich and appetising fodder for sociologists and behaviouralists. The peculiar strain of egalitarianism that runs through the Nordic countries manifests itself in a concept known as Jantelagen in Swedish or Janteloven in Danish and Norwegian⊡. The origin of the word ‘Janteloven’ comes from a 1933 satirical novel by a Danish-Norwegian writer Aksel Sandemose. A Fugitive Crosses His Tracks, set in a fictional Danish town called ‘Jante’, is “a thinly veiled roman à clef about his hometown Nykøbing Mors”, Denmark, in which he skewers the inhabitants for their foibles – “pettiness, envy, backbiting, gossip, inverted snobbery and small-mindedness” [‘The Law of Jante’, Michael Booth, Paris Review, ‪11-Feb-2015 ‬www.parisreview.org]. One small portion of En flyktning krysser sitt spor (the Norwegian title) is of lasting significance, the “Laws of Jante”⊞, the list of ten principles designed to put non-conformists in Nordic society in their place. Sandemose’s so-called ‘Laws’ draw on long and widely held, deeply engrained Scandinavian attitudes⊟.

The 10 Laws of Jante

A society devoid of exceptionalism and ‘oneupmanship’
Janteloven/Jantelagen is a concept which celebrates Nordic self-restraint, “stoic humbleness and modesty”. Any sense of individual superiority and ambition is actively discouraged, as is talking about one’s personal success. The Jante laws are cultural codes which eschew declarations of a self-congratulatory or immodest kind. Nordic “Jante-ism” offers no haven for those seeking to stand out from the crowd. The benefits for adherence, Scandinavians assert, are collective ones, good for the nation as a whole, resulting in enhanced quality of life, a contribution to the “GNP of happiness” enjoyed by its citizens⊠ [‘Jantelagen: The Law of Jante Explained’, Swedes in the States, 22-Feb-2021, www.swedesinthestates.com].

The Jante Law instructs on what citizens need to do to fit in to the community, but it has a punitive purpose too…if an individual fails to fit in, it provides a way of “socially stigmatising anyone who break the rules”. According to author Michael Booth, it affects the everyday choices Scandinavians make, what clothes you wear, what car you buy, etc [‘Forget hygge: The laws that really rule in Scandinavia’, (BBC Ideas video, 2018, www.bbc.co.uk].

“We are all equal!”

Swedish comparisons are odious: The taboo on money and status
Jantelagen is deeply rooted in the Swedish psyche, it is de rigeur for all stratum of society never to talk about one’s wealth or income. Jantelagen also prohibits people from boasting about their social status, firing off a warning shot to allay any notions they may harbour about climbing the social ladder (the codes act as a handbrake on citizens not getting above their station). The reinforcement of the appearance of an egalitarian society helps to keep the balance (ie, serving as a control mechanism, maintaining homogeneity and societal harmony). Stephen Trotter’s study of Janteloven in Norway concludes that it operates as a “form of structural censorship (where) symbolic power is exerted (in the task of) nation-building” [‘Breaking the law of Jante’, SR Trotter, Issue 23 Myth and Nation, www.gla.ac.uk].

(Source: mbastudies.com)

Anything north of average is a win!
The claimed benefits of “Jante-ism” has also been explained in terms of a state of decreased expectations – living by the ten rules installs a sense of average expectations from life, so anything that comes your way “above and beyond the average” will be a welcome bonus, value-adding to your existing store of happiness (Lindsay Dupuis)[‘The happiness of the Danes can easily be explained by 10 cultural rules’, Lila MacLellan, Quartz, 29-Sep-2016, www.qz.com].

Stockholm’s poshest precinct (Photo: Alxpin/Getty Images)

A Millennial challenge to the Law of Jante?
The fabric of Jantelagen in a society like Sweden remains firmly intact despite the reality of growing inequalities in income since the 1990s – the top 20% of workers in Sweden earn four times as much as the bottom 20% (OECD). There are some signs in the Scandinavian countries however that the fabric is coming under strain, especially from the changing expectations of the countries’ youth. The inexorable rise of social media presages a Millennial backlash against the Law of Jante… University of Bergen academic Cornelius Cappelen points to the pervasive influence of online platforms to effect behavioural change and undermine the Jante mindset, ie, bragging on Facebook, Instagram, Vlogging, etc, all promoting “rampant individualism” (Cappelin) [‘Law of Jante’, Wikipedia, http://en.m.wikipedia.org; ‘Jantelagen: Why Swedes won’t talk about wealth’, Maddy Savage, BBC, 18-Oct-2019, www.bbc.com].

(Photo: Sveriges Radio)

Exo-group influences
Aside from pushback from a social media-fuelled Scandinavian youth, challenges to the unspoken social norms of ”Jante-ism” may emerge from other sectors of society. Sweden is increasingly a migrant society, estimates put the proportion of Swedish citizens with a foreign background at around 25%…this growing diversity exposes the community to the influence of outside cultures, many of which have very different socio-cultural norms to the ‘native’ ones, such as the celebration of achievements, skills and talents of the individual (Savage).

Helsinki: Vanha kaupunki (Source: Multi Briefs)

🇩🇰 🇸🇪 🇳🇴 🇫🇮 🇮🇸

Sandemose’s stern image on a Norwegian jet

Endnote: TPS
Scandinavia’s Jante Law evokes similarities with other cultural phenomenons such as the (albeit less institutionalised) “Tall Poppy Syndrome”. This millennia-old cultural phenomenon—deriving from Ancient Greek and Roman sources—is conspicuously present in but by no means unique to the cultural ethos of Australia and New Zealand. Having freed themselves of the status of British colonies far away in the South-west Pacific, Australians and New Zealanders created through war and statehood a new and separate (mythic) identity for themselves as a ‘superior’ type of Briton…one in which “Jack was as good as his master”. This sustained myth of classlessness, sometimes described as a kind of “ideological egalitarianism down under”, was a conscious attempt to distance these “New Britons” from the rigid class system of the mother country.

͡°° ͡° ͡°° ͡° ͡°° ͡° ͡°° ͡° ͡°° ͡° ͡°° ͡° ͡°° ͡° ͡°° ͡° ͡°° ͡° ͡°° ͡° ͡°° ͡° ͡°° ͡°

⊡ Jante laki in Finnish and Jantelögin in Icelandic
⊞ a sort of mock “informal Scandinavian Ten Commandments” (Booth)
⊟ Sandemose himself by all accounts was hardly a model Nordic citizen, irritable of nature, of questionable morality and thoroughly unpleasant to family according to his granddaughter Iben, also a writer (Booth)
⊠ UN World Happiness Report (2018) ranked the top three countries, in order, Finland, Norway and Denmark. Previously in 2016 Denmark topped the world poll

Just blogging away … doing the hard blog

Continuing the search for signs of Intelligent Life in the University.

Inter-ethnic relations

Sydney’s Long-vanished Iconic Boxing Stadiums

Juggling the Double-edged Sword of Late Antiquity Imperial Migration: The Roman Empire’s Mishandling of a 4th Century Gothic Refugee Crisis