JOUMOU SOUP

Milan, 27 January 2022

Long-term readers of my blog will know that I have a love-hate relationship with Unesco (the United Nations Educational, Science and Cultural Organization in full), and especially with its World Heritage Sites list. This list is composed of actual, tangible sites (“brick-and-mortar” sites, as it were) from all around the world which have been judged to contain “cultural and natural heritage of outstanding value to humanity”. We’re talking about things like the Parthenon in Athens

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or Angkor Wat in Cambodia

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or the Grand Canyon in the US.

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In several of my posts, though, I have frothed at the mouth about some of the other sites which have been listed, considering them to be unworthy of the honour. However, I do not propose to use this post to do more frothing on the subject. My focus instead will be a companion list which Unesco has compiled of so-called intangible cultural heritage. This has been defined as “the practices, representations, expressions, as well as the knowledge and skills (including instruments, objects, artifacts, cultural spaces), that communities, groups and, in some cases, individuals recognise as part of their cultural heritage”. In this case, we’re talking about things like oral traditions, performing arts, and traditional craftsmanship. Worthy examples of entries on this list are Bunraku puppet theatre in Japan

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or sericulture and silk craftsmanship in China.

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If any of my readers are unaware of which forms of intangible cultural heritage have been listed for their country, I invite them to go to the Unesco website on the topic. I’m sure there are also unworthy examples on the list, which – if I ever come across them – will cause me to start frothing at the mouth.

In any event, the reason I’m bringing all this up is that on 17 December last, I saw an article in the Guardian entitled “Culture in a bowl: Haiti’s joumou soup awarded protected status by Unesco”. Given my love-hate relationship with Unesco, I was intrigued to find out what the organization had been up to and clicked on the link. It turned out that the relevant Unesco Committee had just voted to include Haiti’s joumou soup on the list of intangible cultural heritage. “It is Haiti’s first inclusion on the list, and the country’s ambassador, Dominique Dupuy, cried as the announcement was made”, the article intoned. The article intoned about much more, showing that the Committee meeting had clearly been a love-fest between Ms. Dupuy and the delegates of the other countries sitting around the table – although as I read I doubted Haiti would be getting any increase in the development aid which its people so desperately need. Oh dear, the cynic within me, fed on years of watching the rank hypocrisy on show in UN meetings, was coming to the surface – down, boy!

Luckily, as I read on, the positive Me got the better of the cynical Me. To explain this, I need to clarify that “elements” (that’s Unesco-speak) on the intangible cultural heritage list which are food-related don’t get listed just because they’re food and yummy to eat. Otherwise, the list would be a mile long. No, to be listed, a foodstuff has to have a strong cultural value. This is just what joumou soup has, in spades, and it’s that cultural value which brought out the optimist Me.

Joumou soup is inextricably entwined with Haiti’s history as a former slave state. As elsewhere in the Caribbean, the planters in this French colony became immensely rich on the backs of a large population of African slaves growing sugar and coffee for them. The slaves were worked mercilessly and died quickly, so the slave population had to be constantly replenished from West Africa. Here, we have a picture of a slave market in the nearby island of Martinique.

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The French planters also took African women as concubines and over time this created a population of coloured people, free but second-class citizens compared to the white planters.

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The French Revolution started a struggle among the black and coloured people of Haiti, who took the Revolution’s message of Liberty, Equality, Fraternity seriously. Here we have a picture of their first leader, Toussaint L’Ouverture; he was captured and died in France.

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The struggle, which towards the end turned really vicious with both sides committing atrocities, culminated in 1804 with the black and coloured people gaining their independence and throwing out the white population. They went on to create the first black republic in the world, with Jean-Jacques Dessalines their first head of government.

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This story really resonates in this day and age of Black Lives Matter.

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And what of joumou soup in all this? It became a potent symbol of the slave population’s freedom from servitude. Prior to 1804, joumou soup was prepared by the slaves for their masters but only eaten by the masters; slaves were forbidden to eat it. Naturally enough, the eating of that soup by ex-slaves and their descendants became a strong symbol of their continued freedom. And in fact, it is now a solemn tradition for all Haitians to eat joumou soup on 1st January, the country’s day of independence. Here we have Haitians eating the soup on Independence Day.

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But what exactly is in this soup, readers might be asking? Well, the core ingredient of the soup, the one that gives it its name, is a variety of squash, the giraumon, which is found in the Caribbean.

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The word “joumou” is probably the Creole version of “giraumon”, which is itself derived from “jirumum”, the name given to the squash by the island’s original Amerindian inhabitants, the Taìno. Therein lies another layer of cultural meaning in this soup, which no-one seems to have remarked upon. Christopher Columbus and his crew were the first Europeans to meet Taino people when he reached the Caribbean in 1492. We have here a rather fanciful engraving showing this fateful encounter.

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At the time of Columbus’s arrival, the Taìno probably numbered a million or so and were the principal inhabitants of what are now the islands of Cuba, Hispaniola (shared today by Haiti and the Dominican Republic), Jamaica, Puerto Rico, the Bahamas, and a few other islands. By the late 1500s if not before, the Taìno had disappeared, killed off by a combination of forced labour for the Spaniards, starvation, and Old World diseases vectored by the Spaniards and against which the Taino had no resistance. Some historians have labeled this the world’s first genocide. The Taìno have left but a shadow of themselves, in the DNA of many of the islands’ modern populations as well as in words adopted into the languages of their destroyers to describe things they had never seen before reaching the Caribbean: tobacco, hurricane, potato, maize, hammock, barbecue, canoe, cassava, and many others. Joumou soup too carries the ghosts of the Taino.

But back to the making of this soup! The giraumon is pureed, which gives us something very much like the classic pumpkin soup.

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To this core of pureed giraumon is added marinated beef. It is no doubt this ingredient which explains why slaves were forbidden to eat the soup. Meat, especially beef, has historically been the preserve of the rich and powerful, the elites. To these two base ingredients are added a host of others. All recipes call for the addition of root vegetables, although which ones precisely varies quite a bit: I’ve seen malanga, mirlitons, yams, turnips, carrots, potatoes (sweet and not), and onions listed in various recipes. I see here another layer of meaning in this soup, since it marries – probably without meaning to – vegetables from different parts of the world. Their use together in this soup is a reflection of the Great Columbian Exchange which took place after Columbus discovered the Americas and which I’ve written about in previous posts. Some of these root vegetables – malanga, mirlitons, some species of yam, potatoes – are native to the Caribbean or the wider American region, the others – turnips, carrots, onions – are Old World imports. Other vegetables are also added, the ones most often mentioned being cabbage, celery, and leeks – again, Old World imports. Pasta – Old World import – of various shapes are also part of the mix. This must be a modern addition to the soup’s recipe; I can’t see it being present in the soup eaten in 1804. Various herbs and spices are of course thrown in, parsley, thyme, and so on, along with pepper. And the cherry on the cake – as it were – is the addition of one of those hideously hot chilis which I so hate, although they do have the merit of originating from this region of the world. A Scotch bonnet or habanero chili are the most often suggested. The result of cooking all these things together looks like this.

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As I say, I read about joumou soup on 17 December. I got all excited about it and thought we could try making it on 1 January in Los Angeles, where my wife and I were spending the end of the year with our daughter and her fiancé. I suggested it to our daughter, who is very much into cooking, but she had other plans for the cuisine of that day. So this dish is still to be tried in our household. We could wait until 2 December to make it. That’s the UN’s International Day for the Abolition of Slavery, which seems a very suitable moment to be eating this particular soup. But that’s a long way down the road; I feel we should strike while the iron is hot. I’ve read that many Haitians also eat joumou soup on Sundays, for breakfast. I’m not sure about breakfast but my wife and I could make it for a Sunday lunch. We could invite our son to partake. I’ll go and talk to my wife about it now. In the meantime, though, should any of my readers want to give it a go, I give below a recipe for making the soup; it’s a mishmash of a number of recipes I found online.

Bon appétit … and BLM!

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Recipe for joumou soup

Joumou soup is meant to be a festive dish eaten by crowds of people, as attested by this enormous cauldron of joumou soup prepared somewhere in Haiti.

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So I give here amounts required for a mere 8 people. You will of course adjust the amounts to your requirements.

Ingredients:

    • ½ kg stew beef (preferably chuck) cut into smallish cubes
    • 2 limes
    • 1 cup épis
    • 10 cups broth (beef broth preferably, but chicken or vegetable broth will do)
    • 1 kg squash, peeled and cubed (ideally, of course, you should use giraumon squash, but here it really depends on what is available to you locally)
    • 2 carrots, peeled and sliced
    • 1 celery stalk, chopped coarsely
    • 1 leek, white and pale-green parts only, finely chopped (you can use scallions instead)
    • 1 medium onion, sliced
    • 2 small turnips, peeled and diced (if you can get it, use malanga instead)
    • 2 potatoes, cubed
    • 5 parsley sprigs
    • 2 tsps salt, plus more if you want
    • ½ tsp freshly ground black pepper, plus more if you want
    • Pinch of cayenne pepper, plus more if you want
    • 1 Scotch Bonnet chili pepper (habanero chili pepper can be used instead)
    • 1½ cups of pasta (of a type like rigatoni or maccheroni; but if all you have in your cupboard is spaghetti, then use that broken into short pieces)
    • ½ kg cabbage, sliced very thinly

Preparation:

Step 1: Make the épis. Épis is a blend of various herbs, spices, and vegetables which is used a lot in Haitian cuisine. You will be using it to marinade the beef. You can buy ready-made épis, but I am assuming that you will be brave and choose to make it from scratch. Well done! And this is what you will need for 1 cup of épis – you may not use it all up for the marinade, and can use the remainder in the soup.

    • ½ bell pepper (colour of your choice), coarsely chopped
    • 2 garlic cloves, coarsely chopped
    • 3 scallions, coarsely chopped
    • ½ small onion, coarsely chopped
    • Herbs of your choice. I suggest 1/2 cup parsley (leaves and tender stems), coarsely chopped, and 2 basil leaves. But you can consider partially substituting the parsley with cilantro and/or thyme.
    • 3 tbsp oil (I prefer olive oil, but it’s your choice)

To make the épis, simply put all the ingredients into a food processor or blender and purée until smooth. Or if you’re feeling traditional – and have the equipment – use a mortar and pestle.

Step 2: You will now marinade the beef. Place the beef chunks in a large bowl. Juice the limes. Pour the juice (should be at least 3 tbsp) over the beef chunks and massage the juice into the meat. Add a good portion of the epis to the bowl and mix it well with the beef; the beef chunks should be well coated. Put the meat in a refrigerator and let it marinate: ideally overnight, at a minimum one hour.

Step 3: Next – ideally, as I say, the next day – take 6 of the 10 cups of broth and cook the squash in them over medium heat until fork-tender, 20–25 minutes. Purée the squash in the broth.

Step 4: In parallel, you will brown the beef. Place a heavy-bottomed frying pan or casserole dish over a high heat and add a little oil. When the pan is very hot, add the meat to the pan in batches. The oil should ‘sizzle’ as the meat is added. Cook the meat for 1-2 minutes on each side of the cubes.

Step 5: Add the browned beef cubes to the pureed squash. Top up with the remaining broth. Bring to a boil and simmer for 20 minutes.

Step 6: Add, the carrots, celery, leeks, onion, turnips, potato and parsely to the soup, bring to a boil, then simmer for 1 hour with a whole scotch bonnet on top. Remember that the whole scotch bonnet is there for flavoring not to make the soup “hot”. Make sure you don’t burst it as you stir the soup, and remove it at the end of the hour.

Step 7: Add the pasta of your choice and cook it until it is soft and tender (15 minutes or so).

Step 8: add the cabbage and cook for an additional 5-10 minutes; the cabbage should just become wilted. Taste and adjust for seasoning.

À table!

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WATT’S TOWERS

Los Angeles, 8 April 2017

There is a town on the slopes of Mt. Vesuvius that goes by the name of Nola. Although very ancient, nothing much of great historical significance has ever happened there. It did play host to three battles between Hannibal and the Romans, there was another battle of some regional significance in the Middle Ages, and that’s about it. Naples, which like all big cities has been growing outwards over the last 100 years, has finally engulfed it so that Nola is now really no more than a suburb of Naples. Sadly, Nola’s main claim to fame nowadays is that of being a hotspot of Camorra activity. On the brighter side, it is also the host to the Festa dei Gigli, the Festival of the Lilies, which, together with several similar festivals in other parts of Italy, has been listed by UNESCO as an Intangible World Heritage.

The roots of Nola’s Festival of the Lilies are very ancient, going back all the way to the 800s AD. It celebrates an even earlier moment in the city’s history, back in the 400s AD. Pope Gregory the Great, no less, relates the story. A poor widow begged the bishop of the city, Paulinus, to help her get back her only son, who had been carried off by the Vandals to North Africa after one of their frequent raids on Campania. But Paulinus had already used up his considerable fortune ransoming other Nolans enslaved by the Vandals. So the saintly bishop sailed off to North Africa and offered to take the place of the widow’s son, an offer the Vandals accepted. Some time later, the king of the Vandals discovered that this slave was the great Bishop of Nola. He at once set him free, granting him also the freedom of all the other captive Nolans which the Vandals still held. When Paulinus sailed back to Campania, the joyful citizens of Nola escorted him to his residence holding lilies.

The citizens of Nola reenact the last part of this delightful, if rather unbelievable, story every year in their Festival of the Lilies, on Paulinus’s feast day in June. They organize a lavish procession which draws thousands of people, once pious (or perhaps credulous) locals but now mostly just curious tourists. When the festival was born 1200 years ago, each person in the procession carried an actual lily. The sixth century mosaic in Sant’Apollinare in Ravenna of the procession of virgins can stand in here for this event, even though the plants in the background are date palms rather than lilies.

Over the centuries, however, those many long-stemmed lilies morphed into eight thin, very tall (25-meter tall) pyramids, each carried by a team of men. These towers are rebuilt every year. The structure’s wooden skeleton is first assembled

and then elaborate decorations are applied to one side of the pyramid.

A ninth team carries an effigy of the boat which brought Paulinus back to Nola.

The teams carry their “lilies” and the boat through Nola, with them swaying and undulating as the teams navigate the city’s narrow streets.


Once the lilies and the boat have been brought into the piazza fronting the cathedral, they are ranged along the sides of the piazza.

The bishop, successor of Paulinus, then blesses the assembled crowds.

Now I must rewind my story more than a century. Some time in the early 1890s (as near as I can guess), a young boy called Sabato Rodia must have witnessed the Festival. He was born in 1879 in Ribottoli, a small village some 40 kilometers east of Nola. What he saw burnt itself into his mind and stayed with him all his life. The romantic in me wants to believe that he witnessed the Festival on his way down to the port of Naples: at the age of 15, his parents packed him off, unaccompanied, to America. He joined his elder brother, who had already emigrated and who was working in the coal mines of Pennsylvania. Tragedy struck when his brother was killed in a mining accident. Sabato, who had anglicized his name on entering the States to Sam, moved out to Seattle, entered the construction business, married and had three children. In 1905, when Sam was 26, he moved himself and his family to Oakland in California. Things were looking good for him, but unfortunately something went wrong inside him. He began drinking too much, lost his job, and I suspect beat his wife, or children, or both. Whatever the case, in 1912 his wife took the children and left him, and he never saw any of them again. Luckily, Sam managed to get off the bottle and to start working again, still in the construction industry but this time as an itinerant tile setter.

All the while, something was gnawing away at him. As he told an interviewer many years later, “I had in my mind I’m gonna do somethin’, somethin’ big”. Finally, in 1921, when he was 42, he bought a small plot of land, sandwiched between the railway tracks and the tram lines, in the working-class neighbourhood of Watts in Los Angeles. He lived in the plot’s small house, while in the narrow, triangular backyard he started to recreate his own very personal take on his vivid memories of Nola’s Festival of the Lilies.

For the next 34 years, until he was 76 years old, Sam dedicated all his spare time to his project, working alone since he had no money to hire help and using nothing but the most elementary tools of the construction trade. He built in reinforced concrete, a medium he was familiar with after all his years in the construction business but also because he wanted his dream to last. Like a magpie, he picked up colorful objects wherever he came across them – broken bottles of green but also blue and brown glass, broken tiles from his tiling business, sea shells which he picked up on the nearby beaches, colored stones – and he embedded them in the wet concrete for decoration. He was happy to be squeezed in between tram and rail tracks since the passengers would be able to enjoy views of his growing creation as they passed.

Recreating Nola’s cathedral piazza in his cramped backyard, Sam built the framework of three Lilies, with an airy interconnection between the tallest.


In the site’s narrow apex, he placed the boat which brought the bishop back from the Vandals.

On the other side, he built his vision of Nola’s cathedral as an airy gazebo.


Outside of it, he placed the font from which the bishop of Nola would bless the procession.

All around the site, he built a wall, decorated inside and out with his colorful finds.

Like all artists, he proudly signed his work, in his case with an SR

and, almost like a Medieval guild member, he showed off his tools of construction.

The local community must have found Sam odd, eccentric, somewhat mad, perhaps touched by God. Certainly, in a gesture of respect, the local Central American community called him Don Simon, which led to his last change of name, to Simon Rodia. In its final years, his project caught the attention of Los Angeles’s artistic community, so we finally have photos and films of Simon at work.


In 1955, Simon decided he had finished and dropped tools. Perhaps it was like the God of Genesis who on the sixth day “saw all that he had made, and it was very good”, and rested on the seventh. Or perhaps he was just tired of arguing with city officials over building permits. Whatever the reason, he deeded the property to a neighbor and moved to Martinez, California, where years before a sister of his had come out from Pennsylvania to take up residence. He lived there for another 10 years until he died at the ripe old age of 86.

As for Simon’s creation, neglect and vandalism nearly destroyed it, but good sense prevailed and the city council listed it as a Historic-Cultural Monument two years before Simon died, in 1963. Simon himself was granted the greatest of all apotheoses, a space on the cover of Sergeant Pepper’s Lonely Hearts Club Band (top right corner, near Bob Dylan).

What more could a person want?

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Procession of Virgins, Sant Apollinare: https://inpress.lib.uiowa.edu/feminae/DetailsPage.aspx?Feminae_ID=30725
“Lily” framework: https://gigli.jimdo.com/assegnazioni/
Building framework-1: http://www.cancelloedarnonenews.com/2009/09/16/da-brusciano-costruttori-e-cullatori-alla-festa-dei-gigli-di-mariglianella/
Building framework-2: http://ifg.uniurb.it/viaggio-nella-festa-dei-gigli-di-barra-tra-storia-passioni-e-maestosi-obelischi/
Covered lilies: http://www.lavocedelnolano.it/blog/2015/07/festa-dei-gigli-2015-il-nostro-pagellone/
The boat: http://www.fotovolpe.it/portfolio_page/i-gigli-di-nola-napoli/
Moving the lilies through the streets of Nola: http://mapio.net/s/58166915/
Carriers: http://www.dagospia.com/mediagallery/DEVOTI_E_DEFORMI_I_CULLATORI_DI_NOLA-118332/574414.htm
Lilies and boat in the cathedral’s piazza: http://www.rivistasitiunesco.it/domenica-26-giugno-si-rinnova-la-tradizione-dei-gigli-di-nola/
Simon Rodia’s lilies: our pictures
Simon Rodia’s boat: http://ca.phaidon.com/agenda/art/articles/2013/december/09/why-the-watts-towers-were-nearly-knocked-down/
Simon Rodia’s church: http://www.terragalleria.com/california/picture.usca35355.html
Simon Rodia’s font: our pics
Simon Rodia’s walls: our pics
Simon Rodia-1: https://m.discoverlosangeles.com/blog/watts-towers-story-la-icon
Simon Rodia-2: http://www.wattstowers.us/history.htm
Sergeant Pepper’s album cover: https://www.google.co.uk/amp/s/genius.com/amp/The-beatles-sgt-peppers-lonely-hearts-club-band-album-artwork-annotated