Pandemic pranks off the table on April Fools' Day

AFP / Ina FASSBENDERApril Fools' Day may be a tradition but this year few are in the mood as the global death toll mounts and billions remain under some form of lockdown

It may be the global day for pranks but with the world under assault from the deadly coronavirus pandemic many governments on Wednesday were warning against virus-themed April Fools' jokes -- some even threatening jail.

The April 1 tradition sees families, web users and corporations embrace practical jokes.

But few are in the mood as the global death toll mounts and billions remain under some form of lockdown.

Google, a company renowned for its elaborate annual stunts, told its employees it would "take the year off from that tradition out of respect for all those fighting the Covid-19 pandemic," according to an internal email obtained by Business Insider.

The deadly outbreak has already been accompanied by a deluge of online misinformation, making it harder for governments to keep their citizens safe.

Some are now threatening jail for virus pranks.

Taiwan, which has been held up as a model for how to tackle an outbreak, warned people who spread false rumours that they faced up to three years in jail and a TW$3 million fine ($100,000).

"On April Fools' Day we can exercise our sense of humour if we have to but we can't make jokes on the pandemic to avoid breaking the law," President Tsai Ing-wen posted on Facebook alongside a photo of one of her cats.

"I wish everybody not only a humorous but also healthy and safe April Fools' Day."

The island's health ministry has also been using an official "spokesdog" called Zongchai to make public statements.

"Zongchai asks you not to make any pranks on the outbreak. Please be considerate to the frontline workers on epidemic prevention," one post on the ministry's Facebook page said on Wednesday next to a photo of the popular shiba inu.

Thailand was taking a similarly hard line, threatening up to five years in jail.

"It's against the law to fake having COVID-19 this April Fools' Day," the government said on Twitter.

"There may be people who do not have good intentions... who may use April 1 or April Fools' Day and assume they will not face legal action," Krissana Pattanacharoen, deputy national police spokesman, told reporters on Tuesday.

In India, where disinformation -- especially on Whatsapp -- remains a pervasive problem, politicians made similar appeals.

"The state govt won't allow anyone to spread rumours/panic on #Corona," tweeted Maharashtra state's home minister Anil Deshmukh.

"We urge citizens to verify information and only share messages from trusted sources and not fall for fake news," Pranay Ashok, a spokesman for Mumbai Police, told AFP, adding that anyone found spreading fake news would be prosecuted.

Many well-known brands with a prior track record of jumping on the annual bandwagon were steering clear of the tradition this year.

James Herring, from London-based PR agency Taylor Herring, had the following warning.

"Tip for any PR agencies planning an April Fools Day stunt," he wrote last week on Twitter. "Just. Don't."'

Why April Fools Day in France Involves Fish Pranks

It’s a long and fishy history.

BY AMELIA PARENTEAU

MARCH 31, 2024

"Allow me to address to you / With my deepest tenderness / This beautiful fish, fresh and discreet / To which I have confided my secret," says this April Fish card in French. 

IF YOU FIND YOURSELF IN France on April 1, don’t be surprised if something seems fishy. Maybe someone gives you a chocolate or a pastry in the shape of a cod? Perhaps you find a paper haddock stuck to your back, and then everyone erupts into laughter and starts pointing and shouting “poisson d’avril”? Don’t be alarmed, you’ve simply immersed yourself in the centuries-long French tradition of April Fool’s Day, known as poisson d’avril or “April Fish.”

“The idea of April Fool’s Day, or April 1, as a special day is murky,” says Jack Santino, a folklorist and Professor Emeritus at Bowling Green State University in Ohio. “Every country has its own historical event they think gave rise to it.” But France’s tradition is the only one that involves aquatic life. Historians have many theories about the origins of this piscine tradition, but no overall consensus. The most common theories are connected to pagan celebrations of the vernal equinox, Christianity, a 16th-century calendar change, and the start of the French fishing season.

April fools may trace back to Ancient Rome, but France’s fish part is harder to pin down. 

Some historians date this tradition back to the Ancient Roman pagan festival of Hilaria, a celebration marking the vernal equinox with games and masquerades. Santino says ancient Roman and Celtic celebrations of the vernal equinox are likely forerunners. Connections to those rituals “provide a kind of cultural vocabulary that people can draw on,” according to Santino. However, he believes they probably don’t have a direct connection to the fish part.

For some, that’s where Christianity comes in. The “ichthus” fish—an ancient Hellenic Christian acronym for “Jesus Christ, Son of God, Savior”—is nowadays widely recognized as a symbol of Christianity, but was originally used as a secret marker of Christian affiliation. Moreover, the Lenten forty-day period between Ash Wednesday and Easter Sunday prohibits the consumption of meat, so fish is often served as a substitute protein during this period.

The depiction of Lent from 1893 shows how long fish has been a major part of the Christian tradition. 

As the end of Lent often occurs on or near April 1, celebrations including fish imagery would be apt to mark the end of the fasting season. Some even go so far as to surmise that poisson d’avril is a corruption of the word “passion,” as in “passion of the Christ,” into “poisson,” the French word for fish. Despite these cultural associations, Santino points out there is no actual evidence for this link to Christianity.

Then there’s the popular calendar change theory that has been widely discounted by experts today, but still comes up. In 1564, King Charles IX of France issued the Edict of Roussillon, which moved the start of the calendar year from somewhere in the period of March 25 and April 1 (different provinces kept their own calendars) to January 1.


Pope Gregory XIII standardized January 1 as the beginning of the calendar year throughout the entire Christian empire with the adoption of the Gregorian calendar in 1582. One might surmise that those who still observed the start of the new year on April 1 rather than January 1 were the “April Fools” in question and therefore subject to pranks. However, references to poisson d’avril predate the 1564 edict, occurring in print as early as 1466, which debunks this explanation.

Now paper, people used to hook real dead fish onto the backs of fishermen.

 JACK GAROFALO/GETTY IMAGES

Another plausible theory involves actual fishing. As the days get longer in the northern hemisphere, the return of spring also marks the beginning of the fishing season in France, on or near the first day of April. Some posit that the prank of offering a fish was to tease fishermen who, at this time, either had no fish or an incredible abundance. They would either have to wait around for spawning fish to be of legal size before catching them or, once it was finally time, they would be overwhelmed by catching so many fish rushing upstream. According to this theory, real herrings were the original sea critter of choice for the prank, and the trick was to hook a dead herring onto a fisherman’s back and see how long it took him to notice, as the fish began to progressively stink over the course of the day.

The poisson d’avril tradition took another turn in the early 20th century, when friends and lovers would exchange decorative postcards featuring ornate images of fish. The majority of these cards were inscribed with funny rhyming messages that were often flirtatious and suggestive, but cloaked in humor. While most cards depict young women, flowers, and fish, the ocean and other marine animals are occasionally featured, as well as references to advances in technology, such as airplanes and automobiles. Pierre Ickowicz, chief curator of the Château de Dieppe Museum in Normandy, which houses an impressive collection of these cards, says the card exchange tradition seems to have died out shortly after World War I. The museum’s 1,716 postcards are mainly from the 1920s-1930s

.

Poisson d’avril postcards from the 1920s and ’30s were full of flirtation and fish. WELLCOME COLLECTION/PUBLIC DOMAIN; FOTOTECA GILARDI/GETTY IMAGES

These days in France, the most common observers of poisson d’avril are schoolchildren, who delight in taping paper fish to the backs of their siblings, classmates, and teachers. Although the execution has varied over time, from dead herring accessories to postcards to paper fish, the prankster nature has been consistent.

“This idea of playing pranks on people is something that would be obnoxious if it weren’t socially condoned on certain days,” says Santino. He notes that times of transition are often connected to rites of passage where societal rules can be broken. “If poisson d’avril has to do with a recognition of springtime, I would link it to the idea of a celebratory transition into a new period of time, and part of that celebration means we can do things that are not usually allowed.”

Today, people celebrate poisson d’avril in both neighboring Italy and in Quebec, Canada, a former colony of France. The exact origins remain murky, but the fish endures. Whether or not you participate in any kind of trickster behavior on the first of April, there’s surely some relief today that an actual dead, stinky fish is no longer a regular part of April Fool’s day—or at least hopefully that bit of history doesn’t plant any devilish ideas.

Children are the main culprits today, but anyone can end up with a paper fish on their back on April 1. KEYSTONE-FRANCE/GETTY IMAGES; LAURENT SOLA/GETTY IMAGES

Palm Sunday April Fools Day

How appropriate that the Divine Fool is celebrated today both because it is April Fools Day and Palm Sunday.

Radical Theologin Harvey Cox wrote a whole book on the divine fool.

The Feast of Fools: A Theological Essay on Festivity and Fantasy (1969),

One of the Protestants who has addressed festivals is Harvey Cox who argued that human beings are “essentially festive and ritual creatures” (1969, 8; cf. Browning 1980). As homo festivus and homo fantasia, human beings express festivity and fantasy through festival as a form of “theatre of the body.” Cox argues that with the march of secularization and the continued rejection of festivity “Christianity has often adjusted too quickly to the categories of modernity” (Ibid. 15), and with this, important facets of what it means to be human are neglected. As a result, Cox believes that there is a real need for Christianity in the West to develop a theology of festivity

An article from that book was published back in the early Seventies in Playboy, I read it for the articles back then, which included an illustration one rarely sees; Jesus Laughing.

And, what else, the symbol of Christ that best symbolizes this theology is "Christ the Harlequin" (as in The Parable, New York World's Fair 1966), who personifies festivity and fantasy in an age that has almost lost both.

Perhaps because as a divine fool he was high.

The Feast of Fools, known also as the festum fatuorum, festum stultorum, festum hypodiaconorum, or fête des fous , are the varying names given to popular medievalfestivals regularly celebrated by the clergy and laity from the fifth century until the sixteenth century in several countries of Europe, principally France, but also Spain, Germany, England, and Scotland. A similar celebration was the Feast of Asses.

The central idea seems always to have been a brief social revolution, in which power, dignity and impunity is briefly conferred on those in a subordinate position. In the view of some, this makes the medieval festival a successor to the Roman Saturnalia.

In the medieval version the young people, who played the chief parts, chose from among their own number a mock pope, archbishop, bishop, or abbot to reign as Lord of Misrule. Participants would then "consecrate" him with many ridiculous ceremonies in the chief church of the place, giving names such as Archbishop of Dolts, Abbot of Unreason, Boy Bishop, or Pope of Fools. The protagonist could be a boy bishop or subdeacon, while at the Abbey of St Gall in the tenth century, a student each December 13 enacted the part of the abbot. In any case the parody tipped dangerously towards the profane. The ceremonies often mocked the performance of the highest offices of the church, while other persons, dressed in different kinds of masks and disguises, engaged in songs and dances and practiced all manner of revelry within the church building.

I highly recommend Harvey Cox's work which in many ways compliments Bakhtin's work on the subversive nature of the Carnival and the role playing of the Fool.

"The carnival was not only liberating because for that short period the church and state had little or no control over the lives of the revellers—although Terry Eagleton points out this would probably be 'licensed' transgression at best—but its true liberating potential can be seen in the fact that set rules and beliefs were not immune to ridicule or reconception at carnival time; it 'cleared the ground' for new ideas to enter into public discourse. Bakhtin goes so far as to suggest that the European Renaissance itself was made possible by the spirit of free thinking and impiety that the carnivals engendered."

The Carnivale and Feast of Fools became recuperated in post Renaissance society as comedie della art, and play festivals like the Fringe, which exists world wide and is a popular summer festival here in Edmonton, reflect the same anarchic festivus that one would see at carnival or the earlier Fool's Feasts.

And we see the modern Carnival not only during Mardi Gras but with Feast of Fools that is the Burning Man festival. As pointed out in this article by John Morehead, whose blog is well worth perusing for it's writings on alternative religious movements..

"Burn, Baby, Burn, Christendom Inferno: Burning Man and the Festive Immolation of Christendom Culture and Modernity"

Second and related to the context of counter-modernity and counter-Christendom, Burning Man expresses itself within a cultural context that exhibits a decidedly post-modern and post-Christendom approach to spirituality. Christianity continues to play a significant role in American culture, and may have been the dominant religion in America and the Western world in the past, but in recent decades there has been a “declining influence of religion – particularly Christianity” (Heelas & Woodhead 2005, 1). This has come about through a secularization of the West which in turn has led to a spiritual re-enchantment[1] process. This re-enchantment involves the preference for spirituality rather than religion, and is characterized by an emphasis upon an individualized, subjective, and eclectic spiritual quest. In this environment of the post-modern spirituality seeker, Christianity is perceived negatively as a dogmatic institution rather than a vibrant spirituality whose adherents have often failed to live up to the moralizing they present to the culture. In reaction, many Burning Man participants have either rejected Christianity outright, or consider it of no consequence as a viable option in creating a spirituality suited for the challenges of the twenty-first century

---

[1] Christopher Partridge explores the ramifications of the re-enchantment thesis in The Re-Enchantment of the West, vol. 1 (London & New York: T & T Clark International, 2004).

Since the play is the thing, we can see that since the earliest days of Christendom the Easter pageant played a significant role in society, as we know by way of the York Guilds which in a gift economy share their surpluses by holding feasts and a two week series of plays, it comes full circle, with the sacrificed god being the fool king.

If the power of the King/Church/State lay in divine right, the power of the people lay in the fool king whom they crowned. It is why in the movie Andre Rublev, about the icon painter, the opening scene has a village fool crucified for making fun of the priests. It too was produced in 1969 when Cox published his book.

Only by learning to laugh at the hopelessness around us can we touch the hem of hope. Christ the clown signifies our playful appreciation of the past and our comic refusal to accept the spectre of inevitability in the future. He is the incarnation of festivity and fantasy. (Harvey Cox 1969, 142)

Jesus as Fool, is a subversion on the classic church iconography of the slain and resurrected lord. For as Harliquen, fool, clown, he is life giver, alive, part of the meme of a living humanity. Not an icon but a living force. For the truth of his sacrifice is that life goes on.

Thus the religious heresies originating in Gnosticism that arose during the transition from the Catholic and Orthodox Empires to Protest-ism were about this spirit.

What if it is possible to awaken to a profound state of oneness and love, which the Gnostic Christians symbolized by the enigmatic figure of the laughing Jesus?

What the sacrifice originally meant was ironically the end of sacrifice. Which is why the religion of Christianity began with Agape feasts hidden away in caves and grotos, where all could be equal. The slave religion was about the end of sacrifice, the end of all sacrifice, not only of animals, but of people and of freedom.

Godspell: A Musical Based on the Gospel According to St Matthew (1973)

The portrayal of Jesus as a clown may have been offensive to some, however this reviewer found it to be refreshing, the clown communicates joy while communicating the seriousness of the gospel message. He reminds us that the gospel is a message of great joy and humility, love and peace, of triumph and victory. However in saying that there are some aspects that don't fit with our understanding, for instance the betrayal scene, Jesus kisses Judas. Then it does finish with a question hanging over it, that being, why no resurrection scene? Or maybe there was, perhaps the grand finale represents the risen Jesus, carried lifted high into the crowded streets, it gives a sense of inclusiveness, that somehow Jesus lives on in each one of us.

Jesus the fool returns again and again as a radical revolutionary icon for popular spirituality and its heresies, in opposition to the institutions of Christianity.

THE ENIGMA OF SANCTITY
	1950

Still, theologian Harvey Cox saw the Sixties' counterculture as a reclamation of facets of humanity eclipsed by the rise of technological society — essentially, Rossellini's jester side of man. In his book the Feast of Fools: A Theological Essay on Festivity & Fantasy, Cox idenfied certain aspects of the youth revolt - the recovery of celebration and imagination — not just with a hunger for for wholeness, but vital to both psychological health and, significantly, to being able to have compassion for the oppressed of the world. A capacity for being able to imaginatively "put themselves in other shoes" was prerequisite for the developed nations to be able to have understanding and compassion for those oppressed and different than themselves.

Here we see why Rossellini takes this "jester side" so seriously and so centrally: his offering of St. Francis as a model for conflict-weary Europe isn't a simple-minded Utopian vision, a rejection of private property and reduction to begging (that begs the question "begging from whom?"), but a recovery of that sense of play and imaginative identification with others that makes people more valuable than efficiency, and the "abnormality" of the Other less prone to threaten and result in conflict. The mere existence of the jester is a check on the hubris of power in both ruler and system. In his book, Cox cites an essay by Leszek Kolakowski titled, "The Priest and the Jester":

The philosophy of the jester is a philosophy which in every epoch denounces as doubtful what appears as unshakeable; it points out the contradictions in what seems evident and incontestable; it ridicules common sense into the absurd — in other words, it undertakes the daily toil of the jester's profession along with the inevitable risk of appearing ludicrous.

The jester is the quintessence of the carnival spirit, and just as the jester's cap is pants worn on the head, carnival turns upside-down the values by which the world is typically run. Carnival mocks the pretensions of permanence and power, defies the illusions of the masses. No wonder the faith of Francis has been described as a "carnivalized" Christianity: his topsy-turvy insistence that Perfect Joy is found in suffering, his irrational love for everything and everybody, his scandalous rejection of all the world holds dear — power, property, status, etc. Technically, of course, this is Christianity, for which the adjective "carnivalized" is required only when it forgets its own scandalous identity. Yet the upsidedowness of a faith whose God is born in a stable, the meek inherit the earth, and whose secrets are given to children and fools is all too easily domesticated, and even the court of Christ himself would seem to require its own jester.

was more than a juggler. He was also a poet, singer, all-around entertainer. The Indeed, Francis referred to himself as "the jester of God," and the Italian title of Rossellini's film is Francesco, giullare di Dio — "Francis, God's Jester". The Italian term refers to a French one, jongleur — whence comes "juggler" — but the jongleurjongleur was in fact more earthy than the troubadour: the Latin joculator means "joker", and Francis's joculatores Domini ("ministrels of God") were renowed for putting on a good show when they pulled into a town to preach. Francis's name and terms point to France, home to a Medieval love cult which, though eventually declared heretical and wiped out, left a deep and permanent mark on European culture. So much of what we know as "love in the Western world" finds its source in this flamboyantly romantic vision, including the veneration of an ideal lady — whether Dante and his Beatrice, or St. Francis and his "Lady Poverty."

Today there is the reinvention of the feast of fools, not only in the neo-pagan movement, or the Burning Man festival but in the far left as well. Paul Goodman and other Marxist Freudians talked about humans being playful, that the alienation of work under capitalism was that it meant that it was labour, as in slavery, drudgery rather than fun, playfulness. A Little Eros For Valentine's Day

Since Cox wrote his book in the sixties, the search for this human playful utopia continues.

I was involved with one utopia called Minnesota Experimental City. It was in an era when in the United States there was a lot of utopian thinking. Harvey Cox’s book, The Secular City, was an all time best seller that told us that as soon as we get rid of symbol and myth, get enough guitar players and good architects and civil rights workers, the Kingdom will have come.4 Three years later he was back with a better book called The Feast of Fools.5 These were written just before New York burned and Detroit burned and Watts burned, just before the U.S. committed troops to Vietnam, just before everything went bad. But we were building Minnesota Experimental City. Fifty-eight corporations put up four million dollars for our study. Buckminster Fuller – Mr. Twenty-First Century – was on the panel; Harrison Brown (Lyndon Baines Johnson’s doctor, head of the Mayo Clinic); and then they salted it with a few humanists who would ask the human questions.

We were to build a city – utopia – of two hundred and fifty thousand people. It had to be at least seventy-five miles from any other urban centre. It would be built around a branch of the University of Minnesota; 3M and all the other big firms would have a base there. We thought through everything. It’s cold up there, how are you going to play tennis all year, and how are you going to keep people from arthritis cramps? Well, Buckinster Fuller said, "nothing to it, we build a one mile square plastic dome." How do we get on with pollution? Well, we owe you a ride on an elevator in a building, so we owe you horizontal transportation in our Minnesota Experimental City. You get to the edge, and we’ll take care of you from there.

Situationism was a game of revolution and revolutionaries at play in the Sixties. So it makes sense that the recuperation of their radical politics should, like the surrealists before them, end on the stage. For once the world of 1968 was their stage today they are the play.

The meta-play is an example of Reflectionism through performance. Professor Steve Mann of the University of Toronto, who invented EyeTap to literally mediate monocultural reality, proposes: ﾅReflectionism as a new philosophical framework for questioning social values. The Reflectionist philosophy borrows from the Situationist movement in art and, in particular, an aspect of the Situationist movement called d￩tournement, in which artists often appropriate tools of the "oppressor" and then resituate these tools in a disturbing and disorienting fashion. Reflectionism attempts to take this tradition one step further, not only by appropriating the tools of the oppressor, but by turning those same tools against the oppressor as well. I coined the term "Reflectionism" because of the "mirrorlike" symmetry that is its end goal and because the goal is also to induce deep thought ("reflection") through the construction of this mirror. Reflectionism allows society to confront itself or to see its own absurdity. The participants of the meta-play who do not wish to see themselves in the mirror (thus confronting themselves) quickly turn away, but are left with the lingering image of grotesque ugliness, which will haunt them until a profound internal resolution is reached. Drawing upon traditional folly, but appearing in a disenchanted post-modern society, the concept of The Fool is resurrected, challenging and satirizing oppressors in order to cause reflection on their positions, attitudes, and worldviews. Harvey Cox describes the Foolﾒs perennial message in his 1969 The Feast of Fools: A Theological Essay on Festivity and Fantasy: It is the eternal message of The Fool, who takes the stage whenever greed, arrogance, authority, pride and sycophancy lay claim to the public headspace. These are the acts of real fools, without which The Fool would be useless and mute. The Fool is a looking-glass. She is male and female, he is human and animal, they are one moment immersed in the workaday routine and the next overturning the norms of daily life. When we play The Fool, we are The Other, strangers who are in this world but not entirely of it. The ancient term Narrenfreiheit means "freedom of the fool." That freedom reminds us that in a moment of ecstasy we can sweep away the illusion of so much of what we endure. The Fool breaks the trail; the revolutionaries follow. Those who participate, reflect, and achieve the ﾓmoment of ecstasy,ﾔ will soon realise that playing the Fool is not only one of the most satisfying and liberating experiences they will ever encounter, but is also an urgent direct action to reclaim the public headspace. To counter the oppressive and ubiquitous corporate monoculture that is so prevalent in late capitalist society, culture jamming through performance may well be the only solution to cause reflection, hence shattering a dystopic corporate reality. The idea will, I sincerely hope, spread like a virus until such a time whereby all human beings are free to express and play without fear of reprisal, are free from oppression and exploitation of all sorts, and are truly equal to one another.

See:

Jesus

Gnostic

Paganism

April Fools

Judas the Obscure

For a Ruthless Criticism of Everything Existing

New Age Libertarian Manifesto

Another Prehistoric Woman

My Favorite Muslim

Antinominalist Anarchism

Marxism and Religion

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Fire Your Boss

I was traveling on the bus down Whyte Ave today and saw a fellow with a hat which had written on it;



I regretted I was not wearing my wobbly button in response;




See:

Palm Sunday April Fools Day

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APRIL 1 APRIL FOOLS

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APRIL FOOLS TOO

 

THE FOOL CARD ON THE LEFT IS FROM THE WITCHES TAROT USED IN THE 007 MOVIE: LIVE AND LET DIE

LIVE AND LET DIE 1973 - TAROT DECK James Bond - …

https://www.007museum.com/tarot007.htm

The very popular "Tarot of the Witches" Deck and set, made popular by Jane Seymore in the 007 Movie "Live and Let Die" back in the early 70?s. This deck has remained popular to this day. It has not been jaded by the connection with the …

 

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APRIL FOOLS

 

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