Arts and humanities

Representation of the locust social-ecological-technical system (SETS). Click the symbols inside one of the circles to explore the theme.

Throughout history, agriculture and locusts have been intricately intertwined. The relationship between farmers and locusts, as unpredictable and destructive adversaries, can be traced back to the earliest agricultural societies. However, there is more to the relationship than just the negative aspects. Locusts and grasshoppers have played a role in shaping the cultural dimensions of human societies through food, medicine, religion, games, storytelling, textiles, literature, and art.

Locusts and grasshoppers have inspired various forms of creative expression and cultural interpretation throughout history. Artists, writers, and poets have depicted these insects in paintings, literature, and folklore, capturing their unique characteristics, impact on agriculture, and symbolic meanings. Through visual arts, locusts and grasshoppers have been portrayed as symbols of transformation, resilience, and adaptability, reflecting their ability to undergo metamorphosis and survive harsh environmental conditions. In literature, they have been used as metaphors for social upheaval, swarming masses, and the disruptive forces of nature. Moreover, locusts and grasshoppers have been subjects of mythologies and traditional stories, carrying symbolic representations in different cultures around the world. The arts and humanities provide a platform to explore the complex relationship between humans and these insects, highlighting the intersection of nature, culture, food security, and human imagination. By intertwining scientific knowledge with artistic expressions, a deeper understanding of locusts and grasshoppers emerges, enriching our appreciation for their significance in human narratives and cultural landscapes.

The arts and humanities can also play a crucial role in addressing locust and grasshopper outbreaks by offering diverse perspectives that go beyond the predominantly scientific and technical view of these problems. In doing so, they can engage previously uninvolved societal groups and foster inclusive and ethical solutions. Various disciplines contribute to this endeavor. Local and transnational histories, the history and philosophy of science, science and technology studies, philosophy, and environmental humanities (including environmental history, ecocriticism, and other expressive modes) all have a part to play. Literature, poetry, and visual and performing arts are also essential components.

The environmental humanities aim to comprehend humanity's role as both a causal and moral agent in the ecological context. They focus on fundamental questions of value, responsibility, and purpose in the face of rapid change. Collaborations between the environmental humanities, scientific, and engineering disciplines offer opportunities for innovative methods and concepts to tackle environmental and social issues. Therefore, integrating history, literature, religious studies, and philosophy into locust work could greatly benefit the pursuit of effective solutions in environmental management.

Art

Throughout millennia, art has played a significant role in shaping our perceptions of locusts. From ancient paintings of locusts on Egyptian tombs dating back to the 11th century BC to 19th-century cartoons by U.S. illustrator Henry Worrall, and from surrealist masterpieces by Salvador Dali to modern musical performances, the artistic portrayal of locusts has left a lasting impact. Many entomologists were also artists, and their detailed work has contributed to our understanding and perceptions of the insect world. The 19th century introduced us to prominent taxonomic illustrators and engravers like Donovan, Curtis, and Westwood. Today, Daniel Otte continues the artistic tradition by illustrating and describing numerous Orthoptera species.

Locust detail from a hunt mural in the grave-chamber of Horemhab, Ancient Egypt, circa 1422–1411 BC

The first known representation of an insect was engraved on a bison bone discovered in the Trois-Frères cave in France during the Middle Magdalenian period (14,000—13,000 BC) This ancient artifact predates the development of agriculture and appears to depict a grasshopper. Its outbreaks could have provided a potential food source for local human populations —or, on the other hand, devastated natural yields.

Locusts and religion

Locusts have a significant presence in various ancient traditions, including Indigenous cultures , the Bible, the Quran, the Sanskrit epic poem "Mahabharata," and the ancient Iranian Zoroastrian Vendidad. Their presence is also documented in Egyptian hieroglyphs and ancient Chinese texts. Although clearly a threat to agriculture, locusts are not always depicted negatively as wrath from God or a cursed enemy. In Ptolemaic texts, the word 'locusts' was used to represent “the multitude” or “an infinite number of things” it was also used in ritual elixirs made to improve performance in battle .

In the Bible, locusts are frequently portrayed as symbols of divine punishment and devastation, especially in the Old Testament. They feature prominently in stories such as the ten plagues of Egypt recounted in Exodus, where they are sent as a punishment upon the land due to Pharaoh's refusal to free the Israelites from slavery (Exodus 10:3–6). The book of Joel also illustrates a severe locust invasion as a sign of God's judgment, urging people to repent to avoid further disaster. Furthermore, in the book of Revelation, there are descriptions of locust-like creatures emerging during the apocalypse, inflicting suffering on those without God's protection. Through these accounts, locusts serve as powerful symbols of the destructive force of natural calamities and as reminders of the consequences of disobedience to divine authority.

In addition to the biblical references to locusts as symbols of divine judgment, there is also mention of John the Baptist consuming locusts and wild honey in the New Testament. In the Gospel of Matthew 3:4, it describes John's ascetic lifestyle, wearing clothing made of camel's hair and subsisting on a diet of locusts and wild honey while preaching in the wilderness of Judea.

Side note about eating locusts in the Jewish tradition: In Leviticus 11:21-22, locusts are explicitly permitted for consumption among flying insects that have jointed legs for hopping on the ground. This inclusion is based on the specific criteria outlined in the Torah rather than any association with John the Baptist or his dietary habits. Therefore, the permissibility of consuming locusts in Jewish dietary laws predates John the Baptist and is based solely on the guidelines set forth in the Torah. Read more about edible insects and locusts as more than pests.

What the locust swarm has left
the great locusts have eaten;
what the great locusts have left
the young locusts have eaten;
what the young locusts have left
other locusts have eaten.
From: Joel 1:4

Locust temples in ancient China

Locust temples were built in ancient China, notably in the North China Plain, to confront the recurring problem of locust outbreaks. Around 1360 AD there is documentation of eight different "cults" that worshiped locusts and locust gods. 870 temples were built within the vicinity of walled cities over the centuries. These temples were dedicated to conducting rituals and ceremonies aimed at averting or lessening the devastation caused by locust invasions, which posed a significant threat to agricultural communities in the area. The rituals performed within these temples typically involved offerings and prayers to various deities or spirits believed to possess influence over locust behavior. These ceremonies were conducted at strategic times of the year when locust swarms were most anticipated, notably during the spring and summer months when locust populations surged due to breeding and migration. Moreover, these temples served as hubs for community organization and response during locust outbreaks. They facilitated the coordination of efforts to monitor locust movements, implement control measures such as burning or poisoning locusts, and allocate resources to affected regions.

Locusts in popular culture

In media and entertainment, insects, including locusts, have often been depicted as symbols for a range of thematic elements such as nature's retaliation, transformation, or the terror associated with mutated creatures symbolizing societal fears of outsiders. Nature documentaries frequently feature captivating sequences of swarming locusts, providing viewers with dramatic insights into the intricate and competitive ecological dynamics involving these insects. As a result, our complex relationship with locusts has been vividly depicted through storytelling and artistic expressions. Check out this video on how insects were used as a metaphor for larger cultural commentary in 1950s film in the United States.

Philosophy and ethics of managing locusts

Philosophy, particularly ethics, plays a crucial role in locust research and management. Moral responsibilities can be interpreted through various ethical lenses, including utilitarianism (prioritizing the greatest good for the greatest number), deontology (ensuring actions are consistent with respecting the rights of others), and virtue ethics (fostering human well-being and excellence). These frameworks raise essential questions, such as defining the "greatest good" in locust management and determining our obligations to future generations in locust-affected countries. However, Lockwood and Sardo point out that matters of justice require considerations beyond individual moral agents. Justice involves collective responsibilities that extend beyond individual obligations. Hence, addressing issues of justice in locust management might require broader constructs and perspectives.

Jeffery Lockwood, puts forward some fundamental questions: 1) Who bears the moral responsibility for addressing acute humanitarian crises during locust plagues and establishing long-term preventive measures? Possible agents encompass individuals, intergovernmental agencies, nation-states (both affected and providing assistance), government agencies, non-profits, scientific consortia, and private corporations. However, determining the moral duties of each of these entities and the reasons behind their responsibilities requires careful examination.

How should we distribute these responsibilities among the various agents, both during and between outbreaks? The analytical framework constructed by Lockwood and Sardo builds on principles of justice adapted from Miller. These principles include causal responsibility (identifying those who contributed to the harm), moral responsibility (assigning blame for the harm), capacity (assessing who can address and remedy the harm), and community (considering the relationships that entail obligations to remediate the harm).

While the social sciences provide a descriptive account of the involved agents and their proportionate responsibilities, philosophy addresses the normative concerns—what we ought to do regarding locust management and the pursuit of justice.

Transdisciplinary opportunities

The potential of the arts to convey scientific knowledge has been explored across various genres. While artistic expression can effectively communicate science, some say it is important to recognize that art goes beyond merely making science digestible. Artists possess a unique ability to perceive locusts in ways that can surprise and stimulate researchers and the public, making art a valuable partner to science. Art also serves as a powerful tool to grasp the role of emotions in our response to environmental issues, including those related to locusts. For example, Rachel Carson's "Silent Spring" captivated readers by using vivid imagery to address a complex subject, altering discourse on insecticides and advocating for change. Metaphorical structures provide a bridge from the humanities to science and pest management, influencing how we perceive locusts and our relationship with them. Metaphors aid in understanding unfamiliar concepts, like locusts, by likening them to familiar ones. Since World War I, terms for controlling locust populations have predominantly been influenced by military metaphors, portraying locusts as invasive adversaries. For example, we call locust outbreaks "invasions" and use terms like "control campaigns", "sieges", "frontline", and "combat", among others. Heroic narratives surrounding pesticide use have long been used to push corporate or imperial agendas.

Rather than viewing locusts as adversaries to be eradicated, collaboration with artists, psychologists, and social scientists can foster an understanding of their cultural history, environmental role, and vulnerability as living creatures. This perspective may shape alternative management decisions, moving away from reactive approaches and considering locusts as valuable insect resources. As different species respond to environmental changes, human perceptions and utilization of these resources may also undergo radical transformations, shaping the future outlook on locusts.

Read Edible insects and locusts as more than pests

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Organizations associated with arts and humanities

Organization	Acronym	Website	Type	Focus	Focus keywords	Geographic purview
	UBG	View URL	University	Development, Management, Research, Education	Agricultural development, Community development, Control, Arts and humanities, International development, Monitoring, Sustainable development, Training, Natural sciences	Senegal
	GLI	View URL	University	Research, Education, Information Hub	Sustainable development, Ecology, Nutrition, Social science, Natural sciences, Agriculture, Agroecology, Biology, Behavior, Biological control, Climate change, Education, Sustainability science, Geometric framework, Grazing, Governance, Food security, Arts and humanities, Land use management, Landscape ecology, Locusts, Migration, Phase polyphenism, Phenotypic plasticity, Soil science	United States of America, Senegal, Australia, China, Argentina, Bolivia, Paraguay, Uruguay, Mali
		View URL	University	Research	Arts and humanities	United Kingdom
		View URL	University	Education	Arts and humanities, Research