In American popular culture the phrase “to spill the tea” has been used to indicate the need to discuss a topic of interest with another person, often this topic can be described as gossip. However the use of tea as a prompt for conversation is not a modern fad, in fact tea has been a traditional message of warmth and communication for people across the world since the formation of states. In collaboration with the Bagri Foundation and the Hayward Gallery in London, Anuar Duisenbinov collected poetic stories regarding tea from various people within Kazakhstan. The collection aims to evoke the reader’s personal connection to tea as well as reflect on the culture and colonization associated with tea in general. Duisenbinov leaves his audience considering the role tea plays in their life and why something as common as tea can have such a dark history with a significant impact on those affected by this memory.
Written as a response to the artwork entitled Samovar, Duisenbinov strives to discern his own relationship with tea before presenting the reader with eighteen other “testimonies” about tea. The samovar itself refers to the integral appliance in the Russian household. Although it has somewhat phased out of use, it is a symbol of national identity for Russians, including the former Soviet States who were forced to see the tool as a part of their identity as well. Before beginning to read the testimonies, the audience is confronted with the first of many colonizers whose impact can be felt with every tea leaf. However Duisenbinov is a Kazakh author, making it clear that the point of the art installation is a commentary on those affected by colonization, and the multicultural backgrounds of those living in colonized areas. The testimonies themselves are written by various individuals including those with Korean, Kazakh, Tatar, Russian, Dungan, and Uighur heritage; all ethnicities which can be found in Kazakhstan and across the world.
Duisenbinov’s testimony presents the audience with a uniquely Kazakh experience, he refers to dishes, tableware, and environments composing a traditional Kazakh tea. However he also digs at the greater question of what history is being ignored, accepted, or rejected as one drinks a cup of tea. Due to the regionality and specific details he associates with tea, the greater audience may struggle to understand why his Kazakh experience makes him feel displaced from the reality of the history he discusses. However, if the reader is not familiar with his terminology or the traditions he remembers, their further research to gain a better understanding may allow them to steep farther into the narrative. Duisenbinov describes his conflict with tea as it is on one hand, his connection to his grandmother and the memories he associates with her; on the other hand it poses a question of his identity and how identity dictates the treatment of history and objects which exemplify violence and oppression.
In the eighteen stories following Duisenbinov’s, the reader is presented with writing which varies greatly from that of Duisenbinov’s. While this provides an advantage to the audience in that it is easy to read, accessible for readers of various levels, and helps the reader to craft their own testimony, it also illustrates the limitations of poetry as narrative. Some of the poems, in an effort to be poetic, leave the reader more confused than inspired. The variety of writers, outside of writing style, also depicts the ingrained historical impact of tea as the diversity of background is effective in each poem. Whether it be in the form of references to a specific type of tea, the classification of relatives by ethnicity, or terminology which differs by region, the widespread influence of tea is evident.
Each story gives the reader a unique perspective on tea distinct from the one before it. Some writers have a favorable recollection of their tea traditions, like one story which describes how tea has become a vital part of their everyday life, to the point that being handed a cup of coffee is insulting. Another had memories connected to grandparents and strived to perfect the recipes they grew up with. However some testimonies have a negative association with tea, or the traditions they grew up with. These testimonies detail the desire for tea in times of famine, the patriarchal nature of tea traditions, and how the knowledge of tea’s dark history completely severed their ties to the drink. Even for a reader who may not come from a background with traditions of tea or connections to states victimized by colonialism, there is a story for them to resonate with. A truly impressive feat of literature, relatable to virtually every reader in some way, shape, or form.
On a surface level examination of this collection the reader may be struck by two questions; the first: why did the gallery invite a Kazakh author when the exhibition is in London? Duisenbinov and his fellow writers address this as the diversity of background in the authors illustrates how widespread the impact of tea is. The other answer to this question is in the fact that London is in the center of one of the largest colonizers in history, the UK controlled several of its colonies through tea alone. By bringing in voices from various ethnic groups this collection acts as a testament to the lasting influence of colonialism, and paired with a sculpture, the two art pieces confront the general public from first look and first read.
The second question attests to another aspect of colonization, language. Testimonies About Tea was published in dual language format, Russian and English. But Anuar Duisenbinov has published in Kazakh, so why not publish in Kazakh and English? Since Russia was a large colonial power, its legacy takes many forms including the limitations of language and the accessibility of native languages on a large scale. Since the collection is written in collaboration with the Samovar sculpture it makes sense to include Russian; but the lack of diversity in language from the authors who come from various backgrounds illustrates how sometimes the only thing groups of people have in common is a tradition. Throughout the stories one point is made repeatedly, tea is an expression of memory, and a method of communication with both the past and the present. So if a reader were interested in the sculpture, or intrigued by the idea of tea as an example of colonialism, Anuar Duisenbinov’s collection of poems will surely leave the reader with a better understanding of a simple tradition, and questioning what role tea has in their memory. The only question left is what kind of tea is best to enjoy with this collection.
Photo Credits:
https://weproject.media/en/articles/detail/5-food-related-rituals-and-customs-of-central-asia/
https://www.vahdam.com/blogs/tea-us/tea-cultures-and-ceremonies-tea-culture-in-central-asia
https://img.freepik.com/premium-photo/traditional-arabic-tea-cup-sets_462054-1312.jpg?w=2000
https://afisha.london/en/2021/09/10/giant-teapot-samovar-in-center-london/
