Category: Contexts

Welcome to our nostalgia

Witchcraft is a recurrent theme throughout Welcome to our Hillbrow. Looking over previous posts in the course blog, I stumbled upon this video from a 2015 post. I found it interesting because it does a quick summary of what witchcraft is like in a few countries of South Africa today. Laws are being passed according to witchcraft! The video is quite visual so beware, it’s not Halloween witches, rather real people exposed to insane violence because they’re believed to be witches.

In addition, I found this song called Hillbrow by Johannes Kerkorrel (1989) and although it’s not in English, the sound of the song says everything. Especially the cover by Elvis Blue. Jus by listening to it you’ll capture its nostalgic feel. It’s a sad song that seems to remember what once was. Somewhat like an elegy.

Welcome to our Hillbrow is a nostalgic novel. It’s everything our main character Refentse could have felt, said, done, thought, had he not committed suicide. Most chapters start with: “If you were still alive now, Refentse, child of Tiragalong and Hillbrow, you might finally…” Thus, there is an impotence that comes with the narration; Refentse could have gone through so many things, but he’s dead so it’s not possible anymore. In a sense, this impotence is the same impotence of Hillbrow. Had it not been devastated in the aftermaths of South African Apartheid, perhaps it’d have all the open possibilities that Refeltse would have had had he not committed suicide. Kerkorrel’s song, and Blue’s subsequent cover depict part of that impotence through the music.

I couldn’t find the translated song so I went with Google Translate, which is NOT GREAT, but sheds light on some of the song lyrics. For anyone who’s interested, here’s the translation (up to your interpretation):

Old man sitting at cafes,
And see all the people walking back and forth
Tramps rage at the Wimpy Bar
And Fontana is open until late in the evening
Barefoot children in the street, pointing to parking
And then keep the hand and then hold the hand
And hang up the hand? yes

Chorus One:
And give, give, give. Give, give, give
Your money, your dreams, your clothes full of holes
Give your heart to Hillbrow
Yes, give your heart to Hillbrow

In Quartz Street I hear? A girl called me,
There’s a Hare Krishna asking what I was looking
And I know Jesus? Ask? a man on the porch,
Between Hillbrow records and Estoril Books
And it’s long after midnight,
And send the Hillbrow Tower
She signals at night, its signal at night
His signal for the junkies waiting, O

Chorus One:
And give, give, give. Give, give, give
Your money, your dreams, your future full of holes
Give your heart to Hillbrow
Yes, give your heart to HillbrowEn the lights go on in the Chelsea Hotel,
And voices and music sound in every apartment.
We sat in the sun, drinking wine,
We survive with? a hell lot of pain in this country, so
Let’s drink to the one who survived his dreams,
On the one who gets what he wants, jaKoortjie:
And give, give, give. Give, give, give
Your money, your dreams, your future full of holes
Give your heart to Hillbrow
Yes, give your heart to Hillbrow
Come on, give your heart to Hillbrow

“Welcome to….”?__Augmenter’s post

“Welcome to our Hillbrow…welcome to our Alexandra… welcome to our Tiragalong in Johannesburg…welcome to our England…welcome to our Heaven”.

There are a number of things I find fascinatingly wrong with the above phrases. The most obvious of my issues is the very fact that I cannot decipher who the narrator is and what his/her relationship is to some form of constructed identity or structured community. By constantly welcoming foreigners to “our” stated communities, the narrator is implying the he/she is already a part of those communities. How is it possible to belong to Hillbrow, Alexandra, Tiragalong, England and heaven, all at the same time? I postulate that it might be because the narrator has a fluid sense of identity. ‘Identity’ for our narrator is not rooted in socially-constructed ideals of identity by descent (birth and breeding). But, identity as part of a community is rooted in one’s present spatio-temporal world. Essentially, as one moves, so does his or her relation to a community. It is unclear as to whether the narrator abandons his previous belongings to other communities by adapting to newer ones, but it is evident from my understanding of the novel that because change and movement are very dynamic, one’s form of identity should equally be dynamic.

The second issue with the above phrasings rests in the extents to which one is truly welcomed as part of a community. Throughout the book, Mpe creates strong tension between the foreigners and the locals- the Hillbrowans vs. the people from Johannesburg, the black South Africans vs. the black foreigners, the ‘Africans’ [excluding (white) South Africans] vs. the British, etc. So, even though it may seem like the foreigners are being welcomed with open arms, one cannot help but take this invitation with a grain of salt or some form of hesitation as the invitation might not be truly sincere.

Kushner resources

Consider this an augmenter’s post of my own: I wanted to organize some links to material I’ve used and written over many years of teaching Kushner’s play. For a decade before we both moved to Abu Dhabi, Cyrus Patell and I taught a course on the Square called Writing New York, for which we amassed a pretty substantial number of blog posts about Kushner and Angels. I’ve written a little about it elsewhere too. I hope some of this proves useful as you continue to wrap your heads around the play in a short amount of time this week. Here are a few of the highlights; if you have limited time, please pay closest attention to the first two items linked in the next paragraph.

For WNY I would deliver two lectures on the play, one situating it in a discussion of time/history/imagination (and thoughts on the play as a period piece set in the Reagan era) and one that highlights some of the cultural building blocks Kushner recycles in the play (Mormonism, Judaism, Marxism) by way of a discussion of the play’s several angels and angelic precedents. We’ll touch on some of that as we wrap up our discussion of the play. On the WNY course site, which is slightly inactive now that we’re no longer teaching our course, I’ve offered my thoughts about the play’s conclusion, in which Prior breaks the fourth wall and blesses his audience, and earlier I’d written about the ways in which the play recycles a number of stories and symbols, Central Park’s Bethesda Fountain among them. (Because that post has some links that are now dead, I had to post again on the prior use of Bethesda in Godspell.) Several years ago, a highlight of our course was a guided tour of Central Park at sunset (or a tour of the sunset with Central Park as a backdrop) with our favorite ex-NYC tour guide, Speed Levitch. I provided a more detailed account of that afternoon elsewhere. It’s only indirectly related to Kushner’s play, but still important if you want to think about the ways in which Central Park has long been contested public space, something Kushner’s certainly aware of when he selects Bethesda as the setting for his final scene. Here are a few links re: his use of Roy Cohn as a character. And here are some thoughts on the play’s place in the history of Broadway theater.

Cyrus has also offered thoughts on the play, which he has taught at NYUAD in his Cosmopolitan Imagination course. One year he supplemented my lectures with a few additional thoughts on Kushner’s use of New York City as a setting. But he’s written most extensively on the play’s engagement with cosmopolitanism (see this one, too, and this one).

Remember that you can always search “Angels in America” on this site and see what past Contagion courses have come up with: there’s a lot of great material from conveners and augmenters. And If you really want to get hardcore, here’s a live-tweet from the last time I lectured on this play at NYUNY in 2011:

If you’re really interested, here’s the archive of a live-tweet one of our TAs ran as I lectured in 2011, the last time we taught this course together.

Part 1:

  • Getting ready for today’s #wny11 part I of Kushner’s ANGELS IN AMERICA. Thinking abt community, identity, history, legacies of immigration. #
  • A guide to some of the Kushner-related material from our blog: http://bit.ly/atyPKY #wny11 #
  • @_waterman lecturing on Angels in America today #wny11 #
  • @lwarr because @cpatell is in Abu Dhabi today; @pwhny in good hands. #wny11 #
  • Transitioning from 70s to the 80s via Patti Smith–>Grace Jones for our lecture prelude #wny11#
  • Prior: Not a conventional woman. Belize: Grace Jones? #angels #wny11 #
  • This a pretty good history of gays in New York for anyone who’s interested http://t.co/c4QlqMI#wny11 #
  • Randy Shilts’ And the Band Played On is also a pretty good history of AIDS in New York and SF #wny11 #
  • Theatricality of everyday life: How do we understand performance? #wny11 #
  • Performance is also interesting when you think about tension between out and closeted gay characters. What is Roy Cohn performing? #wny11 #
  • AIDS epidemic is perfect dystopian moment for Kushner’s play. Confluence of personal and political choices and consequences #wny11 #
  • Play is also conscious of the rise political correctness and its relationship to identity #wny11 #
  • Ginsberg as a prophet figure for “Angels.” He needs to be the crazy poet yet wants to participate #wny11 #
  • What is the role of theater in mediating themes like history, identity, and community? #wny11 #
  • Watching HBO ‘Angels’ “Drag is a drag” dream sequence #wny11 #
  • Pay attention to the way Prior is always “performing:” drag, prophet, lines from movies. #wny11#
  • “Imagination can’t create anything new, can it?” Can it? #wny11 #
  • Think about how “contamination” works in ‘Angels’ as something toxic, inexorable, and revelatory #wny11 #
  • @ultramaricon True #wny11 #
  • Feather floating represents possibility in writing for creation of new stories #wny11 #
  • New York pre-dates San Francisco as a “gay city.” See previous tweet about “Gay Metropolis” #wny11 #
  • Appiah on Contamination: “conversations that occur across cultural boundaries” #wny11 #
  • ‘Angels’ as an Early 90s period piece that reflects a post-Reagan-Bush I anxiety #wny11 #
  • Reagan’s silence on AIDS lead to people referring to the epidemic as “Reagan’s Disease” in some circles #wny11 #
  • What would Olmsted have thought of Central Park as a site for anti-nuclear bomb activism? #wny11 #
  • Reagan’s “Star Wars” looks like the cheesiest video game ever #wny11 #
  • It’s easy to laugh at Reagan’s conflation of fantasy and reality, but Kushner does some interesting things by blurring that line #wny11 #
  • Reagan as performing masculinity in ‘Angels’ in the eyes of Joe and Roy Cohn #wny11 #
  • Relationship between gay activism and gay theater in the 1960s-1970s #wny11 #
  • Think about ‘Angels’ and the history of political theater (O’Neill) and meta-theatricality (Tyler and Doctorow) #wny11 #
  • RT @lwarr: @pwhny Mondale won my kindergarten class’s mock election in 1984. I cried when Reagan won the real election #wny11 #babynerd #
  • From the Reagan doc I used in #wny11 today: NYC as a set of symbols to be mobilized by all sides: http://www.youtube.com/watch?v=Z5wLsUl3vfk #
  • @ultramaricon Which is one reason I found the @NYTOpinionator piece on “Am Fam” to be puzzling. http://nyti.ms/hC9nS2 cc @epicharmus #wny11 #
  • RT @lwarr: @pwhny Part 1 of this Frontline series on AIDS documents the 80s and Reagan’s role in the disease http://to.pbs.org/gReEKS #wny11 #
  • @FlyingHubcap We certainly still live with its effects. #
  • @ThirteenNY @PBS Weds 10 pm RT @cityroom Documentary Celebrates Olmsted, a Creator of Central Park http://nyti.ms/gDdGTG #wny11 #
  • #wny07 #wny11 RT @CitySnapshots ANGELS IN AMERICA. SEE IT.http://tonicruthirds.com/2011/04/20/angels-in-america-must-see/ #
  • Just a NY conversation rattling round my head. RT @cire_e New York Stylehttp://www.pbs.org/speak/seatosea/americanvarieties/newyorkcity/ #
  • The full American Experience doc on Reagan:http://www.pbs.org/wgbh/amex/presidents/video/reagan_01_wm.html#v129 #wny11 #

Part 2:

  • Wrapping up ANGELS IN AMERICA in #wny11 today. #
  • @_waterman on Kushner’s ANGELS IN AMERICA: PERESTROIKA today. #wny11 #
  • Opening music: Talking Heads, 1978-79 “Thank you for Sending Me an Angel,” “Cities,” and “Heaven.” #wny11 #
  • @_waterman starting off with Linda Hutcheon’s idea of “historiographic metafiction.” #wny11 #
  • Kushner’s play asking: “Do we make history or are we made by it”? How are we conditioned by the stories we tell about the past? #wny11 #
  • Hutcheon’s book: A POETICS OF POSTMODERNISM http://amzn.to/gcgiYe #wny11 #
  • Showing clip from Mike Nichols’s adaptation: Roy, Joe, and Ethel. MILLENNIUM APPROACHES, Act 3, Scene 5. #wny11 #
  • @_waterman on pre- (building Zion) and post-millennialism (apocalypse). Play’s Harper is caught between the two. #wny11 #
  • Interesting account of post-millennialism by Stephanie Hendricks: http://amzn.to/hAs34y#wny11 #
  • @waterman on 4 differrent angels invoked by play. 1st: Angel of History from Walter Benjamin, “Theses on the Philosophy of History.” #wny11 #
  • See W. Benjamin, ILLUMINATIONS. http://amzn.to/e5nfqC Kushner has acknowledged his indebtedness to Benjamin. #wny11 #
  • 2nd Angel: Paul Klee, “Angelus Novus” – http://en.wikipedia.org/wiki/Angelus_Novus #wny11 #
  • Benjamin on Klee: “The storm irresistibly propels him into the future to which his back is turned …. ” #wny11 #
  • “… while the pile of debris before him grows skyward. This storm is what we call progress.” Benjamin’s idea of “messianic time.” #wny11 #
  • @_waterman Stonewall and AIDS in light of Benjamin: catastrophic moments, one liberating, the other …? #wny11 #
  • Kushner’s play struggles with Marxist teleology, because it wants (like its character Belize) liberal progress. #wny11 #
  • Actually Benjamin and Klee’s angels are counting as 1. Second is angel who wrestles with Jacob, who then receives new name. #wny11 #
  • Jacob’s wrestling: renaming, rebirth. For Joe, also a sign of painful progress, plus he finds it erotic. #wny11 #
  • @_waterman showing this version of the picture: http://bit.ly/if4WrH #wny11 #
  • Motif of shedding skin throughout ANGELS. #wny11 #
  • Question of Joe’s fate. Why is he excluded from cosmopolitan redemption at end? Has he committed some kind of “sin”? #wny11 #
  • NY Mag interview with Kushner from 2008: http://bit.ly/f3Ca91 #wny11 #
  • Play’s Third Angel: Kushner stitching together bits and pieces form America’s past – Angel Moroni from Mormonism. #wny11 #
  • @_waterman show this image of Angel Moroni appearing to Joseph Smith :http://bit.ly/g7DUdc #wny11 #
  • Mormon story as a rewriting of Christianity and also Judaism: a new Exodus. #wny11 #
  • @_waterman showing clip from HBO Angels of Harper in Mormon Center with diorama coming alive. Harper: “The magic of theater.” #wny11 #
  • Kushner and fallibilism: in what ways is ANGELS trying to learn from American traditions with which it disagrees? #wny11 #
  • 4th Angel: Bethesda Fountain. http://bit.ly/fUNynh #wny11 #
  • @_waterman showing the final scene from the HBO version. Lucky, the film exists, because now he doesn’t have to read the scene … #wny11 #
  • @_waterman Because the last time he read it in class, he broke into tears, remembering his reaction to seeing the scene on stage. #wny11 #
  • @_waterman Exit Music: Louis Armstrong and Ella Fitzgerald, “Cheek to Cheek.” Over and out. #wny11 #

Whew! That should keep even the most ardent Kushner fan busy for a while. See you soon.

Romney vs. Obama… Now Trump vs. Clinton

Kushner wrote the introduction the day before those U.S. Elections!

For all who skipped the introduction, here’s the most interesting thing: when Kushner wrote the introduction to his new edition of Angels in America, it was just the day before the Mitt Romney vs. Barrack Obama elections. I’m curious: if at the time Kushner thought, “today the edge is sharper than it’s ever been, and the two worlds it divides, one of light, one of darkness, seem respectively more brilliant and more abysmal…” what would he write today with Trump or Clinton being elected in less than a month?

ORPHÉE ET EURYDICE: Act III Duet

I’ve posted this in the past, but the version I used has been taken down. Here’s another version, though the subtitles are in Spanish instead of English. Perhaps you can piece it together if you’re not one of our resident hispanohablantes. Early in Part IV of Camus’s The Plague, Cottard and Tarrou head to the Municipal Opera House to see a performance of Gluck’s Orpheus. Here’s the duet mentioned in that scene, which we’ll read and discuss in class today. Here’s a little more about Gluck’s opera — a variation on “the underground rescue-mission [plot] in which the hero must control, or conceal, his emotions” — as well as some additional info about the story it tells. What can this set piece — and the additional stories it invokes — tell us about Camus’ larger narrative?

Everyday is like Sunday


[Originally posted in Feb. 2015]

I stumbled across this “pocket history” of the plague in London, 1348-1665, produced by the Museum of London, and the line “One eyewitness said that London became so quiet that every day was like a Sunday” made me think of Morrissey’s apocalyptic anthem from the start of my Cold War college years. Enjoy.

For Defoe-related material from previous years’ courses, see this convener’s post as well as one about the novel’s medical content — especially concerning competing beliefs about the plague’s origins. Also see this one about how to situate Defoe’s work in the history of the novel as a genre. If you browse back and forth around these posts you’ll find other useful content. Here’s a round-upwith links to some of the best additional posts on Defoe assembled over the last couple years.

Interview with Charles Burns & Black Hole Movie!

Hi guys!

For this post, I prepared two things: an interview with Charles Burns and a Black Hole Movie! 🙂

Did you know that Charles Burns is very interested in mutations? There were reasons why he was inspired by mutations. Also, remember that this comic book is quite rich with symbols? In this interview, Burns briefly talks about symbolism:

So it’s as symbolic as it is anything else.

Yeah. In Black Hole, there’s not one symptom of the Teen Plague. It’s very unique for each character. So, you have Chris – who is one of the main characters – who is literally slipping out of her skin like a snake. You know, when you are at that age you are trying to reinvent yourself, and you are trying to slip out of your life, and transform into something else.

There are more interesting questions and answers in this interview. Check it out!

Moreover, I found a video on this comic book! It’s quite short (11minutes). Try watching it! Video

Best,

Jenny 😀

Politics of Contagion

Hey guys!

I’m rather ashamed I’m putting up a post after the conveners have already done their job for the next book, but I promise I have been filling my weekend with constructive, sort-of-course-related activities! By this I mean I went to see “Every Last Child” this morning, the documentary that Professor Waterman told us was being screened for free this weekend. The documentary is about polio in Pakistan, and the struggle to immunize children and protect them amidst so much political distrust and violence. As we were exiting the theater, Abhi (who was with me) made an interesting remark: while people perceive India and Pakistan to be quite similar, the obstacles standing in the way of healthcare were very different.

For example, in Animal’s People the Khaufpuris of India struggle against a foreign “Kampani” that had poisoned them with its chemical factory. The blame doesn’t lie solely with the Kampani, but also with the corrupt government of Khaufpur, which is perfectly willing to make deals with the Kampani at the expense of its people. With the government continuously letting them down, and the Kampani refusing to clean up its factory that still poisons the town, it is of little surprise that the Khaufpuris mistrust the West. For this reason they turn down desperately needed offers of healthcare and medicine from Elli because she is associated with “Amrika.”

The Khaufpuris have someone to blame for the chemical contamination of their water and people, but in “Every Last Child” polio is a disease native to the land (or, rather, the water). The struggle is with the issue of vaccination, since the Taliban had imposed a ban on vaccination. As a result, polio workers were frequently attacked while on the job. Politician Imran Khan makes an appearance, when his party PTI decides to back a health campaign euphemistically called “Justice for Health,” since the mention of polio alienates many.

The entanglement of politics and healthcare is central to both Animal’s People and “Every Last Child,” yet they occur in different ways. The authorities in “Every Last Child” are eager to find a solution and immunize the children of Pakistan, but they are hindered by the Taliban. In addition, there are certain members of the population who fear anything related to the West, and find it odd that the same country sponsoring the immunization program to save their children is also the one dropping the drones that kill them. While there is a similar distrust of the West in Animal’s People, the political framework is very different and worth considering. Maybe I’m saying that as a result of observing how the recent tensions in Student Government have elicited various heated opinions. Yet politics dictates many of the characters’ ideals and behaviours and an analysis of the larger political climate might lead to some interesting discoveries about our characters.

Happy Reading (of Nemesis, sorry again about the lateness)!

Rosy.