#And the south Asian culture and aspects of Hinduism

[masked-alien-lesbian]

KTAW Day #1: Culture

Holi: Festival of Colors, Love and Spring

"How do we wake her up?" Kiara faintly hears Raelyn muttering.

"Just gently nudge her arm, but hurry my love, this breakfast tray is quite heavy." Hana's voice sounds somewhere in the cloud of light sleep Kiara was drifting in. Then suddenly Kiara was being wildly shaken.

"Wakey wakey, eggs and bakey...well not really, but malpuas didn't rhyme so..." Raelyn-

"Gently, Rae, gently!" Hana admonishes Raelyn and then looks at Kiara who is sitting up disheveled and disoriented.

"Sorry Kiara, I think they're excited for our first color festival." Hana says apologetically.

"We brought you breakfast!" Raelyn sings as Hana sits the tray in Kiara's lap.

"Oh my...this is so sweet!" Kiara says touched by her best friends surprising her with breakfast in bed.

"Literally so sweet, I've had a stack of rainbow waffles and I'm about to bounce off the walls." Kiara laughs at Raelyn before beginning to nibble on her sweet breakfast.

"We'll let you eat in peace, Kiara, meet us downstairs when you're ready?" Hana says while swatting at Raelyn's hand who was trying to steal an idli (a savory rice cake) from Kiara's plate.

"I will." Kiara says smiling at the couple's antics and admiring the view outside of her window as they shut the door behind them.

An hour later, Kiara came down into the main living room at the small villa in Mathura, the Valtoria duchesses had rented for the weekend. The rest of the friend group had prior obligations and weren't able to attend but miraculously, Kiara was in-between social events and with a little pleading from Hana, Kiara joined the couple for their first Holi festival.

Kiara knew about Holi and what it stood for. A celebration of the end of winter and the beginning of spring, a celebration of love, and an occasion to reset and renew ruptured relationships and end conflicts. But knowing the indept cultural and historical aspects of the Hindu traditions, didn't mean Kiara had ever participated and looking at the couple in matching white and pink flower saree and kurta, Kiara felt awkward and out of place in her black dress.

Hana's saree and Raelyn's white kurta and trousers with pink rose jacket.

The couple turns at Kiara's arrival.

"I knew she'd be wearing something black!" Raelyn exclaims.

"Oh, je suis dèsolè, is this dress not appropriate?" Kiara asks looking down at her dress unsure.

"You rock black like a queen, Kiara, but you gotta wear light colors so the colors of the powders show up." Raelyn says.

"Don't worry, we got a gift for you." Hana says before opening a conveniently nearby closet and pulling out a dress in a garment bag.

Trying the beautiful silk ruffle saree on in the bathroom, she marvels at the colors before coming out to show it off.

Kiara's saree

"Whoa!" Raelyn-

"Ahh! I got the size right!" Hana claps.

"Hana...Raelyn...merci beaucoup...this is so beautiful, it's almost a shame that we're about to ruin it." Kiara says hugging Hana.

"Speaking of..." Raelyn says grinning mischievously at Kiara before gently dabbing bright green powder on her nose. The two stand staring at each other in a show down.

"Oh, this is war." Kiara says quietly, slowly smirking. The grin on Raelyn's face slips off when Hana hands Kiara a heaping bag of pink powder.

"Now, now hold on a minute!" They say backing out of the patio doors at the two grinning ladies that were both holding bags of powder, advancing on Raelyn.

"Rae darling? You really should be running." Hana says causing Raelyn to squeal and run. Hana and Kiara laugh as they chase their quarry.

@kiaratheronappreciationweek

@sazanes

@lizzybeth1986

[burst-of-iridescent]

South Asian and Hindu Influences in ATLA (Part 1)

disclaimer: i was raised culturally and religiously hindu, and though i've tried to do my research for this post and pair it with my own cultural knowledge, i'm not an expert on hinduism by any means. should i mess up, please let me know.

please also be aware that many of the concepts discussed in this post overlap heavily with religions such as buddhism and jainism, which might have different interpretations and representations. as i'm not from those religions or cultures, i don't want to speak on them, but if anyone with that knowledge wishes to add on, please feel free.

it's well-known that atla draws from indigenous, east and southeast asian influences, but something i rarely see discussed in the fandom is the influences the show takes from hinduism and south asia, and there are actually far more than i think people are aware of.

so here's a (non-exhaustive list) of the main inspirations atla drew from south asian culture and hinduism, starting with...

The Avatar

the title of the show itself is taken from the ancient language of sanskrit, often considered the sacred tongue of the hindu religion. in sanskrit, the word "avatar" means to "descend" or "alight".

the concept of the avatar is a very old one, referring to the physical incarnation of a powerful deity or spirit. the idea of the avatar is most often linked to the god Vishnu, one of three supreme hindu gods collectively called the trimurti, or trinity. the avatar is said to manifest upon earth primarily in times of great need, when balance must be maintained between the forces of good and evil.

atla borrows heavily from this idea in having aang be the incarnation of a divine spirit who returns to the world during a time of immense strife, and is tasked with defeating a great evil to bring balance back to the world. and though i don't know if it was an intentional reference, it's interesting to note that Krishna, the most famous incarnation of Vishnu was also reborn amidst a fierce storm and carried through a raging sea to a new home where he would be protected from the king who sought to kill him. sounds a little familiar, doesn't it?

Agni Kai and the Philosophy of Firebending

the word "agni" derives from the sanskrit name Agni, the god of fire, though it can also generally mean "fire".

the concepts of lightning bending and the sun being the source of firebending are likely also taken from the idea of Agni, since he's said to exist simultaneously in three different forms on three different dimensions: as fire on earth, as lightning in the atmosphere, and as the sun in the sky.

Agni is a significant aspect of many rituals, including marriage rites, death rites, and the festivals of holi and diwali. the concept of Agni is one of duality: life and death, rebirth and destruction. hindu rituals accept and celebrate both aspects, revolving around the idea that destruction is not separate from creation, but rather necessary to facilitate it. the cremation of the dead, for instance, is seen as purification, not destruction: burning away the physical form so the soul is unencumbered, set free to continue the reincarnation cycle.

this influence can be seen in the firebending masters episode, which discusses the idea of fire being vital to life. the sun warriors safeguarding the original fire and demanding that zuko and aang bring fire to the dragons as a sacrifice could also reference the ritual of Agnihotra - the ritual of keeping a fire at the home hearth and making offerings to it. the purpose of this ritual differs depending on which text you refer to, but it is generally believed to purify the person and atmosphere in which it is performed, similar to how zuko and aang must make offerings to ran and shaw and survive their fire before being deemed worthy and pure.

Agnihotra is said to serve as a symbolic reminder of the vitality and importance of fire as the driving force of life, a lesson that zuko and aang also internalize from their encounter with the dragons.

Bumi

bumi's name is taken from the sanskrit word "bhumi", which means "earth". it's also the name of the hindu goddess of the earth, bumi or bhudevi.

one of the things the original animation didn't do and which i really enjoyed about the live action was that they made bumi indian and added desi inspiration to omashu. it makes perfect sense for a king whose name is as hindu-inspired as they come.

NWT Royal Palace

chief arnook's palace in the northern water tribe takes inspiration from the gopurams of hindu temples, massive pyramidal structures that served as entrance towers to the temple.

gopurams were built tall enough to be seen for miles around, beacons to signal tired or weary travellers who wished for a place to rest that a temple was nearby. it's a nice touch that the chief's palace is located in front of the spirit oasis, a similarly symbolic entryway to a sanctuary housing otherworldly deities.

Betrothal Necklaces

to preface: i doubt this was an intentional reference, and this great post talks about other cultures that could have inspired the water tribe betrothal necklaces. given the desi influence in the nwt architecture however, i figured it was worth mentioning.

the idea of betrothal necklaces being given to women by their male partners is similar to the thaali, a necklace given to hindu wives by their husbands. during hindu weddings, grooms tie the thaali around their brides' necks to symbolize their marriage. once given, wives are expected to wear their thaali till the day they die, as doing so is believed to bring good luck, health and prosperity to their husbands.

Chi-Blocking

though chi-blocking takes primary inspiration from the art of Dim Mak, it is also influenced by the south indian martial arts forms of adimurai and kalaripayattu, both of which include techniques of striking vital points in the body to disable or kill an opponent.

kalaripayattu also shares parallels with firebending, being a very physically demanding, aggressive martial art that emphasises the importance of discipline and mental fortitude. control of the mind is essential to control of the body, a philosophy similar to that espoused by iroh across the show.

Wan Shi Tong's Library

the library draws inspiration partly from the taj mahal, the famous mausoleum constructed by shah jahan during the mughal empire as a monument to his beloved wife, mumtaz mahal.

i'll end this post here since it's getting too long as it is, and the following section will be even longer. for while atla treated the concepts in this post with respect, the same unfortunately cannot be said for its depiction of guru pathik and combustion man - both of which we'll be discussing next.

[writingwithcolor]

Sri Lankan Fairies and Senegalese Goddesses: Mixing Mythology as a Mixed Creator

[Note: this archive ask was submitted before the Masterpost rules took effect in 2023. The ask has been abridged for clarity.]

@reydjarinkenobi asked:

Hi, I’m half Sri Lankan/half white Australian, second gen immigrant though my mum moved when she was a kid. My main character for my story is a mixed demigod/fae. [...] Her bio mum is essentially a Scottish/Sri Lankan fairy and her other bio mum (goddess) is a goddess of my own creation, Nettamaar, who’s name is derived from [...] Wolof words [...]. The community of mages that she presided over is from the South Eastern region of Senegal [...] In the beginning years of European imperialism, the goddess basically protected them through magic and by blessing a set of triplets effectively cutting them off from the outside world for a few centuries [...] I was unable to find a goddess that fit the story I wanted to tell [...] and also couldn’t find much information on the internet for local gods, which is why I have created my own. I know that the gods in Hinduism do sort of fit into [the story] but my Sri Lankan side is Christian and I don’t feel comfortable representing the Hindu gods in the way that I will be this goddess [...]. I wanted to know if any aspect of the community’s history is problematic as well as if I should continue looking further to try and find an African deity that matched my narrative needs? I was also worried that having a mixed main character who’s specifically half black would present problems as I can’t truly understand the black experience. I plan on getting mixed and black sensitivity readers once I finish my drafts [...] I do take jabs at white supremacy and imperialism and I I am planning to reflect my feelings of growing up not immersed in your own culture and feeling overwhelmed with what you don’t know when you get older [...]. I’m sorry for the long ask but I don’t really have anyone to talk to about writing and I’m quite worried about my story coming across as insensitive or problematic because of cultural history that I am not educated enough in.

Reconciliation Requires Research

First off: how close is this world’s history to our own, omitting the magic? If you’re aiming for it to be essentially parallel, I would keep in mind that Senegal was affected by the spread of Islam before the Europeans arrived, and most people there are Muslim, albeit with Wolof and other influences. 

About your Scottish/Sri Lankan fairy character: I’ll point you to this previous post on Magical humanoid worldbuilding, Desi fairies as well as this previous post on Characterization for South Asian-coded characters for some of our commentary on South Asian ‘fae’. Since she is also Scottish, the concept can tie back to the Celtic ideas of the fae.

However, reconciliation of both sides of her background can be tricky. Do you plan on including specific Sri Lankan mythos into her heritage? I would tread carefully with it, if you plan to do so. Not every polytheistic culture will have similar analogues that you can pull from.

To put it plainly, if you’re worried about not knowing enough of the cultural histories, seek out people who have those backgrounds and talk to them about it. Do your research thoroughly: find resources that come from those cultures and read carefully about the mythos that you plan to incorporate. Look for specificity when you reach out to sensitivity readers and try to find sources that go beyond a surface-level analysis of the cultures you’re looking to portray. 

~ Abhaya

I see you are drawing on Gaelic lore for your storytelling. Abhaya has given you good links to discussions we’ve had at WWC and the potential blindspots in assuming, relative to monotheistic religions like Christianity, that all polytheistic and pluralistic lore is similar to Gaelic folklore. Fae are one kind of folklore. There are many others. Consider:

Is it compatible? Are Fae compatible with the Senegalese folklore you are utilizing? 

Is it specific? What ethnic/religious groups in Senegal are you drawing from? 

Is it suitable? Are there more appropriate cultures for the type of lore you wish to create?

Remember, Senegalese is a national designation, not an ethnic one, and certainly not a designation that will inform you with respect to religious traditions. But more importantly:

...Research Requires Reconciliation

My question is why choose Senegal when your own heritage offers so much room for exploration? This isn’t to say I believe a half Sri-Lankan person shouldn’t utilize Senegalese folklore in their coding or vice-versa, but, to put it bluntly, you don’t seem very comfortable with your heritage. Religions can change, but not everything cultural changes when this happens. I think your relationship with your mother’s side’s culture offers valuable insight to how to tackle the above, and I’ll explain why.  

I myself am biracial and bicultural, and I had to know a lot about my own background before I was confident using other cultures in my writing. I had to understand my own identity—what elements from my background I wished to prioritize and what I wished to jettison. Only then was I able to think about how my work would resonate with a person from the relevant background, what to be mindful of, and where my blindspots would interfere. 

I echo Abhaya’s recommendation for much, much more research, but also include my own personal recommendation for greater self-exploration. I strongly believe the better one knows oneself, the better they can create. It is presumptuous for me to assume, but your ask’s phrasing, the outlined plot and its themes all convey a lack of confidence in your mixed identity that may interfere with confidence when researching and world-building. I’m not saying give up on this story, but if anxiety on respectful representation is a large barrier for you at the moment, this story may be a good candidate for a personal project to keep to yourself until you feel more ready.

(See similar asker concerns here: Running Commentary: What is “ok to do” in Mixed-Culture Supernatural Fiction, here: Representing Biracial Black South American Experiences and here: Am I fetishizing my Japanese character?)

- Marika.

Start More Freely with Easy Mode

Question: Why not make a complete high-fantasy universe, with no need of establishing clear real-world parallels in the text? It gives you plenty of leg room to incorporate pluralistic, multicultural mythos + folklore into the same story without excessive sweating about historically accurate worldbuilding.

It's not a *foolproof* method; even subtly coded multicultural fantasy societies like Avatar or the Grishaverse exhibit certain harmful tropes. I also don't know if you are aiming for low vs high fantasy, or the degree of your reliance on real world culture / religion / identity cues.

But don't you think it's far easier for this fantasy project to not have the additional burden of historical accuracy in the worldbuilding? Not only because I agree with Mod Marika that perhaps you seem hesitant about the identity aspect, but because your WIP idea can include themes of othering and cultural belonging (and yes, even jabs at supremacist institutions) in an original fantasy universe too. I don't think I would mind if I saw a couple of cultural markers of a Mughal Era India-inspired society without getting a full rundown of their agricultural practices, social conventions and tax systems, lol.

Mod Abhaya has provided a few good resources about what *not* to do when drawing heavily from cultural coding. With that at hand, I don't think your project should be a problem if you simply make it an alternate universe like Etheria (She-Ra and the Princesses of Power), Inys (The Priory of the Orange Tree) or Earthsea (the Earthsea series, Ursula K. Le Guin). Mind you, we can trace the analogues to each universe, but there is a lot of freedom to maneuver as you wish when incorporating identities in original fantasy. And of course, multiple sensitivity readers are a must! Wishing you the best for the project.

- Mod Mimi

[forevermore05]

You know, I have one thing to say to the writers of ATLA after taking South Asian culture and Hinduism and using it as the backbone for your show and then also demeaning its values and scripture.

विनाशकारी विपरीत बुद्धि। which means destructive opposite intelligence

This speaks for itself in all aspects of the show, whether that be how the characters were written, or the romance (ifykyk) and morals that are in this show.

[littlewitchygreen]

Color Magic: Orange

Below I have included a list of correspondences, the history of the color, the biology and psychology of the color, and the magical uses it has. Enjoy!

Correspondences

Associations: energy, creativity, confidence, safety, abundance, fertility, success, celebration, strength, adaptability.

Element: Fire

Planet: Sun, Mars, Mercury (most common)

Direction: South

Season: Summer, Fall

Day: Tuesday (most common)

In Tarot: Wands

Orange is a color associated with many planetary bodies, due to their natural color and color when reflecting sunlight. It is also associated with fire, and as such, with the tarot suit of Wands. It’s connected to Summer and Fall both, due to Summer’s connection to the Sun and Fall’s association with the changing leaves and harvest/produce. It’s direction is South, because South is the most common association with fire. Its day is Tuesday because the day is frequently associated with Mars and other war gods.

History

Orange has been around for thousands of years, even if it didn’t always have a name of its own. Ancient Egyptians would mix a yellow-orange paint from a mineral called realgar and use it in tombs. This version was highly toxic due to the arsenic in it. It was also used in China to repel snakes and in traditional medicine. A darker version of orange that was more of a gold-orange was made from the mineral orpiment - and was both highly prized in Rome and just as toxic. In Europe, orange was finally named ‘orange’ instead of ‘yellow-red’ when the fruit orange became more popular and well-known when brought by Portuguese traders from Asia.

Culturally, orange is a common color in many Asian religions - most associated in more common global knowledge with Buddhist monks, though Hinduism and Confucianism also have strong associations with it. In India and China, saffron was used to dye fabrics orange, but because the color was expensive, it became associated with both perfection (yellow) and power (red). In Rome, orange was very associated with Pomona, the goddess of fertility and abundance. In multiple artistic movements, orange was used to evoke feelings of warmth, excitement, and amusement - favored because it was less intense than yellow or red.

In the modern USA, orange has also been tied to fall celebrations like Halloween and Thanksgiving. Around the world, it is also tied to safety equipment due to its eye-catching nature. Modern advertising also uses orange because it is eye-catching and has been shown to increase appetite in those who see it.

Psychology and Biology

Psychologically, orange has been known to stimulate creativity and thought, and cause excitement. It has also been shown to have a similar effect to yellow, in increasing the cheer of people and helping facilitate extroversion and social activity. It is also consistently perceived to be ‘warming’, and was perceived as improving the flavor of comforting foods when served in orange containers.

Biologically, orange has been shown to increase oxygen to the brain, provide energy, and stimulate the brain. It also has been known to stimulate the appetite - and it’s theorized but not proven that it is due to the fruit orange, as vitamin C is an important nutrient to find in foods.

With both, there are few studies on orange by itself, but both aspects agree that orange falls somewhere between red and yellow in its effects on people’s biology and psychology.

Magical Uses

Color magic with orange can be used in spells with success and creativity. It can also be used to attract things/opportunities, improve energy, promote joy, and harvest - both metaphorical and literal. It’s also frequently used in fire magic. Like with other colors, there is really no limit to the way its correspondences can be applied to affect changes.

[madamlaydebug]

India's caste system assigns individuals a certain hierarchical status according to Hindu beliefs. Traditionally, there are four principal castes (divided into many sub-categories) and one category of people who fall outside the caste system—the Dalits. As members of the lowest rank of Indian society, Dalits face discrimination at almost every level: from access to education and medical facilities to restrictions on where they can live and what jobs they can have. The discrimination against the Dalits is especially significant because of the number of people affected; there are approximately 167 million Dalits in India, constituting over 16 percent of the total population.

Within the Dalit community, there are many divisions into sub-castes. Dalits are divided into leather workers, street sweepers, cobblers, agricultural workers, and manual "scavengers". The latter group, considered the lowest of the low and officially estimated at one million, traditionally are responsible for digging village graves, disposing of dead animals, and cleaning human excreta. Approximately three-quarters of the Dalit workforce are in the agricultural sector of the economy. A majority of the country’s forty million people who are bonded laborers are Dalits. These jobs rarely provide enough income for Dalits to feed their families or to send their children to school. As a result, many Dalits are impoverished, uneducated, and illiterate.

Dalits have been oppressed, culturally subjugated, and politically marginalized. The principals of untouchability and “purity and pollution” dictate what Dalits are and are not allowed to do; where they are and are not allowed to live, go, or sit; who they can and cannot give water to, eat with, or marry; extending into the minutia of all aspects of daily life.

Moreover, discrimination for Dalits does not end if they convert from Hinduism to another religion. In India, Islam, Sikhism, and Christianity (among other religions) maintain some form of caste despite the fact that this contradicts their religious precepts. As a result, dominant castes maintain leadership positions while Dalit members of these religions are often marginalized and flagrantly discriminated against. For example, Dalit Christains are provided seperate burial areas from non-Dalit Christains.

The origins of the caste system

The word Dalit—literally translating to “oppressed” or “broken”—is generally used to refer to people who were once known as “untouchables”, those belonging to castes outside the fourfold Hindu Varna system. According to the 2001 census, there are some 167 million Dalits (referred to in the census as “Scheduled Castes”) in India alone, though there are tens of millions in other South Asian countries, as well.

The caste system finds its origin in functional groupings, calledvarnas, which have their origins in the Aryan society of ancient northern India. In their creation myth, four varnas are said to have emanated from the Primeval Being. The Creator’s mouth became the Brahman priests, his two arms formed the Rajanya warriors and kings, his two thighs formed the Vaishya landowners and merchants, and from his feet were born the Shudra artisans and servants. Later, there developed a so-called “fifth” varna: the Untouchables.

This caste system became fixed and hereditary with the emergence of Hinduism and its beliefs of pollution and rebirth. The Laws of Manu (Manusmitri), which date roughly to the 3rd century A.D.—and parts of which form the Sanskrit syllabus of graduation studies in Gujarat even today—preach the sanctity of the varnas and uphold the principles of gradation and rank. They refer to the impurity and servility of the outcastes, while affirming the dominance and total impunity of Brahmins. Those from the “lowest” castes are told that their place in the caste hierarchy is due to their sins in a past life. Vivid punishments of torture and death are assigned for crimes such as gaining literacy or insulting a member of a dominant caste. Among the writings of Hindu religious texts, the Manusmitriis undoubtedly the most authoritative one, legitimizing social exclusion and introducing absolute inequality as the guiding principle of social relations.

Forced exclusion and constant oppression

Today, Dalits make up 16.2% of the total Indian population, but their control over resources of the country is marginal—less than 5%. Close to half of the Dalit population lives under the Poverty Line, and even more (62%) are illiterate. Among the Dalits, most of those engaged in agricultural work are landless or nearly landless agricultural laborers. The average household income for Dalits was of Rs. 17,465 in 1998, just 68% of the national average. Less than 10% of Dalit households can afford safe drinking water, electricity and toilets, which is indicative of their deplorable social condition. Moreover, Dalits are daily victims of the worst crimes and atrocities, far outnumbering other sections of society in that respect as well. The vast majority of these crimes remain unreported due to omnipresent fear, and those that are reported are often ignored by police or end up languishing in the backlogged court system. Between 1992 and 2000, a total of 334,459 cases were registered nation wide with the police as cognisable crimes against SCs.

More than 60 years after gaining Independence, India is still very much afflicted by the cancer of the caste system. Dalits remain the most vulnerable, marginalized and brutalised community in the country.

Dalits in Gujarat

If compared to states like Punjab, Himachal Pradesh or West Bengal where Dalits constitute more than 20 per cent of the population, Gujarat counts a fairly low proportion of Dalits.According to the 2001 Census, there are approximately 3.6 million members of Scheduled Castes in Gujarat, which represents 7.1% of the state’s total population. This relatively low figure is, however, inversely indicative of their miserable condition. More than 80 per cent of the Dalits in Gujarat are daily labourers, the majority of which are in the agricultural sector. Half of the SC population is landless or owns less than one acre of land, which forces them to work on dominant castes’ land in order to survive.

Because of this dependence and the quasi-inexistence of labour welfare in Gujarat, Dalits are subject to immense pressure and utter discrimination. Atrocities committed against them are a daily reality, with more than 4,000 cases reported in the span of 3 years in just 14 districts. Manual scavenging is still very much prevalent also, the State’s institutions in Gujarat themselves employing Dalits to clean dry latrines. For a State that likes to depict itself as a modern and thriving region in India, Gujarat is still a far cry away from ensuring social justice to all of its citizens. In reality, Gujarat has a poor human rights record and must extend and focus its attention to its minorities if it is to be worthy of the kind of image it likes to give itself.

The government of Gujarat has implemented certain policies designed to uplift those belonging to the Scheduled Castes into higher positions. The most prominent is the reservation system, where certain seats in the government are set aside only for Dalits. In Gujarat, 7% of seats in the government and education sectors are reserved for Dalits (as opposed to 14% set aside on the national level). This amounts to 2 of the 26 Members of Parliament (MP) and 13 of the 182 Members of Legislative Assemblies (MLA) currently held by members of the SC. There are also established reservation systems in place at the district, block, and village levels throughout the state.

Even with this promise of upliftment through reservation, Dalits continue to be discriminated against throughout Gujarat. The number of atrocity cases against Dalits and the practice of untouchability continue to occur at alarming rates throughout the state, especially when compared to other Indian states.

Dalits in other South Asian Countries

India’s caste system finds corollaries in other parts of the sub-continent, including Nepal, Pakistan, Sri Lanka and Bangladesh. Indeed, as Hinduism spread from northern India to the southern part of the peninsula establishing itself as the dominant religion by the pre-Christian era, so spread the caste system and its ideology justifying the superior standing of the system’s aristocracy. Caste even migrated with the South Asian diaspora to firmly take root in East and South Africa, Mauritius, Fiji, Suriname, the Middle East, Malaysia, the Caribbean, the United Kingdom, and North America. Nevertheless, Asia remains the continent with the largest share of Dalits. There are today in Asia well over 200 million men, women and children enduring near complete social ostracism on the grounds of their descent.

In both Bangladesh and Nepal, the types of discrimination faced by Dalits are very similar to those existing in India. Notions of purity and pollution are prevalent within society, social restrictions, and discrimination in access to public places or jobs are therefore commonplace. Nepal’s situation is noteworthy as not even a fringe of the 4.5 million Dalits (over 20% of the Nepalese population) has been able to significantly emancipate itself. With no affirmative action measures, there are practically no Dalits in Nepal’s legislative assemblies. The literacy rate of Nepalese Dalits is only around 10%, while that of Nepalese Dalit women is even lower. Over 80% of Nepal’s Dalits find themselves below the official poverty line; their life expectancy is not higher than 50 years.

In Pakistan, as well as in Sri Lanka (except Tamil regions), the caste system is somewhat less rigid in the sense that it does not hold any ritual pollution concepts. However, features such as social distance and restricted access to land are still very much a reality. Moreover, the Swat region in northern Pakistan also practices extreme forms of humiliation against Dalits, and especially Dalit women.

[meditating-dog-lover]

Religion, spirituality, and atheism

So I don't think I've ever spoken about my personal beliefs on my blog.

I am not a religious person. I was not raised in a religious home, my parents are not religious either, and neither is my sister. As a Middle Eastern woman I'm not a fan of religious indoctrination because, let's face it, it is harmful to people like me. I love being free, independent, and comfortable in my own skin and don't want to be stuck and controlled by a theocratic society that robs these liberties away from me.

While I don't believe in the Abrahamic God, nor do I follow any Abrahamic faiths, I'm not an atheist. We cannot confidently say, as people who barely explored the full Universe and have only been living on a single planet, that we have all the answers to a "higher, divine power" which exists beyond our perceived dimension.

It's also easy to believe there is no God, because with all the distressing events happening in the world, how can you believe in an altruistic, caring higher power who is seemingly allowing all these atrocities to happen? I feel this every now and then.

I've never been spiritual. As a person from the West, I feel really weird practicing spirituality because I feel like I'm "appropriating" someone else's culture which is heavily focused on such beliefs, particularly south Asian cultures as seen with aspects of Hinduism and Buddhism that a lot of Westerners have "adopted". I don't want to feel like I'm doing that, but I also want a spiritual presence in my life because I want to believe there is something more powerful than I am that will guide me in the right direction in life.

I'm also a scientist, but I'm not a snobby know-it-all. So I can confidently say I know a lot about science, particularly human biology, but I'm definitely not an expert in anything that can potentially explain the existence of a higher power. Quantum physics can possibly do that, but that is beyond my scientific scope because I'm a cell biologist and not a physicist. As scientists we know a lot about the world, but are still tapping into the unknown just like anyone else is.

So overall I want to be more spiritual with a scientific slant, where I don't feel like I'm stealing someone else's culture and I don't have to be religious.

[fortressofserenity]

Westerners' Idea of Asianness

While the reverse may not be any better, if Japanese anime cartoons are any indication, but when white people do portray Asian cultures and the like it's usually through a Western lens or bias. Even Avatar the Last Airbender is guilty of this to some extent, as what somebody pointed out, not helped by that the creators/authors in question continued to favour the four elements system (fire, air, earth and water) over the Chinese five elements system (fire, wood, earth, metal and water).

Perhaps out of familiarity, even though it gets stranger still when a good number of the cultures shown in Avatar tend to be based on East Asian ones. Especially China when it comes to not only the Earth Kingdom, but also the martial arts used to inspire the supernatural abilities there. That was considered before, but then again familiarity with Western culture(s) wins over bothering to familiarise oneself with actual East Asian cultural beliefs and philosophies.

Perhaps that proves this author's point of aspects of East Asian cultures being cherrypicked for Western consumption, the Chinese martial arts, hanfu and characters are kept but the Chinese elements got written out. An even stranger one's that out of all the elemental and beliefs systems in both East and South Asia, it's the South Asian version that's closest to the one in Avatar. In Hinduism, the word avatar refers to the different permutations of Vishnu each sent to counteract malevolence in the world.

Vishnu being the preserver and his 10 avatars tend to have their own abilities of sorts, much like in Avatar when you think about it. It was the South Asian beliefs that got the reincarnation ball rolling, since to my knowledge Taoism doesn't place much importance on reincarnation the way South Asian religions do. What it does believe in is the immortality of the soul where it rejoins the universe/heavens after death, which sounds like the Judeo-Christian concept.

Onto the elements system, within Hinduism we have fire, air, earth, space and water. The four others are portrayed as they are, with energybending being analogous to space in a way. The fact that some of the characters have Hindi/Sanskrit names and one of them's briefly shown to have multiple arms the way Hindu gods are portrayed makes me think South Asian cultures might exert a bigger influence on Avatar than one realises.

It's just not openly acknowledged, nor is it respected when it comes to two antagonists having Tripundra (facial markings used to designate one's devotion to the Hindu god Shiva). Most of the people who do suspect ATLA did cultural appropriation are the South Asian Hindus, the ones who've been practising their faith since they were young and would be really familiar with it that they know their beliefs get disrespected when it gets portrayed like this.

Now as for Disney's Mulan and American Dragon, the portrayal of Chinese culture is really weird when you realise that in China dragons are associated with water and weather. Again, for all their attempts at portraying Chinese culture and protagonists they're still married to Western beliefs about firebreathing dragons. (Let's not forget that ATLA has this problem too, where firebenders get their powers from dragons.)

Going by this logic, Mushu should be manipulating water and there ought to be real fun with this where he should've and could've created blizzards to protect Mulan from the Huns. Imagine if he even bothered literally inundating opponents, just so he could save Mulan's life from time to time. Now that involves actual respect for Chinese culture and folklore, or at least bothering to be this deeply influenced by it.

Perhaps in a way the actual staff never considered, since the animal most associated with fire is the Vermillion Bird (one of the Four Heavenly Beasts alongside the Blue Dragon, White Tiger and Black Turtle). The Vermillion Bird's associated with the South, the Blue Dragon with the East, the White Tiger with the West and the Black Turtle with the North. But that makes you wonder whether if the Mulan staff actually knew about Chinese culture.

Sadly it's far more shallow than it should've been since Mulan's Chinese, it should be more believable if they got heavily inspired by Chinese culture almost all the way. But that involves a greater investment in learning about China, far more than they already do and perhaps Mulan should've benefited more from having more Chinese writers and animators around since they know this deeply.

For all their good intentions, Disney's Mulan and Avatar the Last Airbender are made by Westerners so it's inevitable that their biases and familiarity with the West still show up in some ways. A truly Eastern ATLA would be something that's made by actual Chinese or Indians, since they know those systems well it's more personal and deeply embedded. Unless if a Westerner does bother deeply immersing themselves in it, they will be forever bound to their beliefs.

[nigelsaywell]

We did revisit and the reality at 22 years of age they realised that for me to ask was only a formality. I know they are worried but, communication is easy these days. Bali is a safe destination. I pursued my studies at the University of Washington, specializing in South East Asian history. For me, it was a no-brainer. I had to learn everything I could about this region, to uncover its mysteries and secrets, and to connect with it on a deeper level. Bali, in particular, has held a special place in my heart, and it feels like home to me. I am eager and excited to share my knowledge and passion for South East Asian culture and history with all of you. Let me take you on a journey from the historic streets of Boston to the exotic paradise of Bali. Growing up in Boston has been an incredible experience, but as I grew older, I started to feel a yearning for something more. I wanted to experience something new and exciting, to venture beyond the familiar sights and sounds of my hometown. That's when Bali started to call out to me, beckoning me with its promises of adventure and beauty. I've always been captivated by the stories of Bali's mystical kingdoms and the rich culture that has been passed down for generations. I've spent countless hours reading about its history and marvelling at the beauty of its temples and landscapes. The thought of walking through its lush rainforests, lounging on its sandy beaches, and experiencing its vibrant culture in person fills me with a sense of excitement and anticipation. As much as I love Boston and the East Coast, I know that Bali offers something entirely different, something that will expand my horizons and challenge me in new ways. I'm eager to immerse myself in its unique traditions and customs, to learn from its people and discover the secrets of its spiritual heart. While the prospect of traveling to Bali may seem daunting at times, I'm determined to make the most of this once-in-a-lifetime opportunity. I'm excited to step outside of my comfort zone and embrace the unknown, to let go of my fears and fully experience all that this magical island has to offer. In many ways, my upcoming journey to Bali feels like the start of a new chapter in my life, a chance to break free from the familiar and explore the world around me. I'm excited to see where this adventure will take me, and I'm grateful for the opportunity to embark on this journey of discovery and self-discovery. Until then, I will continue to immerse myself in the culture and history of Bali, learning everything I can about this captivating place. Join me on this journey of discovery, as we explore the wonders of Bali and discover why it has captured my heart and soul. Bali is more than just a pretty postcard destination; it is a place of incredible cultural richness, where diversity is celebrated, and spirituality and mysticism are woven into everyday life. It is a microcosm of balance and harmony, where ancient traditions of Hinduism are still very much alive, and the natural world is revered and respected. Join me as we venture beyond the tourist hotspots of Bali and delve into the heart and soul of this incredible island. Let's open our minds and hearts to the magic of this island, and discover the secrets that have captivated travellers for centuries. The Balinese people are renowned for their deep-seated cultural and spiritual beliefs that infuse every aspect of their daily lives, making them a force to be reckoned with. From the intricate rituals of the Balinese Hindu religion to the colourful and vibrant festivals that take place throughout the

[mydusaan]

Illuminating Traditions: The Symbolism of Candles and Candle Stand Holders in Different Cultures

The flickering flame of a candle has transcended time and culture, serving as a symbol of various beliefs, rituals, and celebrations. Beyond their practical use for illumination, candles and their holders hold significant cultural and symbolic meanings in different parts of the world. This article will explore the rich symbolism of candles and candle stands in diverse cultures, shedding light on the cultural tapestry woven around these timeless objects.

Universal Symbolism of Candles

In Hinduism, the flame of a candle symbolizes the knowledge that dispels the darkness of ignorance.

Candle Stand Holders: Guardians of Light

A. Christian Symbolism

In Christian traditions, candle stand holders play a pivotal role in religious ceremonies. The candelabrum, commonly known as a menorah, is a seven-branched candle stand used in Judaism and is also an important symbol in Christianity. Each branch represents different aspects of spiritual illumination, and the lighting of candles on the menorah is a symbolic act during festivals and religious observances.

B. Buddhist Influences

Buddhism also embraces the symbolism of candles, often using intricate candle stand holders during ceremonies and meditation. The candle represents the illumination of wisdom and the dispelling of the darkness of ignorance. Elaborate candle stands, adorned with symbols and images relevant to Buddhist teachings, are central to many rituals.

Candle Stand Decoration: Aesthetic Expressions

A. Eastern Aesthetics

In various Asian cultures, candle stand decoration is an art form in itself. Intricately designed candle stands are not only functional but also serve as ornate pieces of art. The use of materials like brass, silver, and wood showcases the cultural richness and craftsmanship inherent in candle stand design. Particularly in East Asian traditions, such as Chinese and Japanese cultures, candle stands are often adorned with symbols of prosperity, longevity, and good fortune.

B. Diwali: Festival of Lights

Diwali, the Hindu festival of lights, is a celebration that prominently features candles and beautifully decorated candle stand holders. The festival signifies the victory of light over darkness and good over evil. Families adorn their homes with candles and lamps, and the artistry involved in the decoration of candle stands reflects the vibrancy and joy associated with Diwali. Intricate patterns, vibrant colors, and auspicious symbols are commonly incorporated into the design, creating a visually stunning display.

Candle Stand Decoration for Diwali: A Cultural Extravaganza

A. Traditional Motifs

During Diwali, candle stand decoration takes on a special significance. Traditional motifs such as rangoli patterns, lotus flowers, and religious symbols are intricately incorporated into the design. These decorations not only add to the festive atmosphere but also hold cultural and religious significance.

B. Regional Variations

Different regions in India may have unique styles of candle stand decoration for Diwali, reflecting the diverse cultural tapestry of the country. For example, in North India, candle stands might feature images of deities like Lakshmi, the goddess of wealth, while in South India, intricate kolam designs may adorn the stands. These regional variations add depth and diversity to the celebration.

Cultural Significance of Candles in Rituals

A. Native American Traditions

In Native American cultures, the use of candles is often tied to spiritual ceremonies and rituals. The flame is seen as a connection to the spirit world, and candles are lit to guide and honor ancestors during rituals. Candle stands, often crafted from natural materials like wood and adorned with symbols of nature, play a crucial role in these ceremonies.

B. African Spiritual Practices

In various African spiritual traditions, candles are employed as a means of communication with ancestors and spirits. The flickering flame is believed to carry prayers and messages to the spirit realm. Candle stands in these traditions are crafted with symbols representing the elements, ancestors, and deities, making them a conduit between the physical and spiritual realms.

Candle Stand Holders: Guardians of Symbolic Flames

A. Islamic Symbolism

In Islamic traditions, candles may not be as prominent as in some other cultures, but their symbolism is still present. Candle stand holders, often in the form of elegant lanterns, are used during special occasions and religious events. The light from these candles symbolizes guidance and the presence of the divine, emphasizing the importance of light in Islamic spirituality.

B. Judaic Traditions

In Judaism, the menorah is a symbol closely associated with the celebration of Hanukkah. The lighting of candles on the menorah, one for each night of the festival, commemorates the miracle of the oil lasting eight days. The menorah serves as a powerful symbol of resilience, faith, and the triumph of light over darkness.

The Artistry of Candle Stand Decoration

A. Western Decorative Arts

In Western cultures, candle stand decoration has been elevated to an art form, especially during the Renaissance and subsequent periods. Elaborate candelabras and candle holders were crafted with precision and adorned with intricate designs, often depicting mythological or religious themes. The aesthetics of candle stands in Western traditions reflect the evolving tastes and artistic movements of different eras.

B. Symbolism in Victorian Era Decor

During the Victorian era, candle stand decoration took on a particular significance. The Victorians were known for their elaborate and often symbolic approach to decoration. Candle stands were adorned with motifs such as flowers, hearts, and angels, each carrying a specific meaning. For example, a rose might symbolize love, while an anchor could represent hope.

Diwali Candle Stand Decoration: A Fusion of Art and Tradition

A. Craftsmanship and Tradition

The decoration of candle stands during Diwali is a celebration of craftsmanship and tradition. Skilled artisans create intricate designs that showcase the fusion of ancient symbolism with contemporary aesthetics. The craftsmanship involved in creating these decorative pieces becomes a form of cultural preservation, passing down skills and symbols through generations.

B. Diwali Colors and Symbolism

The choice of colors in Diwali candle stand decoration holds symbolic significance. Bright and vibrant colors like red, gold, and orange are commonly used, representing prosperity, wealth, and the warmth of the festival. These colors are not only visually appealing but also carry deep cultural meanings that resonate with the spirit of Diwali.

The Cultural Tapestry of Light

As we traverse the diverse landscapes of cultural symbolism, it becomes evident that candles and their stands are not just functional items; they are storytellers of human history and spirituality. Whether illuminating the sacred spaces of churches, mosques, or temples or casting a warm glow on Diwali celebrations, candles, and their stands play an integral role in connecting individuals to their cultural roots and shared human experiences.

 Conclusion

Candles and candle stand holders are not mere sources of light; they are vessels of cultural significance, carrying the weight of centuries of tradition, spirituality, and symbolism. Whether in the quiet sanctuaries of churches, the serene meditation halls of Buddhist temples, or the vibrant homes celebrating Diwali, candles and their holders play a vital role in illuminating both physical and spiritual spaces. As we explore the symbolism of these objects, we gain a deeper understanding of the rich cultural tapestry that connects humanity across time and geography.

[writingwithcolor]

Hello i have a question regarding a fantasy wip. The magic system i made says that everyone has a magical essence in them and if they practise hard they can harness it to become powerful and perform all kinds of magic. The elves in my wip live in a society strongly inspired by the ones seen in xianxia and wuxia novels. I have been debating having the elves actually use the words qi and cultivation and all the terminology that comes with it. Because for me problem lies in that although the magic flow in each person works similar to qi it has a different origin (i made my own deities as well and its related to them) furthermore iw ould have to think of what other people not living in their society would call it. For example, i have a human society inspired by the mughal empire. I feel like having them refer to magic as qi feels very weird but i also think finding their real world equivalent of it (if that even exists in hinduism, sikhism i’m still in the early parts of worldbuilding so i dont know). Do you think i should just not mention qi at all and have them all use original terminology eventhough people might notice the similarities or should i try to find fitting equivalent?

 Fantasy magic system similar to QI

Sikhs don’t practice magic and Sikh mysticism is somewhat closed.

Additionally, if the elves’ society is based on aspects of Sikhi, they would likely be oppressed under the Mughal inspired society - as Sikhs were oppressed by the Mughal Empire, particularly in the 1500’s - 1700’s, this is something to be handled carefully if the elves are inspired or somehow based in Sikhi.

- SK

Are the gods the same across the cultures? If so, I would definitely delve into the very different societies that emerged while still worshiping them. Take a current example: The Mahayana Buddhism that is practiced in India has distinctions from the Mahayana-based Zen Buddhism that is practiced in Japan, Thien Buddhism, which is practiced in Vietnam, which all have distinct differences from Theravada Buddhism and Vajrayana Buddhism. Each culture may have different names for the gods, for terms of religious practice, for any holy texts, etc.

Hinduism is not the only polytheistic religion in existence--rather, it is culturally polytheistic, with various schools of thought on pantheism, monism, monotheism, and atheism as well. I wouldn’t relate the designed deities specifically to Hinduism, especially if these gods take a direct influence from across spheres of influence. I would take the coding route, and either ensure the inspiration is clear and properly researched and implemented, or focus on looser connections. Many fantasy authors will use a pantheon of their own creation with influences from existing traditions, but differentiate them by declaring the magic concepts and how they affect the makeup of the world. This has its own drawbacks, but less than if you choose to design deities for a religion you’re unfamiliar with. 

How closely does this actually relate to xianxia and wuxia? This needs some more research into the cultures that these works are influenced by. If the concept works the same way mechanically, and is only differentiated by virtue of the origin from the created pantheon, then why the emphasis on the difference? I would introduce some differences into the magic system to make it clear that the concepts of qi and cultivation are inspirations, and come up with a different vocabulary that could then be related back to the pantheon that bestowed the magic upon the characters.

~ Abhaya

There are ways to plausibly create a story linking a magical concept inspired by qi to a South Asian setting. It requires a lot of historical research: think college student senior thesis level. 

How? The Silk Road and Buddhism

I’ll be discussing qi and analogous concepts, particularly their relationship with martial arts in the context of Asian history. Qi, particularly its application to traditional Eastern medicine and martial arts, draws a lot of influence from the synergy of Mahayana Buddhist principles and Chinese Daoism. In South Asia, the Sanskrit concept of prana similarly lends itself well to Ayurvedic medicine and South Asian martial arts. It’s a little obvious if one thinks about it in the context of the dominance of numerous Hindu traditions in the subcontinent for the majority of the region’s history. If you have stratified class systems tied to religious dogma (Caste) and you designate people as warriors (Kshatriya), they likely are learning martial art skills in a codified form (See the Charanavyuha).  Similarly, you will also have individuals with lower social status/ from marginalized regions who will develop their own form of martial arts to counter oppression and invasion (See Shastra Vidya and Kalari, respectively). 

In terms of well known Indian martial arts in the present, we’re mostly talking about Shastra Vidya, developed by the Sikhs in the 16th century CE and Kalari, from Kerala (11th century CE). Though Shastra Vidya is distinct to Sikhi, the preceding styles and influences for Shastra Vidya have been traced as far back as the 16th century BCE.

To what degree one credits South Asia with influencing Chinese martial arts depends on who you ask, their level of nationalism and which country they are from, but it is indisputable that Chinese and South Asian martial are linked via Buddhist influences that facilitated cultural exchange across South Asia, South East Asia, and East Asia for an 800 year period. Has anyone ever wondered why mudras (hand movements) used in classical Indian dance, Vajrayana Buddhism and Shaolin all look...pretty similar? (Northern Shaolin + Bharata Natyam here, and yes, I did). Buddhism, like Jainism and Sikhi, is as much a product of Hindu influences as it is its own religion. 

It spans over a millennium, but Buddhism is your link between Hinduism on one end, Mughals at the other, and Chinese martial arts somewhere in between. I’ll add the Mughals were a bloodthirsty lot, but they were also enthusiastic patrons of local culture, including martial arts. After all, it never hurts to have a group of highly trained warriors on your payroll. I might personally favor pulling more explicitly on the cosmopolitan aspects of Mughal governance for your Mughal coding, perhaps comparing their tactics with the Mongols for reference. There’s a world of difference between Kublai Khan or Akbar compared to Aurangzeb or Genghis Khan. I’ve outlined the broad strokes below in greater detail, but how you use this historical background effectively for your world-building, how you research, what reference books you choose and the care with which you select them: that’s all on you. You will need to use reputable scholarly resources in order to avoid the majority of New Age Appropriative Garbage that seems to jump out of google whenever one uses terms like qi or prana (See Disney’s Mulan remake and the cottage industry of alternative spiritual healers in the US). 

Over the years, I’ve noticed many Asian martial artists recognize the underlying philosophical concepts that different traditions share even if we are unaware of the history behind it all. Whether one calls it ki, qi, prana, whether we refer to the body’s energy centers as chakras, cakra, chakka or rin, many practitioners are drawing on shared complex histories, etiologies and pedagogies, albeit in ways that manifest specifically for each slice of place and time, shaped by a history of conflict and religion. 

I personally think a smart move on your part is not to ignore this shared history. Cultural diffusion doesn’t mean that everyone ends up with the same thing. Rather it means that the dimensions of a successful imported practice or concept take on characteristics shaped by unique, local cultural and political forces. With regards to terminology, see Mod Rina’s conlang guide for how to avoid using terms that outsiders often interpret like qi. You aren’t setting this story in the real world, so why use real cultural terms? 

To that end, I recommend the text show characters from different places, different ethnic groups, even different species all participating in a system that is shared, with differing terminology, applications and varying levels of mastery between individuals due to multiple aspects of life, rather than just how hard someone practices. Maybe humans have less access to your magic system because their lifestyle is distanced from the internal state that allows one to access their potential? Maybe the same can be true for elves that have strayed from these principles? I think you can do many fun things if you really treat your magic system like martial arts, where many of the limits are internal, rather than external. 

- Marika.

For the full story that Marika spent too much time on, see below the cut.

Our story starts with Ashoka Maurya in the 3rd century BCE and his conversion to Buddhism. Many desis are familiar with this part: king conquers, kills a lot of people, feels guilty, finds religion. Where things get interesting is Ashoka’s campaign to spread Buddhism via evangelism to Central Asia and South East Asia. Eventually (200 BCE to 400 CE), Buddhism becomes the defacto religion for many Central Asian kingdoms along the Silk Road and many South Asian monks make their way to monasteries founded in what is now Iran, Uzbekistan, and Afghanistan to assist with translations of Buddhist texts from Sanskrit into the local language. Cue the 5th century CE and the arrival of a Buddhist monk named Buddhabhadra/ Batuo (likely from Kashmir) to present-day Nanjing to work with Chinese monks to translate Buddhist texts from Sanskrit. Buddhabhadra would end his life in China as the first abbot of the Shaolin Monastery in present-day Henan Province.*

The patron saint of modern day Shaolin, so to speak, is Bodhidarma, a monk who arrived at the Shaolin Monastery in the 5th or 6th century CE. His ethnicity is uncertain, but he was either from Persia or India. The development of Shaolin martial arts is largely thought to have started at this point in time. The utility of the Silk Road for cultural exchange well until the Yuan Dynasty under the Mongols (See Kublai Khan), would continue to allow for proliferation of martial arts and the creation of new styles including the techniques and concepts (religious or otherwise) associated with them. Keep in mind, all of this is also happening against a backdrop of the constant warfare that has dominated Asian history through the modern era, increasing incentives for military leaders to actively support the creation of new forms of military technology, but also more effective armed combat.  For your purposes, the story concludes with the Mughals, the descendents of the Mongols, arriving in India during the 15th century CE. 

*The Shaolin Monastery would also be the birthplace of Chan/ Zen Buddhism and go on to influence tae kwon do, kendo, kyuudo and eventually karate via its influence on the Fujian White Crane style. 

[swordgayist]

cultural appropriation in ATLA (hinduism edition)

i’m sure there’s already a ton of posts about this, but whatever, i’m still making one idc. 

ATLA’s cultural appropriation, everyone knows about it, the white people don’t speak about it, and the asian and indigenous people get ignored. we know the cycle. but i wanted to come here and highlight some of the most prominent examples of ATLA abusing hinduism, as i am kinda sorta hindu (i was raised in a hindu household, i go to chinmaya mission, that kinda shit). i might forget some things so keep that in mind.

this is gonna be divided into 3 main sections, since there are different ways that they disrespect hinduism that i don’t wanna lump together.

and i’d say i know a lot about hinduism but that doesn’t make me an expert, obviously, so if other hindus have anything to add and/or correct then please do !! and if anyone else wants to share how their cultures were appropriated then please do that as well !!

so let’s get started shall we?

appropriating hinduism

1) the avatar

we’ll start with the most obvious example: the avatar itself

i know that there are parts of the avatar mythos that are taken from other cultures as well but the idea of the avatar itself is primarily from hinduism.

basically in hinduism, the term dashavatara refers to the 10 reincarnations of lord vishnu (the god of preservation), with avatar(a) meaning form or incarnation in sanskrit, and das(a) meaning ten. it was said that whenever the world was out of balance, lord vishnu would come down to earth in a certain form to restore balance. Each reincarnation is considered a different life with a different story. the avatars of lord vishnu are often considered the saviors of the world.

so basically, the central idea of the show and the actual name of the show is largely based on hinduism.

2) chakras

many different indian religions have a concept of chakras (chakra meaning wheel or circle in sanskrit), but hinduism is the one that primarily preaches the system of seven chakras, the version used in ATLA.

chakras connect the physical body to the ‘subtle’ body (referring more to the spirit and the psyche) by connecting parts of the body to aspects of the mind. the idea is that through different forms of steady meditation you can manipulate the different chakras and allow the pure flow of energy through the body.

the whole idea of chakras on ATLA is that aang has to unblock them all to let the cosmic energy flow through him so that he can go into the avatar state at will. so yeah, pretty much that whole idea was taken from hinduism.

3) terminologies

these are just a few terms that were taken from hinduism. i’m pretty sure there are more that i can’t think of right now but yeah.

“agni” kai 

i’ll be honest i don’t know where the ‘kai’ part is from, i don’t think it’s from hinduism but if it is well fuck me i guess.  ‘agni’ in hinduism is the god of fire, so the creators used it in ‘agni kai’, the name for a firebending duel.

“bumi”

this is in reference to the hindu word for ‘earth’, which is bhoomi. this is also in reference to our goddess of earth, bhoomi devi. also this doesn’t really bother me but i wonder if the creators knew that bhoomi is a name typically used for women (as are most hindi names ending in ‘i’/‘ee’).

in general, concepts like having multiple complex gods (the spirits) who are capable of good and evil and the reincarnation cycle are prominent in a lot of asian cultures, including (and arguably primarily) hinduism.

mocking hinduism

now we get into the mockery of hinduism in ATLA, because it is very much there.

1) whoever the fuck that baboon guy in the spirit world was

now what the fuck was this.

i mean i wouldn’t say this is the most egregious example of them making fun of brown people but lord why did this even need to be there? this random guy from the spirit world has an indian accent ? and is fervently chanting ‘om’ for some reason, and it’s clearly meant to be seen as comical. also portraying brown people as monkeys....... really.

2) combustion man/sparky sparky boom man

when rewatching ATLA in 2019 i actually had no idea that this was a thing, because the last time i had watched it was as a kid and i didn’t finish it.

so lord was i in for a surprise when i saw...

now... now what.

if you didn’t know, combustion man’s ‘third eye’ is designed to replicate the hindu god of destruction, lord shiva. right down to the vibhuti on his forehead (referring to the three line markings around the third eye).

in hinduism, lord shiva’s third eye is used to reduce people to ashes, though as far as i can recall, not very frequently. the primary significance of the third eye is that it represents the ability of higher spiritual thought and higher consciousness.

the ATLA writers take the ACTUAL significance of the third eye, throw it out the window, and then take its destructive abilities to make a super duper cool and dangerous new firebending technique.

and if that wasn’t bad enough, the actual person who uses this technique, and is meant to emulate a GOD who is PRAISED, is a scary, burly, half metal man who is a villain and an assassin. not to mention the design of his facial hair replicates that super duper scary “terrorist” depiction of brown people, particularly of muslims, that white people are so thoroughly terrified of for no reason. 

this is a parody of a god, and they portrayed him as this terrifying, maniacal fucking assassin who, along with p’li, the combustion bender from LOK, is constantly referred to as a “third-eyed freak”. i’ve made this analogy before and i’ll do it again, this is like making jesus into a hitman.

now onto my favorite example...

3) guru pathik

ah, this motherfucker.

i don’t really have any problems with him as a character, i mean hell, must’ve taken a fuck ton of patience to handle aang’s “why would choose cosmic energy over katara” bullshit.

but we all know it, we see it plain as day, don’t even try to deny it.

“guru” literally just means teacher or guide, so i don’t really know why pathik needed to be referred to as “guru” so distinctively from aang’s other teachers and guides, but that’s just extremely trivial compared to all the other issues with this character.

first of all what is this character design? what is he even wearing? if they’re trying to replicate the clothes of swamis and priests and stuff this is already wrong, realized people don’t dress like this. and why the fuck does he have an indian accent? and why was this indian accent done by a non indian (brian george)?

once again, the poor but extremely heavy indian accent is clearly meant to be mocking, if it wasn’t, they wouldn’t’ve gone out of their way to get a non indian person to DO an indian accent, and instead they would’ve just gotten an actual indian person to play the role. 

and oh yeah, the onion and banana juice. because hindus just eat weird shit right.

whether it’s actually weird or not, the show certainly portrays it as weird. and as far as i know no hindu actually fucking drinks onion and banana juice.

ironic because brown people can absolutely destroy white people in cooking. but i digress.

i know what you’re all waiting for. because the guru apparently didn’t have enough fun with guru pathik, so they just had to come back to him in book 3:

where do i begin.

so this is obviously john o’bryan’s super funny and hilarious depiction of pathik as a hindu god.

usually when a god has multiple arms it’s to carry an array of things, from flowers to weapons to instruments, and one hand is typically free to bless devotees (ie. goddess durga and lord vishnu respectively):

but of course white people see this as weird and so they make fun of it, hence guru pathik having multiple arms just flailing about aimlessly (save for the two that are being used to carry the aforementioned onion and banana juice).

then there’s the whole light behind pathik’s head which is usually depicted in drawings of hindu gods to show that they are celestial.

also what the fuck is he holding? is that supposed to be a veena? because this is what a veena looks like:

and i assume the reason this was added was to mock the design of goddess saraswathi, who carries a veena:

but that right there in the picture of pathik looks more like a tambura than a veena. 

and it also just kinda looks like a banjo?

but i guess the animators just searched up “long indian instrument” and slapped it on there. actually no, that’s giving them too much credit, they probably didn’t search it up at all. 

and then the actual scene is pathik singing crazily about chakras tasting good or something while playing the non-veena and it’s all supposed to be some funky crazy hallucination that aang is having due to sleep deprivation. just some crazy dream, just as crazy as talking appa and momo sparring with swords or tree-ozai coming to life.

our gurus and swamis and sadhus and generally realized people are very respected in hinduism, they’re people we look up to and honor very much. and our GODS are beings that we literally worship. and the writers just take both and make caricatures out of them for other white people to laugh at.

4) other shit

before we move to the next portion i just wanna mention there are also smaller backhanded jabs that i can’t really remember now, but one example was when zuko was all “we’ll be sure to remember that, guru goody goody”. or when a character would meditate and say “om” only when the meditation is supposed to be portrayed as comical or pointless. or in bitter work when sokka was rambling on about karma. small things like that. but moving on.

south asian representation, or lack thereof

now i finally get to the “losing” hinduism part. by this i mean the lack of actual representation there is of south asians (the region where hinduism is primarily practiced) despite the fact that hinduism plays such a big role in the show’s world design.

i think it’s safe to say that broadly the main cast consists of aang, katara, sokka, zuko, toph, azula, iroh, mai, ty lee, and suki. 

a grand total of none of these characters are south asian. the writers don’t even attempt to add any south asian main characters. 

there are characters with dark skin, like haru and jet, but a) they’re not confirmed to be south asian and don’t have any south asian features or south asian names, b) they’re side characters, so they don’t count as representation, and c) even if they were south asian and main characters, jet wouldn’t even count because he’s portrayed as a terrorist.

the ONLY truly south asian character we get is fucking guru pathik. so yeah. not representation.

i don’t get how the creators of this show rip off of hinduism (among many other south asian cultures they rip off of), mock indians, and then don’t even have the decency to HAVE a main character who is south asian.

i’ve never gotten a chance to compile all this, and this definitely isn’t all the creators have done, but i hope this was somewhat informative.

[citrina-posts]

Avatar: Cultural Appreciation or Appropriation?

I love Avatar: the Last Airbender. Obviously I do, because I run a fan blog on it. But make no mistake: it is a show built upon cultural appropriation. And you know what? For the longest time, as an Asian-American kid, I never saw it that way.

There are plenty of reasons why I never realized this as a kid, but I’ve narrowed it down to a few reasons. One is that I was desperate to watch a show with characters that looked like me in it that wasn’t anime (nothing wrong with anime, it’s just not my thing). Another is that I am East Asian (I have Taiwanese and Korean ancestry) and in general, despite being the outward “bad guys”, the East Asian cultural aspects of Avatar are respected far more than South Asian, Middle Eastern, and other influences. A third is that it’s easy to dismiss the negative parts of a show you really like, so I kind of ignored the issue for a while. I’m going to explain my own perspective on these reasons, and why I think we need to have a nuanced discussion about it. This is pretty long, so if you want to keep reading, it’s under the cut.

Obviously, the leadership behind ATLA was mostly white. We all know the co-creators Bryan Konietzko and Michael Dante DiMartino (colloquially known as Bryke) are white. So were most of the other episodic directors and writers, like Aaron Ehasz, Lauren Montgomery, and Joaquim Dos Santos. This does not mean they were unable to treat Asian cultures with respect, and I honestly do believe that they tried their best! But it does mean they have certain blinders, certain perceptions of what is interesting and enjoyable to watch. Avatar was applauded in its time for being based mostly on Asian and Native American cultures, but one has to wonder: how much of that choice was based on actual respect for these people, and how much was based on what they considered to be “interesting”, “quirky”, or “exotic”?

The aesthetic of the show, with its bending styles based on various martial arts forms, written language all in Chinese text, and characters all decked out in the latest Han dynasty fashions, is obviously directly derivative of Asian cultures. Fine. That’s great! They hired real martial artists to copy the bending styles accurately, had an actual Chinese calligrapher do all the lettering, and clearly did their research on what clothing, hair, and makeup looked like. The animation studios were in South Korea, so Korean animators were the ones who did the work. Overall, this is looking more like appreciation for a beautiful culture, and that’s exactly what we want in a rapidly diversifying world of media.

But there’s always going to be some cherry-picking, because it’s inevitable. What’s easy to animate, what appeals to modern American audiences, and what is practical for the world all come to mind as reasons. It’s just that… they kinda lump cultures together weirdly. Song from Book 2 (that girl whose ostrich-horse Zuko steals) wears a hanbok, a traditionally Korean outfit. It’s immediately recognizable as a hanbok, and these dresses are exclusive to Korea. Are we meant to assume that this little corner of the mostly Chinese Earth Kingdom is Korea? Because otherwise, it’s just treated as another little corner of the Earth Kingdom. Korea isn’t part of China. It’s its own country with its own culture, history, and language. Other aspects of Korean culture are ignored, possibly because there wasn’t time for it, but also probably because the creators thought the hanbok was cute and therefore they could just stick it in somewhere. But this is a pretty minor issue in the grand scheme of things (super minor, compared to some other things which I will discuss later on).

It’s not the lack of research that’s the issue. It’s not even the lack of consideration. But any Asian-American can tell you: it’s all too easy for the Asian kids to get lumped together, to become pan-Asian. To become the equivalent of the Earth Kingdom, a mass of Asians without specific borders or national identities. It’s just sort of uncomfortable for someone with that experience to watch a show that does that and then gets praised for being so sensitive about it. I don’t want you to think I’m from China or Vietnam or Japan; not because there’s anything wrong with them, but because I’m not! How would a French person like to be called British? It would really piss them off. Yet this happens all the time to Asian-Americans and we are expected to go along with it. And… we kind of do, because we’ve been taught to.

1. Growing Up Asian-American

I grew up in the early to mid-2000s, the era of High School Musical and Hannah Montana and iCarly, the era of Spongebob and The Amazing World of Gumball and Fairly Odd Parents. So I didn’t really see a ton of Asian characters onscreen in popular shows (not anime) that I could talk about with my white friends at school. One exception I recall was London from Suite Life, who was hardly a role model and was mostly played up for laughs more than actual nuance. Shows for adults weren’t exactly up to par back then either, with characters like the painfully stereotypical Raj from Big Bang Theory being one of the era that comes to mind.

So I was so grateful, so happy, to see characters that looked like me in Avatar when I first watched it. Look! I could dress up as Azula for Halloween and not Mulan for the third time! Nice! I didn’t question it. These were Asian characters who actually looked Asian and did cool stuff like shoot fireballs and throw knives and were allowed to have depth and character development. This was the first reason why I never questioned this cultural appropriation. I was simply happy to get any representation at all. This is not the same for others, though.

2. My Own Biases

Obviously, one can only truly speak for what they experience in their own life. I am East Asian and that is arguably the only culture that is treated with great depth in Avatar.

I don’t speak for South Asians, but I’ve certainly seen many people criticize Guru Pathik, the only character who is explicitly South Asian (and rightly so. He’s a stereotype played up for laughs and the whole thing with chakras is in my opinion one of the biggest plotholes in the show). They’ve also discussed how Avatar: The Last Airbender lifts heavily from Hinduism (with chakras, the word Avatar itself, and the Eye of Shiva used by Combustion Man to blow things up). Others have expressed how they feel the sandbenders, who are portrayed as immoral thieves who deviously kidnap Appa for money, are a direct insult to Middle Eastern and North African cultures. People have noted that it makes no sense that a culture based on Inuit and other Native groups like the Water Tribe would become industrialized as they did in the North & South comics, since these are people that historically (and in modern day!) opposed extreme industrialization. The Air Nomads, based on the Tibetan people, are weirdly homogeneous in their Buddhist-inspired orange robes and hyperspiritual lifestyle. So too have Southeast Asians commented on the Foggy Swamp characters, whose lifestyles are made fun of as being dirty and somehow inferior. The list goes on.

These things, unlike the elaborate and highly researched elements of East Asian culture, were not treated with respect and are therefore cultural appropriation. As a kid, I had the privilege of not noticing these things. Now I do.

White privilege is real, but every person has privileges of some kind, and in this case, I was in the wrong for not realizing that. Yes, I was a kid; but it took a long time for me to see that not everyone’s culture was respected the way mine was. They weren’t considered *aesthetic* enough, and therefore weren’t worth researching and accurately portraying to the creators. It’s easy for a lot of East Asians to argue, “No! I’ve experienced racism! I’m not privileged!” News flash: I’ve experienced racism too. But I’ve also experienced privilege. If white people can take their privilege for granted, so too can other races. Shocking, I know. And I know now how my privilege blinded me to the fact that not everybody felt the same euphoria I did seeing characters that looked like them onscreen. Not if they were a narrow and offensive portrayal of their race. There are enough good-guy Asian characters that Fire Lord Ozai is allowed to be evil; but can you imagine if he was the only one?

3. What It Does Right

This is sounding really down on Avatar, which I don’t want to do. It’s a great show with a lot of fantastic themes that don’t show up a lot in kids’ media. It isn’t superficial or sugarcoating in its portrayal of the impacts of war, imperialism, colonialism, disability, and sexism, just to name a few. There are characters like Katara, a brown girl allowed to get angry but is not defined by it. There are characters like Aang, who is the complete opposite of toxic masculinity. There are characters like Toph, who is widely known as a great example of how to write a disabled character.

But all of these good things sort of masked the issues with the show. It’s easy to sweep an issue under the rug when there’s so many great things to stack on top and keep it down. Alternatively, one little problem in a show seems to make-or-break media for some people. Cancel culture is the most obvious example of this gone too far. Celebrity says one ignorant thing? Boom, cancelled. But… kind of not really, and also, they’re now terrified of saying anything at all because their apologies are mocked and their future decisions are scrutinized. It encourages a closed system of creators writing only what they know for fear of straying too far out of their lane. Avatar does do a lot of great things, and I think it would be silly and immature to say that its cultural appropriation invalidates all of these things. At the same time, this issue is an issue that should be addressed. Criticizing one part of the show doesn’t mean that the other parts of it aren’t good, or that you shouldn’t be a fan.

If Avatar’s cultural appropriation does make you uncomfortable enough to stop watching, go for it. Stop watching. No single show appeals to every single person. At the same time, if you’re a massive fan, take a sec (honestly, if you’ve made it this far, you’ve taken many secs) to check your own privilege, and think about how the blurred line between cultural appreciation (of East Asia) and appropriation (basically everybody else) formed. Is it because we as viewers were also captivated by the aesthetic and overall story, and so forgive the more problematic aspects? Is it because we’ve been conditioned so fully into never expecting rep that when we get it, we cling to it?

I’m no media critic or expert on race, cultural appropriation, or anything of the sort. I’m just an Asian-American teenager who hopes that her own opinion can be put out there into the world, and maybe resonate with someone else. I hope that it’s given you new insight into why Avatar: The Last Airbender is a show with both cultural appropriation and appreciation, and why these things coexist. Thank you for reading!

[zhaozaipalooza]

Your Weekly Insight into SA Culture! - The Ocean

ALRIGHT Tui, you’ve had your turn in the spotlight (rightfully so, all hours are Yue-loving hours), BUT the ocean is pretty significant in Hinduism, and clearly to the navy. So we’ll shift the lens for a minute, and come back to the Moon Spirit next time... ;s

I know three main stories involving the ocean in our mythology, and boy, they’re dramatic. There’s the god Rama from his own epic, the Ramayana, who pulled a very close Moses when crossing the ocean to reach Lanka and rescue his wife. Instead of large-scale waterbending, though, it was more along the lines of earthbending. Rocks inscribed with Rama’s name were tossed into the ocean, and voila - his name itself defied gravity, and the stones were used to form a floating bridge.

And guess what? You can see this bridge from space! Check out Rama’s Bridge, or the Ram Setu, located off the northwestern coast of Sri Lanka.

The second and third stories would be the incarnates of the actual Avatar in our mythology: Vishnu, known as the superior deity - who dealt with the ocean flooding the world on two separate occasions. These floods served as a sort of “cleansing” before a new epoch, washing away the old world and starting anew. The first appearance was in the form of a fish, the next a boar.

Matsya, the Fish, was actually the very first incarnation of Vishnu (there’s ten total, the tenth is yet to arrive... *Scooby-Doo theme music*). Matsya warned mankind of the flood and told them to save their grain, and to usher living creatures onto boats (yeah, God, stop playing favorites with Noah << guys that’s a JOKE).

Varaha, the Boar, is the third incarnate, and like his name suggests, was called to dealt with rougher circumstances. The asura Hiranyaksha dragged the entire frickin’ earth to the bottom of the sea, and Varaha singlehandedly raised it back to the surface using his tusks. (TW: some bloody demon-slaying below.)

And hey, looks like there’s another ocean-related incarnate I’d forgotten about. The second incarnate of Vishnu, Kurma, the Tortoise, churned the ocean, such as one churns milk. The ocean itself was considered to be full of mysteries, so when it was stirred, many of them emerged! Among them were new gods and goddesses, rich gems, powerful horses, and other divine creatures and treasures.

Now, the more conceptual belief-oriented aspects of the ocean were highly diverse, and I found it all brilliant. We’ve already seen the ocean as a reset mechanism for each new age (called a “yuga”, I believe), and as a swirling enigma, full of magical secrets. Sagara or Sumadra would be the name of the actual ocean god, and MAN, what a realm he presides over...

Existence is compared to the ocean, which manifested all worlds, beings, and materiality. Rivers are seen as connected to the supreme entity Brahma, with us as the individual souls flowing back to a cosmic whole. The ocean is seen as the source of life and immortality, producing an elixir that was drunk by gods and asuras to live forever. The ocean is also seen as all-pervading, in the form of storms, tempests, waves, and monsoons.

Hindu philosophy compares the ocean with instability and struggle, which humans have to cross in order to conquer themselves. In early times, the ocean was considered to be the edge of the earth, hence seen as the realm of immortals, the wellspring of creation, and the universe itself! The ocean is a “subterranean world”, filled with living and celestial beings, water spirits, nymphs, etc. The ocean is “the resting place of the sun”, the battleground of gods. The ocean is consciousness, commotion, tranquility, suffering, support, death, life, infinity... a yin-yang on its own! 

I didn’t know half of these meanings myself before some light research. Just incredible!! Really a shame the ATLA world didn’t dive deeper here... though we always have the chance to take it upon ourselves!

And that’s your South Asian two cents on the black koi fish, basically ~ give it up for La! 🎉🎉

[the-writer-muse]

Writing About Asia

Sources

https://www.britannica.com/place/Asia

https://www.sciencedirect.com/topics/social-sciences/asian-cultures

http://www.physicalmapofasia.com

http://www.physicalmapofasia.com/regions-of-asia/

Introduction

Please note that Asia is such a vast and diverse continent that I cannot possibly include everything there is to know about it in one post. Consider this a jumping-off point for your own research. Please don’t hesitate to correct or amend anything in this post!

Countries and Regions

I’m only going to say this once: “Asian” does not automatically equal Chinese, Japanese, or Korean. Asia contains 46-50 countries, depending on your definition of a country and where the country in question lies--some are only partially in Asia. Many countries also justly belong in two regions, due to strong geographic or cultural characteristics it may share with both regions. For the sake of clarity and the need for briefness, I will not be adding countries to multiple regions. 

Asia can be divided into five main regions: Central Asia, East Asia, South Asia, Southeast Asia, and Western Asia. Northern Asia is a sixth and commonly disputed region due to the fact that it is comprised solely of Russia and is recognized as a European country.

Central Asia

Kazakhstan

Kyrgyzstan

Tajikistan

Turkmenistan

Uzbekistan

East Asia

China

Hong Kong

Japan

Macau

Mongolia

North Korea

South Korea

Taiwan

South Asia

Bangladesh

Bhutan

India

Maldives

Nepal

Pakistan

Sri Lanka

Southeast Asia

Brunei

Cambodia

East Timor

Indonesia

Laos

Malaysia

Myanmar/Burma

Philippines

Singapore

Thailand

Vietnam

Southwest Asia

Armenia

Azerbaijan

Bahrain

Georgia

Iran

Iraq

Israel

Jordan

Kuwait

Lebanon

Oman

Palestine

Qatar

Saudi Arabia

Syria

Turkey

United Arab Emirates

Yemen

Physical features

There are obviously many more notable physical features across Asia. These are simply some of the more well known and more significant ones.

Aral Sea

Arabian Desert

Arabian Peninsula

Brahmaputra River

Euphrates River

Ganges River

Gobi Desert

Himalayan Mountains (location of Mount Everest)

Hindu Kush Mountains

Indus River

Jordan River

South China Sea

Tigris River

Ural Mountains

Yangtze River 

Yellow River

Religion

Any and every religion can be practiced in Asia. These are some of the most common or well known ones:

Buddhism 

Christianity

Confucianism

Hinduism

Islam

Jainism

Judaism

Shinto

Sikhism

Taoism

Zoroastrianism

Common cultural aspects

Although Asia has a wealth of diversity, a few things stay the same across some of its cultures. However, these aspects can double as stereotypes, so be cautious in how you approach and portray them. The following are also frequent experiences of Asian immigrants and second-generation Asians.

Bright colors are good or lucky

Collectivistic culture

Competitiveness

Emphasis on physical appearance/reputation

Emphasis on socio-economic prosperity

Emphasis on success in academics and in life

Emphasis on the past, especially ancestors, and on the future

Filial piety

Showing self control and/or emotional restraint and respect

Removing shoes in the house

Stereotypes and microaggressions

Some of these have a seed of truth that has been exaggerated beyond recognition. Others are completely false and rooted in racism. Unless you have experience with these stereotypes, avoid them completely. Even if you do, be cautious when depicting them.

Stereotypes

Asians all look the same

Asians are smart

Asians are good at math and science

Asians aren’t athletic

Asians aren’t good drivers

Asians are either Chinese, Korean, or Japanese

Asians look younger than they are

Asians don’t know/speak “broken” English

Asians are quiet/introverted

Asians are oppressed by their parents

Asians (particularly teenagers) are cold/don’t know how to have fun

Asians eat dogs and cats

In media, Asian women are dragon ladies, China dolls or tiger moms

In media, Asian men are seen as emasculated, lecherous, or both

Microaggressions

“Where are you really from?”

“You’re Asian? Are you from [Asian country]?”

“You’re Asian? Do you speak [Asian language]?”

“What does [word(s)/phrase] mean?”

“You don’t look Asian.”

“You speak good English.”

”You don’t have an accent.”

Attempting to speak to you in an Asian language that you don’t know

Shortening an Asian name or deeming it unpronounceable

[fortressofserenity]

Cultural sensitivity

There’s a post about how the Avatar stories misrepresented, stereotyped and appropriated from Indian culture. Consider this, the concept of the avatar (descent) is derived from Hinduism which is the main religion of India. But the way Avatar presented parts of Hinduism is disrespectful to any follower of the faith, the third eye represents spiritual awareness and while Shiva is the god of destruction, he’s not supposed to be evil.

A character with powers based on something like the Hindu five elements (admittedly, I’m more familiar with Wuxing or the Chinese counterpart) would be kind of cool to portray. But it has to be done with respect and actual interest in such a culture, the Avatar staff certainly did respect East Asian and indigenous cultures. But when it comes to South Asian cultures, as far as I remember, it’s rather scant despite the fact that Tibet (the region that inspired the Air Nomads) was influenced by India.

Buddhism came from India, even if it persisted en masse elsewhere. One might wonder if the Avatar creators picked bobs and pieces of Indian culture, whilst perhaps distorting those borrowings. As what somebody said, Shiva’s not an evil god and the third eye actually has spiritual importance for Hindus. There are three ways to get away with this, either include a respectful portrayal of Indian-coded characters there or hope and pray for your country to be heavily influenced by India.

(I actually did this with China, yes I did it).

Or hang out a lot in any place with a substantial Indian presence (either an Indian community or India itself), though with the former you really have to know where to look. When it comes to borrowing aspects from different cultures, you’d have to be sincere and respectful with how you do it otherwise it would feel really fake and disrespectful.