I'm here on holiday in Qatar for a while yet, and it's been great. However, I recently heard (at second-hand) a story I just have to share... Apparently, a teacher came across a kid in her second grade class who somehow hadn't learned to talk. After enquiries, it emerged that the child's parents weren't home much. The father wasn't interested in interacting with babies, and the mother was out working and socializing pretty much all the time. So, of course, the kid was being brought up by the maid... and they had strictly forbidden her from talking to their children, for fear the kids might pick up an uncouth accent or, even worse, a different language!
This may make more sense if you consider the frankly bizarre demographics of this country, one of the world's richest and most multicultural. Of the 576,000 inhabitants over the age of 15, only 110,000 are Qataris (who are well subsidized by the legal requirement of Qatari majority ownership of any businesses formed here, and by the oil money); the rest are expatriates from all over the world (in just these couple of weeks, I've heard or seen Arabic, English, Urdu, Malayalam, Persian, Chinese, Turkish, and Swahili used here). While the Qatari population has a more or less 50:50 sex ratio, the non-Qatari population is 77% male. Among the Qataris, more than twice as many women as men make it through university; male drop-out rates are consistently higher, even in primary school (!) It will be interesting to see how the country copes with this over the coming years.
Showing posts with label Qatar. Show all posts
Showing posts with label Qatar. Show all posts
Friday, April 07, 2006
Friday, March 31, 2006
Naxi in Qatar
Yesterday I watched an excellent Chinese documentary called E-Ya Village at the Al-Jazeera TV Production Festival in Doha. It covered aspects of this isolated Sichuan Naxi mountain village's daily life, but focused mainly on their religion, covering what they did for naming, coming of age, mourning, New Year, various sacrifices...
The film was full of (subtitled) Naxi dialog, but what I found most linguistically interesting was the writing system. As everybody should know :), Naxi has a complex pictographic writing system of some antiquity, called Dongba after the priests of their religion. In the film, no secular books or newspapers featured, and the few signs (at the clinic's entrance) were written in Chinese; but Dongba was used several times, always in a religious context. In particular, its most obvious "practical" use was for prayer flags put up in mourning contexts: whenever these flap in the wind, the wind is said to carry the words written on them, sections of the Naxi holy book, to the realm of the dead. It suggests a functional interpretation of the Dongba writing system as one intended essentially, not for communication with the living, but for communication with the spirit world. This has suggestive if not exact parallels - consider Mandaic's traditional functions, for instance. But obviously one would want to see more than just a film to analyze the issue!
The festival, incidentally, was very international, with numerous Persian, Chinese, Latin American, and French films as well as the Arabic ones. Unfortunately, they were let down by insufficient subtitling: non-Arabic films were subtitled only in English, if at all, while Arabic films were not subtitled, substantially restricting the audience for both. Hopefully next year they'll try to remedy this.
The film was full of (subtitled) Naxi dialog, but what I found most linguistically interesting was the writing system. As everybody should know :), Naxi has a complex pictographic writing system of some antiquity, called Dongba after the priests of their religion. In the film, no secular books or newspapers featured, and the few signs (at the clinic's entrance) were written in Chinese; but Dongba was used several times, always in a religious context. In particular, its most obvious "practical" use was for prayer flags put up in mourning contexts: whenever these flap in the wind, the wind is said to carry the words written on them, sections of the Naxi holy book, to the realm of the dead. It suggests a functional interpretation of the Dongba writing system as one intended essentially, not for communication with the living, but for communication with the spirit world. This has suggestive if not exact parallels - consider Mandaic's traditional functions, for instance. But obviously one would want to see more than just a film to analyze the issue!
The festival, incidentally, was very international, with numerous Persian, Chinese, Latin American, and French films as well as the Arabic ones. Unfortunately, they were let down by insufficient subtitling: non-Arabic films were subtitled only in English, if at all, while Arabic films were not subtitled, substantially restricting the audience for both. Hopefully next year they'll try to remedy this.
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