A very political monk

Why do we think the Dalai Lama is a living saint?

This Sunday, the Dalai Lama and Desmond Tutu will be awarded the Fetzer Prize for Love and Forgiveness at the 2009 Vancouver Peace Summit. I have to admit that I'd never heard of this prize until today, but I can tell you that it's worth $100,000 (£63,000) and that the Fetzer Institute is based in the town of Kalamazoo, Michigan, previously best known as the place where, according to the 1942 hit record, the Glenn Miller band's singer had a girl (or rather, a gal).

I am delighted for Archbishop Tutu, who has always seemed to combine astounding cheerfulness and compassion with a highly accurate moral barometer, calling it right, for instance, on Robert Mugabe -- he described him as "a caricature of an African dictator" -- when too many of his fellow countrymen chose to keep silent about "Comrade Bob's" destructive behaviour.

The Dalai Lama, though, I'm not so sure about. It's not just that I'm suspicious of the amount of time he appears to spend hanging around with Hollywood stars struck dumb by being in the presence of a "God-King", and a "Boodist" one to boot. Nor is it just that I've not been totally convinced of his great holiness since my old colleague at the Independent Johann Hari came back from interviewing him and declared to the startled office: "I've just been called 'fat' by the Dalai Lama." The exchange appeared in the paper as follows:

"Why do the rich need so much? We each only have one stomach. Well, not you," he says, looking at my belly. "You appear to have two."

Every action he takes carries the possibility of political repercussions, and it is misleading simply to see him as a religious leader. He and Tibet have become pet causes in the west, while the Dalai Lama is now such an icon that nobody ever questions the wisdom of what he does any more. Now, I'm not saying that Tibetans may not have very good cause to feel that they have been conquered and oppressed by the Chinese. But so do the Uighurs of Xinjiang, of whom the world became briefly aware in July when 200 died in riots in the province. They, however, have since been completely forgotten again. If only they had a great spiritual leader to capture our attention . . .

This August "His Holiness" visited Taiwan after the island had been hit by a typhoon, and in November he is due to visit the Tawang monastery in Arunachal Pradesh -- a region China calls Southern Tibet. The Chinese claim both areas as theirs, and just as his trip to Taiwan infuriated Beijing, so will his forthcoming jaunt. "The visit further reveals the Dalai clique's anti-China and separatist essence," a spokesman from the Chinese foreign ministry told a reporter from Asia Sentinel. "China's stance on the so-called Arunachal Pradesh is consistent. We firmly oppose Dalai visiting the so-called Arunachal Pradesh."

He can claim that his activities are spiritual, but the Dalai Lama's appeal to the west has political ends, and as a result of that he deserves a little more scrutiny. Rarely aired, for instance, are the views of some who think he has actually set back the cause of Tibetan independence, or those who argue that China's invasion released Tibet's population from feudal serfdom, in which the peasants were slaves of the lamas.

So three cheers for "Arch" Tutu in being awarded this prize. But I think I'll hold off the ovation for the very political monk whom we've elevated into a living saint.

 

Sholto Byrnes is a Contributing Editor to the New Statesman
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In defence of orientalism, the case against Twenty20, and why Ken should watch Son of Saul

My week, from Age Concern to anti-semitism.

Returning late from a party I never much wanted to go to, I leap up and down in the middle of the Harrow Road in the hope of flagging down a taxi, but the drivers don’t notice me. Either they’re haring down the fast lane or they’re too preoccupied cursing Uber to one another on their mobile phones. My father drove a black cab, so I have a deep loyalty to them. But there’s nothing like being left stranded in NW10 in the dead of night to make one reconsider one’s options. I just wish Uber wasn’t called Uber.

Just not cricket

Tired and irritable, I spend the next day watching sport on television – snooker, darts, cricket, anything I can find. But I won’t be following the Indian Premier League’s Twenty20 cricket again. It’s greedy, cynical, over-sponsored and naff. Whenever somebody hits a boundary, cheerleaders in cast-off gym kit previously worn by fourth-form Roedean girls wave tinsel mops.

Matches go to the final over where they’re decided in a thrashathon of sixes hit by mercenaries wielding bats as wide as shovels. Why, in that case, don’t both teams just play a final over each and dispense with the previous 19? I can’t wait for the elegant ennui of a five-day Test match.

Stop! Culture police!

I go to the Delacroix exhibition at the National Gallery to shake off the sensation of all-consuming kitsch. Immediately I realise I have always confused Delacroix with someone else but I can’t decide who. Maybe Jacques-Louis David. The show convincingly argues that Delacroix influenced every artist who came after him except Jeff Koons, who in that case must have been influenced by David. It’s turbulent, moody work, some of the best of it, again to my surprise, being religious painting with the religion taken out. Christ’s followers lamenting his death don’t appear to be expecting miracles. This is a man they loved, cruelly executed. The colours are the colours of insupportable grief.

I love the show but wish the curators hadn’t felt they must apologise for Delacroix finding the North Africans he painted “exotic”. Cultural studies jargon screams from the wall. You can hear the lecturer inveighing against the “appropriating colonial gaze” – John Berger and Edward Said taking all the fun out of marvelling at what’s foreign and desirable. I find myself wondering where they’d stand on the Roedean cheer-leaders of Mumbai.

Taking leave of the senses

My wife drags me to a play at Age Concern’s headquarters in Bloomsbury. When I see where she’s taking me I wonder if she plans to leave me there. The play is called Don’t Leave Me Now and is written by Brian Daniels. It is, to keep it simple, about the effects of dementia on the families and lovers of sufferers. I am not, in all honesty, expecting a good time. It is a reading only, the actors sitting in a long line like a board of examiners, and the audience hunched forward in the attitude of the professionally caring.  My wife is a therapist so this is her world.

Here, unlike in my study, an educated empathy prevails and no one is furious. I fear that art is going to get lost in good intention. But the play turns out to be subtly powerful, sympathetic and sharp, sad and funny; and hearing it read engages me as seeing it performed might not have done. Spared the spectacle of actors throwing their bodies around and singing about their dreams against a backdrop painted by a lesser, Les Mis version of Delacroix, you can concentrate on the words. And where dementia is the villain, words are priceless.

Mixing with the proles

In Bloomsbury again the next day for a bank holiday design and craft fair at Mary Ward House. I have a soft spot for craft fairs, having helped run a craft shop once, and I feel a kinship with the designers sitting bored behind their stalls, answering inane questions about kilns and receiving empty compliments. But it’s the venue that steals the show, a lovely Arts and Crafts house, founded in the 1890s by the novelist Mary Ward with the intention of enabling the wealthy and educated to live among the poor and introduce them to the consolations of beauty and knowledge. We’d call that patronising. We’re wrong. It’s a high ideal, to ease the burden of poverty and ignorance and, in Ward’s words, save us from “the darker, coarser temptations of our human road”.

An Oscar-winning argument for Zionism

Speaking of which, I am unable to empty my mind of Ken Livingstone and his apologists as I sit in the cinema and watch the just-released Academy Award-winning Son of Saul, a devastating film about one prisoner’s attempt to hold on to a vestige of humanity in a Nazi death camp. If you think you know of hell from Dante or Michelangelo, think again. The inferno bodied forth in Son of Saul is no theological apportioning of justice or deserts. It is the evisceration of meaning, the negation of every grand illusion about itself mankind has ever harboured. There has been a fashion, lately, to invoke Gaza as proof that the Holocaust is a lesson that Jews failed to learn – as though one cruelty drives out another, as though suffering is forfeit, and as though we, the observers, must choose between horrors.

I defy even Livingstone to watch this film, in which the Jews, once gassed, become “pieces” – Stücke – and not grasp the overwhelming case for a Jewish place of refuge. Zionism pre-dated the camps, and its fulfilment, if we can call it that, came too late for those millions reduced to the grey powder mountains the Sonderkommandos were tasked with sweeping away. It diminishes one’s sympathy for the Palestinian cause not a jot to recognise the arguments, in a world of dehumanising hate, for Zionism. Indeed, not to recognise those arguments is to embrace the moral insentience whose murderous consequence Son of Saul confronts with numbed horror. 

This article first appeared in the 05 May 2016 issue of the New Statesman, The longest hatred