In Tarzan and His Mate, 1934. Clara Henderson

As they dance, Martin looks intensely at Jane and remarks, “You know you’re a fascinating little savage,” then forcefully kisses her. She in part reciprocates, but on remembering Tarzan, she pulls away. “When Hearts Beat Like Native Drums:” Music and the Sexual Dimensions of the Notions of “Savage” and “Civilized” in Tarzan and His Mate, 1934. Clara Henderson

Since the advent of sound in fi lm, music has provided a vital counterpoint to the stunning visuals and electrifying action of Hollywood productions. Offering more than a tan- gential backdrop of auditory color, music plays a signifi cant role in creating and defi ning the images portrayed in fi lm. Though the part music plays in shaping these images is often overlooked, its powerful infl uence on the North American general public’s understanding of peoples, places, and ideas as they are constructed by Hollywood cannot be underesti- mated. Of the many Hollywood fi lms made about Africa, perhaps the Tarzan fi lms are some of the most pervasive in creating stereotyped notions of African peoples, geography, and social organization. An examination of the portrayal of Africa and Africans in one of the Tarzan fi lms provides a window into how music has been used to generate these stereotypes and calls into question the degree to which these (mis)conceptions, under the same or different guises, have survived into the twenty-fi rst century.

But you are more intemporate in your blood Than Venus, or those pamper’d animals That rage in savage sensuality —William Shakespeare, Much Ado about Nothing

The wild dance maddens in the van; and those Who lead it, ﬂ eet as shadows on the green, Outspeed the chariot, and without repose Mix with each other in tempestuous measure To savage music, wilder as it grows. —Percy Bysshe Shelley, The Triumph of Life

jungle “ lm, but but lm, belongs belongs lm pro- lm fi lm than than lm With the the With fi c Hollywood fi lms. lms. s characters use ’ on occasion they ” epic story of jungle jungle of story epic lm fi “ particularly per- as it Tarzan and His Mate His and Tarzan ” The promiseThe presented

savage, ” “ of an savage ” Tarzan and His Mate His and Tarzan “ was made was during the fi ne thesene notions. concepts The fi cations inherent in the the in inherent cations fi to differentiate between themselves and ” associates the African environment and irtatious interaction between a man and fl ” will be discussed through an examination of , and as North some American audiences might savage ” “ as they are portrayed in speci one ” associate with the term lm producers concentrated on either making either on musi- lm concentrated producers Tarzan, the handsome, strong King of the Apes and restored uncut version fi ” and and Tarzan and His Mate His and Tarzan “ “ ” civilized native drums lm that highlights action and dialogueand uses music fi “ lm lm “ lm, does music when appear contrast its to the action and fi civilized “ civilized “ and and civilized ” “ in which which in with with ” ” and and lms that focused on action and dialogue. Musical underscoring fi ” c scenesc that use the musical of singing, elements drumming, and The 1934 fi 1934 The The 1991 MGM/UA home video release home MGM/UA of 1991 The Against this backdrop of sexual innuendo the the innuendo sexual of backdrop this Against In this study I explore the sexual dimensions of these notions of Tarzan and His Mate His and Tarzan fi lm they discuss the merits of civilization and describe the behavior fi savage “ savage lm, lm, Introduction duction period immediately following the era of silent fi romance Jane, the beautiful sophisticated English girl, that prove social barriers disappear when heartsbeat like native drums. innovation of sound, sound, of innovation stillwas in early its stages of development. to that genre of is described as the cals or or cals sparingly and only strategic By at virtue moments. absenceits of for the the of majority dialogue is compelling and potency its to convey images and communicate through layers multiple of meaning is all the striking. more here of viewinghere additional controversial footage censored from the original picture highlights explicit a more sexual dimension to the terms the the 1934 releasethe 1934 allowed was Similarly, to display. the linkage of African instruments with the a woman. suggestion The that the jungle provides a setting in which love overcomes the social barriers betweenTarzan and Jane only not articulates strati social and consciousness class the also insinuates that the jungle is a context in is given which free love reign to conquer all obstacles in path. its all things African with which they come into contact. At certain points in in points certain At contact. into come they which with African things all the romance “ tains to sexual interaction between and men women. and accouterments necessary maintain to a degree of civility especially as these objects pertain to romantic Despite connotations the negative love. the as they also reveal an ambivalence to the notion of of notion the to an ambivalence also reveal fi European music is used to shape and de and shape to subsequently used perceive them. Of prime concern both is is the way African and music European of elements of race and clothing that will also be considered because of the the of because dancing to articulate considered qualities be of these terms. Featured prominently also within will that the musical framework of these scenes clothing are the nonmusical complementary and race of elements speci

africaTODAY 92 “WHEN HEARTS BEAT LIKE NATIVE DRUMS” africaTODAY 93 CLARA HENDERSON

” ” indo- “ depic- ’

savage ’ “ — uence. fl Civilized mental retarda- “ “ or not only served as a a as served only not ” ” and eighteenth- and nine- ” ” was a European was concept ” In the Oxford English dic- cruelty ” a developed or advanced state “ are generally considered by savage, savagery “ ” “ “ Savage (Pieterse 1992:31). assigned all to Africans in these “ ” ” into an over-arching concept used used concept over-arching an into European groups to the extent that that extent the to groups European ” ” savageness civilized. ned as ned “ “ s construction of the ideas of fi ’ civilized and their “ ” savage lm “ fi and and ” paganism, nakedness, cannibalism nakedness, paganism, developed and and “ — ” lm that articulate the European characters European the articulate that lm fi savage “ . savage “ As evidenced in their writings and actions, Europeans syndrome of savagery of syndrome rst century academic discourse. before Consequently, ” fi “ to the feminization of theAfrican continent and to the ” unbridled passions, “ The basicThe attitudes which arbitrarily relate these essentially qualities unrelated their their ” With respect to characteristics of the the of characteristics to respect With This transference of the notion of savagery to non-Europeans coin- non-Europeans to savagery of notion the of transference This As early as the Middle Ages, Ages, Middle the as early As civilized (Mudimbe tendency The of Europeans 1988:13). to group these and “ ” European of savagery notion exported, was along with ambiguities, its and gure in twenty- in gure writings, Hammon D. and comment: A. Jablow lence, other negative features under the rubric of tion to reinforce the belief that all of these existed elements in every African. the describing In teenth-century explorers and missionaries wrote Africans about of human society. ininvolved colonial expansion clearly saw themselves as coming from an advanced culture of civility and racial superiority and traveling to racially inferior peoples and untamed places that needed a civilizing in means of further distinguishing cultural differences between themselves and also savages, but expanded cided withcided the birth of colonial expansion and added racial a new dimension to the descriptions of not manynot savages of this description remained in Europe. As a result, the “ transferred to non-Europeans [so that] by the nineteenth century a was it routine concept in descriptions of Africa tionary the civilized condition is de The potent termsThe The Development of the NotionsThe Development of fundamental part they play in communicating and sexualizing the notions of savagery and civility. Finally, I investigate these the way musical and the link elements nonmusical and and compelling desire to venture some of forth and to plunder conquer her. tions of these is important it notions, to explore their origins within the European context in order to gain a better understanding of their use in Tarzan and His Mate used to create the distinction between cultivated (tame) and uncultivated (wild) land and behavior within a given European culture. By the sixteenth century uncultivated most land and peoples had been brought under sub- dominant, more by mission discussing scenes in the the in scenes discussing contemporary scholars to be outmoded and derogatory and as such do not not do such as and derogatory and outmoded be to scholars contemporary fi

” new anti- “ “ On one level On level one and the of the ” ” ” was transformed ” cial effects Euro- of fi were those were had who errors ” wild ” “ civilized. cation in the notion of of notion the in cation fi “ were those were untouched by ” in relation to a social evo- social a to relation in the the ” ” good savage correct “ muse of innovation, ” savagery “ “ raw savagesraw “ Because this interpretation reconnected the the ed in the unconscious with a cer- ne ” fi fi ” inner disposition common to both civilized and the “ ” in the a word, thesis of the Wild Manwithin one of admiration.one Artists like Gaugin, Matisse, — — nally progressed to civilization. the of end Toward (Pieterse 1992:39). fi ” noble savagenoble early twentieth century notions began of savage to take on “ ” uences. the At same time, in this milieu a similar hierarchy fl referred to all that is European and to all persons of European ” to the extent that wildness equaled the unconscious, and became savages and the desire to identify with them in his search for paradise lost some (a desire which once at casts to doubt upon transmit to trying is he civilization very the of merit the them). (quoted in Pieterse 1992:38) The savage . . . isThe identi tain image of the instincts. And civilized man is painfully divided between the desire to are those which assign all cultural differences to the single categorysavagery; of and trait one as distinguishes it a savage from a European becomes an index to the existence of other traits which are part of the syndrome (quoted in Mudimbe 1988:49) ” image of the instinctive. the of image “ Inspired perhaps by eighteenth century Rousseauan notions of the As contact with peoples savage and places increased during the colo- The association of savagery with positive elements deep within deep the elements positive with savagery of association The well-spring of inspiration, of well-spring “ noble savage, noble civilized “ quality new entirely an savages the pode of the bourgeois and Picasso drew artistic inspiration from non-European peoples and cultures traditionally thought of as Eventually savage. into a term and of honor avant-garde artists presented themselves as nial era, Europeans began to de European unconscious with coupled the assumed bene pean colonization eventually rise gave to strati civilizing in civilizing the nineteenth century, this evolutionary approach developed into the the into developed approach evolutionary this century, nineteenth the belief that savagery an was lutionary scale that began with primitivism,savagery to moved and then on to barbarism, and and primitive humanity “ descent. On another Europeans level in Africa made a point of distinguish- (Pieterse 1992:37). This understanding in led turn to the of savagery notion an as European rise a to gave it through unconscious, Europeans the savage the to attitude of ambivalence towards the Commenting savage. on this ambivalence in European writings Africa, about psychiatrist Dominic Mannoni observes: of notion the within pronounced more became savagery. The The savagery. been colonized, while what I term

africaTODAY 94 “WHEN HEARTS BEAT LIKE NATIVE DRUMS” africaTODAY 95 CLARA HENDERSON

” civi- “ as they they as paradise ” “ civilized “ lmmakers lmmakers fi lm forward. forward. lm fi and and the the (see Dunn 1996: Dunn (see ” ” civilized ” “ s African characters ’ self other “ lm obscures and com- and obscures lm savage “ and and fi lm “ fi ” savage “ In fact, rather than clarifying distinctions ” state of humanity and notions of nement. the dialogue and interaction betweenthe fi ” the European charactersclearly what abhor savage. “ natural lms of this genre, the simultaneous attraction and “ fi 34) – perceptions of the notions of lm thus comments on the notions of of notions the on comments thus lm ’ fi s European characters rather than commenting on these notions notions these on commenting than rather characters European s Tarzan and His Mate His and Tarzan Images of Africa and of blacks in western cultures must be be must cultures western in blacks of and Africa of Images interpreted primarily in terms of what they say about those cultures what not they say about Africa or blacks. is It not that they convey do any not information regarding Africa or blacks, that but this information is one-sided and perverse. (1992, 232 Tarzan and His Mate His and Tarzan ’ and others as the In In In In evoke within evoke the European characters a peculiar fascination. As we ” lm ” fi ing between group one Europeans of as commoners and another group of Europeans as the upper class or aristocrats represent who the height of civilized sophistication and re they consider to be the barbaric qualities and violent associated with raw savagery as embodied in African warriors and the inhospitable nature of the African environment. On the other hand, those of savagery, elements which conjure up the plicates them by internalizing them within the European characters. As a a As characters. European the within them internalizing by them plicates result, in attempting to portray the as savage the are actually indirectly projecting images from the lized between the notions and of savage civilized, the repulsion the European characters express toward the of savagery notion theblur boundaries they constructed have between themselves as the European characters combined with their responses to Africans and the the and Africans to responses their and with savage of combined levels varied these characters fore the to brings European environment, African other Like civilized. relate to gender within themselves and within the African landscape. Placed within varied African and European musical frames strategic at points in African the story, and European expressions of of the elements race, clothing, singing, drumming, and dancing serve to foreground these sexual dimensions. In doing so these articulate elements the European characters lost, shall is see, the nowhere appeal of these aspects of savagery apparent more than in the implied sexual relationship between Tarzan and Jane and in the sexual tensions between Jane and the other European and men, between the European and men the feminized African continent. Heightened by the inferred liberation to freely express sensual emotions within the context of the jungle, savage these tensions wind their in like way and of the plot out a tropical vine, intensifying the interactions and propelling the 150). The as they exist within European cultures and as seen through the eyes of of eyes the through seen as and cultures European within exist they as the experience them. As Jan Nederveen Pieterse writes: as they exist within African societies and as the the as and societies African within exist they as erce fi to use s arms. ’ — Harryrst story. fi s fatherdies. Harry, who ’ lm is considered he their friend after he fi Jane Parker comes from England to Africa takes place year one after the ed as cannibals, pursue who them and kill some fi nd thend mysterious elephant graveyard the where s actions, leave thems actions, to carry leave on alone. When Harry fi ’ Tarzan and His Mate Tarzan their Janend and party the ivory, consists of numerous rst encounters Tarzan they treat him as an and enemy fi fi lm, receiving advances from all of European men descent fi Tarzan the Ape Man lm lm fi Tarzan and His Mate His and Tarzan A misunderstanding between develops the four of them Tarzan when try to kill him. the At of theend saves them from a group dwarves. violent of Jane Plot SummaryPlot of the In to accompany father her and Harry in their Holt pursuit of ivory treasure. When their party has fallen with in Jane, love returns to civilization the without ivory or the girl,and has Jane, who fallen in with love Tarzan, stays behind with him in the jungle. woman- impoverished recently his by joined is Africa and to returned has izing friend Martin Arlington. are They a two-fold on mission As they to set out African porters by a foreman, led Saidi, is the who liaison between the Europeans and Africans. Their journey requires them to cross the tow- ering,sacred Mutia escarpment, which strikes fear in Africans because they consider territory.forbidden On it their they encounter way Tarzan to help them them help to Tarzan ivory treasure still lies, and with various objects representative of sophisti- to civilization Jane back to woo cated and into society, Harry back of their porters. Then, as they approach the top of the Mutia, giant hairy apes attack them. Announcing their arrival with their signature yodeling calls, Tarzan and Jane, accompanied by their sidekick Cheetah, appear apes the of in control obviously is Tarzan group. the rescue to in time just and asserts his authority them over so that the party can proceed and he and Jane can accompany them on their Ordering journey. him around in a friendly manner, Jane is clearly in charge of the monosyllabic Tarzan comes to interacting it when with European her friends and making plans for the journey to the graveyard. Harry is still overtly smitten by Jane, and Martin too is immediately then attracted She becomes to her. the center of attention in the refuses to lead Martin and Harry to the secret location of the elephant graveyard because his dead elephant friends are there. Having just learned from Harry that elephants go to the graveyard to die, Martin shoots and can graveyard. the Tarzan to an them andwounds it Jane, so lead elephant Martin with disgusted African warriors, identi as they to lure attempt into her various romantic entanglements. alas, But all calculated attempts from to woo Jane away Tarzan and back to Harry, or to Martin, or to civilization, fail. makes She clear it that belongs she to Tarzan and that will she stay in the jungle with him Romantic forever. scenes depicting the happiness of Tarzan and Jane in their jungle paradise are interspersed with action-packed scenes of Tarzan, armed only with his knife, rescuing Jane from crocodiles, lions, leopards, and rhinos.

africaTODAY 96 “WHEN HEARTS BEAT LIKE NATIVE DRUMS” africaTODAY 97 CLARA HENDERSON has a impres- ’ lms made lms fi ed as the men- the as ed fi It is an unpublished an unpublished is It ectiveof fl is re is Tarzan and His Mate His and Tarzan in and forbidden music either was ” ” devil Tarzan the Ape Man. “ written by George Richelavie and arranged lms of this era, ” fi always. “ Tarzan and His Mate His and Tarzan the elephantnd graveyard, Tarzan andJane arrive fi shing and Martin shoots him, telling the others that fi s precursor, ’ lm, the song alludes to the Europeancomposers lm fi fi Voodoo Dance, “ lm forward. only The European-composed is found music at fi s beginning and end, and all other is source music that music is ’ The tritoneThe has an interesting history in European classical music. lm fi during of sound the advent productions in which is used music sparingly because action and dialogue thought were to provide enough impetus to carry the Main Title Music and End Music Credit As previously, mentioned and Martin eventually with of elephants a herd in an to thwart attempt their plan. Martin then claims that has he changed his mind taking about Early the the next ivory. morning Tarzan goes who-eat-lions. These warriors enlist a large pride of lions in their assault on the group. In the furor that Harry, follows, Martin, and Saidi are killed along with all of the African porters. During the battle Cheetah fetches Tarzan to come and Jane. save Tarzan arrives and rescues Jane with his herd of elephants that in turn annihilate the lions.off into the Finally, sunset on the back of an elephant proclaiming Tarzan their once more and Jane ride undying for each love other he saw Tarzanhe being eaten by a crocodile. Meanwhile Tarzan is rescued by a hippo and is nursedhealth back to by his ape family. Believing Tarzan is dead, a despondent Jane resigns herself to returning to civilization with Harry and Martin to take decide who the ivory after all. On their they way are attacked by another group of African warriors identi allegedly African. Like many entitled piece Beginning from medieval times the tritone has been considered unstable and rejected was as an offensive consonance. Because divides it the octave perfectly in half has it also assumed of the the ambiguous most role interval. tritoneThe has been called the the the theme song that plays during the main title credits. This theme song was also used in the by Fritz Stahlberg Marquandt and P.A. Because (Mergetel n.d. (a):1). sets it the stage for the sions of Africans and theAfrican landscape. An examination style of its and unconventional harmonies suggests these are how elements used to a mood of disorientationevoke and chaos. One contributing factor to this mood is the relationship between three sustained notes that form the foun- dation of the piece: a high the tritone tone, interval and note a low it, below an octave the below initial European some To ears, note. the use of the tri- intervaltone as the focus of the song could the have effect of obstructing a sense of a tonic which, center in or home turn, has the potential to convey a sense of restlessness. or subject to strict limitations until the early part of the twentieth century. rhythm. s compos- ” ’ a savage landa savage lm fi — s title music it is it s title music ’ lms as well. The fi lm both associated with with associated both fi — serve to further reinforce the asso- — utes, squawking oboes, and swelling fl and was written by Dr. William Axt for for Axt William Dr. by written was and lm ” fi THUMP-thump-thump-thump lmed a year earlier It (Mergetel n.d. (a):1). fi “ , the tritone forms the basic melodic pattern over in the the in ” ” Eskimo ” My Tender One ect that the love Tarzan and Jane have for each The other. fl “ ecting these amorous convictions through conventional its fl superstition savagery. “ “ Voodoo Dance Re “ ” lm as being man one and woman one are who true to each other fi and and In In In stark contrast to the main the is title music, end music a European- ” juju always. nal reminder to the viewers that Tarzan and Jane chosen have their to live ends but nds resolution on a sustained no tritone that leaves the listener ominous or evil (New Grove 1980:155). Because they were writing in the In the nineteenth-century in writing were Romantic opera the tritone they regularly portrayed Because the 1980:155). Grove (New evil or ominous early partthe of twentieth century might we presume the harmonies and lack of dissonance, this short passage serves of music as a is love true their that fi there is it because jungle savage the in together life given free reign to express itself. ers familiar were with the portentous nature of the tritone in European classical whether they and however, music opera. is impossible It to know, consciously used the tritone in their composition because of their knowledge history of its because or simply aural its qualities created theeffect they desired. Nevertheless, in an examination of the was usedwas for the endings of the three successive Tarzan “ music is verymusic short and seems to begin in the middle of a song, creating the impression of the climactic ending of a refrain. is rendered It by violins withplayed exaggerated and swelling tremolo, brass and horns that rise to sustain a deeply satisfying musical sigh as Tarzan and Jane ride off into the depicted is love Civilized monogamous an elephant. of back the on sunset the in worth remembering the stigma surrounding the tritone interval, keeping inmind auditory its history and the subliminal possible effects quali- its ties could have in conveying unappealing images of Africa to the musical audiences that at time andeven today. which other short bursts are of melody layered. Horns begin outlining the tritone dissonance playing by slowly speed The each separately. note is as then an doubled overpowering timpani drum is added, providing a underlying,steady, four-beat As the intensity builds, trilling trilling builds, intensity the As trombones are added, playing as if independent of each music The other. fi suspended. dissonant The frenzy of the piece combined with the centrality of the tritone could be interpreted as creating the impression of Africa is an ominous adventure, place of mystery, danger, and chaos without a unifyingSimilarly, center. the prominence of the drum and the thatnotion is the depicting music an African dance “ composed orchestral piece written in the familiar Hollywood style of that era. sweet With its harmonies evoking romantic sentiments, is presum- it meant to re ably entitled is song ciation of drumming of the elements and dancing unbridled with the raw, aspects of the MGM production

africaTODAY 98 “WHEN HEARTS BEAT LIKE NATIVE DRUMS” africaTODAY 99 CLARA HENDERSON s ’ (1997). s yell with ’ lm and a number sounding the same sounding same the s yowl played back- s yowl fi ’ — s call and electronically explorers [told] of savage savage of [told] explorers ’ “ George of the Jungle the of George s yodel that maintained was ’ environments. At the same time, time, same the At environments. (Densmore 1915:194). As with the the with As 1915:194). (Densmore ” ” cant his about call is theassociation fi English setting illustrates that fun- its ” s call often announces his arrival so that ’ savage “ Greystoke, the Legend of Tarzan Lord of the s call with primordial notions of the jungle is ’ lm; uses he to call it on his elephant friends to civilized fi “ interval, commenting that ” s trademark call is the subject among of debate Tarzan ’ s bleat, the pluck of a violin the pluck s bleat, G string and an opera singer ’ s dominance African over animals and his over jungle ter- ’ haunting “ On close analysis, the Tarzan yell starts from a tonic, rests on a (1983). On the other hand, Tarzan was it What is evident from these two examples is that whether the Tarzan nar- wards, a camel enhanced with it a variety of effects, including a hyena presence before his physical appearance is able to dominate. He uses his primalof its scream quality his with notions of the to express savage not uses He only Tarzan dominate. to able is rain, also but his Tarzan sorrow. appearance physical the viewers hear him his is before seen. he establishes It his overpowering before presence yodel to call off the giant apes attack who Martin, Harry, and their party theat beginning of the help himhelp rescue Jane; is wrestling uses he he when it lions and crocodiles; he uses it to alert Jane that he is coming to her rescue; and he uses it to express his great sorrow after burying Cheetah. call The does seem not out of place within jungle its setting, imagining yet be would deemed it how a within inappropriate high C, all timed a split second apart. experiments Computer conducted by Samuel Marx a later date at illustrate that the yell indeed was electronically enhanced and that actually was it palindromic notions the of What savage. is signi in of the one latest comic spinoffs of the story, minor third, and returns to the tonic. is interesting It that to note some interpretations of the aural effects of the minor third connect with it anthropologist Insavagery. 1915 Frances Densmore described the minor third as a forwards as backwards (Potter n.d.:3) (Mergetel n.d. (c):3). with is damental association of notions up conjure that savagery of aspects those to Tarzan connects it uninhibited expression. For contemporary dramatic North American audiences, a recent most the further of association one of Tarzan in retained is demonstrated in call that the yodel is abandoned the gut-wrenching, but the primal of quality scream depictions the of Tarzan epic, Apes tribes sing who onlythe minor third stigma surrounding the tritone, is impossible it to know whether or not the composers consciously used the minor third to link Tarzan of its sequels,of its claimed invented to have the Tarzan yell, saying was he a champion yodeller as a child. Other reports indicate that MGM sound technician Douglas Shearer recorded Weissmuller The Yodelling Calls of Tarzan and Jane Calls of Tarzan The Yodelling signatureThe yodelling calls of Tarzan and Jane may also be interpreted civilized. and The savage of notions the of portrayingas different elements Tarzan sourceof fans. Johnny plays Tarzan who Weissmuller, in this were eshes eshes fl rst call fi lm lm rst, resting resting rst, fi fi it is unlikely , s critique of the lm when music music when lm ’ fi yodelling with Tarzan Tarzan with yodelling ” Tarzan and His Mate His and Tarzan notions of Africa that they are are they that Africa of notions c African of expression. style ’ fi African “ s yodelling call is operatic in its its in operatic is call yodelling s ’ lm as in others, Africans are portrayed fi Africans provide a wild and strange ambi- s call, Jane ’ s yell on a speci ’ perhaps linking with aspects it some of the music lm, in this — fi and is expressed it in two different The ways. — lm and serve as a backdrop that into blends the mysterious fi s characters, distinguishing between African and European con- Tarzan and His Mate His and Tarzan ’ Furthermore, as to the yodelling qualities the of call In contrast to Tarzan to contrast In In In es that too she has entered the uninhibited realm of the and savage fi lm fi cognizant of the prominencethe of yodel in the singing of groups style like the BaAka of the Central African rainforest, and consequently did not Tarzan base consciously The Element of Race An examination of issues of race as they are portrayed in the that during the early 1930s the composers of of composers the 1930s early the during that of the notions and elements of savage out civilized as they are embodied in the of the civilized rative is portrayedrative through drama kind some of powerful comedy, or call is necessary signifying for Tarzan and for linking him with his primitive environment and his dominion it. over vibrato and brightness In a similar vein, because awareness of the Tarzan yodel is so pervasive that say safe American to North is in popular contemporary it culture, with than yodel Tarzan the with familiar more are audiences modern most BaAka singing. irony The lies here in the fact that Hollywood has so pro- audiences contemporary impacted foundly BaAka. the with than rests on the tonic, the major third, and then the tonic. uses She this call to announce arrival her and to attract the attention of others is she when innot Her trouble. second call is quicker and shorter than the more likelymore to associate the concept of on the tonic, the minor third, and then the tonic. This is the call uses she is she inwhen distress and needs Tarzan to comeand rescue from her some predicament involving wild animals.That Jane has developed own her call signi has learned form one of communication within that domain. With respect to the romantic relationship between Tarzan and Jane, their calls only not tie them to the primal savage, the of jungle elements and the domination of their environment, also but signify bond of communication a private between them andthe lack of inhibition they share with another. one ance to the the to ance portrayal of Africa in jungle terrain. In line with Nigerian J. Koyinde Vaughan Koyinde J. Nigerian with line In terrain. jungle provides a backdrop to the dialogue and subsequently colors the quality of interaction. the cepts of savagery and civility andlaying thefoundation for the exploration of the sexual dimensions of these terms. majority The of the scenes dis- occur in the during below cussed sparse those moments

africaTODAY 100 “WHEN HEARTS BEAT LIKE NATIVE DRUMS” africaTODAY 101 CLARA HENDERSON lms lms link link fi ’ exotic exotic “ Martin Martin as noise- as ” “ in which which in ’ strange ritu- “ natives, Those who live in ‘ ” uenced by civilizing ve carriedve pounds 150 ’ fl (1931) whose producers whose also (1931) lazy, slow andlazy, slow superstitious who engage who in connection with superstition superstition with connection “ ’ ” ciently ciently in fi (1960:85) (see also Ukadike 1994: ” s equivalent is described Renchero as ’ The raw savages raw are The characterized as lm depicts two of savages levels dis- colonized savages. colonized fi ” “ re right. could He ’ Trader Horn (Schayer 1929:2). This prototype African drums or on sighting the sacred Mutia. In ” ” , Saidi lm lm fi A whip would have done justas well. juju “ “ The African The landscape then provides the ” raw savages.raw Perhaps you “ lm are portrayed not as individuals rather as but a “ fi always just behind the main character following following main character the behind just always ” who must be periodically whipped into action (see Dunn 1996: Dunn (see action into whipped periodically be must who While the drumming acts here as a reminder of the porters Tarzan and His Mate His and Tarzan “ ” Saidi, portrayed by African-American actor Nathan Curry, is the As explained the previously, savage tribessavage behind inaccessible forests “ a huge black a huge servant/bodyguard for the European adventurer is found in many oversaw shadow a as unobtrusive as less, “ of ivory. stereotypical strong, silent, unintelligent, loyal servant eventually who gives his life for Harry and Martin. He is the good proves to who savage Harry and Martin that has he been suf to the ominous nature the drums of savagery, also plays a part in dehumanizing Africans and contributes to a portrayal of them as expendable beasts of burden valued for their ability to transportivory treasure. is Their only loss regrettable mer- in much relation to how chandise they could have carried had they lived. factors because does he fall not to the ground screaming in fear like the other porters upon hearing the screenplay for the MGM answers with regret, monosyllabic utterances, actually more articulate than those spoken by by spoken those than articulate more heathen actually only The African159). speaks who is Saidi, the foreman of the porters utterances, is a liaisonwho between them and the European characters. His simple monosyllabic Tarzan, interpret to Harry and Martin the thoughts and actions of the porters and other Africans. In turn, Saidi commands the porters to carry out the instructions of Harry and Martin, whipping is them ordered he when Allto do so. the porters except Saidi are considered expendable. one At point a porter when refuses to continue the journey because of his fear of the Mutia escarpment, as distant drumming signals the dangers that lie ahead, Martin shoots him as an example to others might who rebel. Harry reprimands Martin, saying, 16). Africans in the the the inhabitants play a negligible in role Africans 16). the jungle and little have contact with Europeans except war to wage on them are as depicted cannibalsviolent or lion eaters prime whose activity is attacking others. colonizedThe savages are characterized as homogeneous grouphomogeneous that is unintelligent, superstitious, and expendable. Similarly, Africa is depictedgreat treasures as ripe a for plundering. dangerous, inhospitable placethat harbors tinguished only by those among been have them who colonized and those Africans have not. who serve who as porters and servants to the European characters fall under rubric the of backcloth, a reservoir wild of animals andpainted as as als a thousand years old.

t s ” ” ’ ’ lm lm fi and and ” s com- and is ’ savage, ” “ ed native fi s defense of ’ Trader Horn s dismissal of ’ civilized “ civilized when Martin and “ The African The sing- So your lady turned lady your So ” “ s a bit fantastics a bit isn t. happy. . . . He was ’ ’ s father ’ to Kanuthia, the servant s servant, within the Afri- ’ ers of the of notion fi to which she replies defensively, to which replies she defensively, rst arrives in Africa Jane tells her (1985). ” fi s whiteness, which serves to elevate ’ Tarzan and His Mate His and Tarzan ers of the of notion fi s as white as are. we ’ , especially in reference to Tarzan. is a direct result of the early transference of Tarzan and His Mate His and Tarzan Tarzan ” Out of Africa of Out s not likes not us, “ ’ m through with civilization. I am going to be a of the main character main the of ’ nds herself inexplicably drawn to them as they are He fi “ Apart from prophesying Jane seems destiny, her to be (1932). When she (1932). x Tarzan in the realm of the Jane savage, savage becomes of the signi one ” fi “ ” I thought wasn he but a savage, was he blackness ning aspects of civilization. has She to the come jungle to Here Jane equates savagery with something undesirable, the the undesirable, something with savagery equates Jane Here “ black fi ” “ Harry retorts, Tarzan and His Mate ” From on I now becomes the of signi one “ ” As opposed to the labelingall of Africans as becausesavage of their As indicated by the emphasis that the screenplay of of screenplay the that emphasis the by indicated As Likewise, in an early scene in s white. ’ He white ed in Tarzan and she Tarzan the Ape Man to Tarzan who is of European descent, it is the whiteness of these char- these of whiteness the is it descent, European Europeans to or are directly related savagery of elements of when blackness, is who Tarzan to acters that obscures the distinctions normally made between and savage civilized. As a result, an ambiguity in European attitudes toward savagery arises. ambivalence The this ambiguity fosters is illustratedby Jane non-Europeans as equated with all things European. This distinction between black and pertainswhite as it to the notions and of savage civilized factors prominently in initial on her ments encounters with Africa and with Tarzan in the the notion of savagery from European to non-European“ domains. Similarly whichis equated with all things African. This overt racial dimension to the distinctions Europeans make between themselves as can context places on the about Africaabout from Saidi in of Denys Finch-Hatton in father, father, savage just like you. like just savage calling forth an alleged of the notion that positive savage implies liberation from the con Her father responds, be free. Later on after abduction her and release by Tarzan, comments she father, to her Tarzan is an effort to justify attraction her to him by linking him to the civilized through his race. savagery Thus, that is normally associated with blackness is annihilated by Tarzan him from the baseness savagery of raw to the realm In of civility. Jane downyou for a sort of wild man from Borneo, It eh? A well-bredit? English girl living in the tree tops with a glori ape-man. “ Tarzan attempts to state of unhappiness. On the other hand, while Jane eyes the qualities positive as of savage they relate to Europeans are personi- fi embodied in him and his jungle environment. Harry discuss the relationship of Tarzan and Jane amid a backdrop of Afri- can singing and dancing, Martin comments to Harry, ing, dancing, and drumming that provide the backdrop for this scene once

africaTODAY 102 “WHEN HEARTS BEAT LIKE NATIVE DRUMS” africaTODAY 103 CLARA HENDERSON

” ve ’ Real with with real, “ “ “ Look at at Look Martin Martin “ ” re, Harry re, til they til fi ‘ ” Well, at least at the are men Well, civi- “ s your civilization for you. ’ s whiteness and therefore his connection ’ Does that make them any better? any them make that Does s character domainto one or the By other. ’ “ re once again serves as a reminder of the con- s remarks grouping Borneo with Africa. By con- fi ’ Martin chimes in: in: chimes Martin ” s reputation. suggestion The that Janehad taken up ’ ne Tarzan Martin throws his away cigarette and Cheetah picks fi ” as they listened to music. Jane ponders his comment: his comment: ponders Jane music. to listened they as ” men. Instead turns she their comments around and questions ” For women. Men never get a proper Men never For women. sense of values “ singing is unappealing and the same at time questioning their ’ Jane challenges him: him: challenges Jane In this scene, the contrasting backdrop of the African porters singing During a scene in which the African porters are singing in the back- Another feature of the racial dimensions of savagery in this scene is ” civilized been a bit. about it up andit begins smoking Jane it. laughs and points Cheetah: to Cheetah (she laughs again). There stant presence of the environment savage and peoples while the characters discuss notions of civility. Here they make distinctions between the two of civilized.levels Martin and Harry already have established that Tarzan is connected to civility through his whiteness.certainly allied not However, to the British upper class, and is this in it class their distinction eyes he is that Harry and Martin use to try to entice Jane to change mind her about that realizes she if that assume They Tarzan. with jungle the in staying Tarzan has as a lover negligible links to civility and in reality better is no than will she a commoner, to return want to a place there where are around their own camp of upper-class notion the whole using civility, Cheetah as a foil to make civilizedsome habits such as smoking appear ludicrous. “ replies: ground while the European characters are sitting around a camp features that distinguish them from others deemed to dwell within the the within dwell to deemed others from them necting these two geographical areas and their peoples, Martin illustrates distinguish the Europeanhow characters see do not Africans that as having any individual features of notion the homogenize characters European the Instead realm. savage savagery to encompass different groups of non-European peoples. also revealed in Martin in revealed also againfunction as a constant reminder to Martin and Harry the of savage character of the humans and landscape that surround them, and present an aural contrast to their struggle to articulate the qualitiescivility of as they strive to con linking Tarzan to European civility through his whiteness, Harry is actually defending Jane witha person connected which is racially to savagery, linked to blackness, bordered on miscegenation Harry only or worse. The way could dispel that notion was to emphasize Tarzan to civilization. and Martin are trying to entice Jane back to civilization. Harry reminisces days the goodabout in old an aristocratic Implying London club. that the porters humanity, Harry remembers times they when used the club at sit to real people . . . people . . . I wonder lized. rst rst fi s quarters ’ cant role in shaping shaping in role cant fi lmmakers understand understand lmmakers s release. Clothing also also Clothing release. s fi ’ theaps front at and back fl lm. In the opening scene, fi lm fi s luggage enter the room wear- ’ nd ivory. Harry ivory. nd is teasing Martin fi lm because Harry and Martin use to it fi er of the sexual dimensions of the notions of savage fi lm released was to the general the public, Hays/Breen fi lm than more in any other of the Tarzan series, nudity and fi s room, Africans wearing elaborate feathers and singing and danc- ’ Before the the Before Nudity is displayed in two scenes in the In this this In lm and that African female breasts and exposed African male hips lm bringsto the fore those aspects of savagery and civility that high- fi fi censors swimming the cut nude scene as well as that section of the scene in which Martin is lowering his body nude into the They bathtub. also a segment cut in which Jane surfaces from the swimming scene and breasts of her one is exposed (Mergetel n.d. (b):4; fact that The Creed 1987:3). European female breasts and exposed European male hips from cut were the illustrates cut not were that the censors thought African nudity harm- was less and European nudity sexual. was Because Africans portrayed not were as individuals, African nudity involving both sexes within the same scene The Element of Clothing As with the issues concerning race, a discussion clothing of how is used in the that the sides leave of their hips exposed. In a later scene Jane plunges into swimming to go the water with Tarzan and playfully he rips off evening her gown as she jumps. An eight-minutewhich naked Jane is completely as and she Tarzan explore the depths and underwaterballet sequencechase in each other circles. follows in ing only a small covering the below waist with discussing their impending journey to theabout affair Martin has had with a French woman on the boat. As they bare-breastedmake their way, African and women African wearing men only small pieces of cloth around their waists are pictured both in the foreground and the background. Shortly thereafter, as Martin takes a bath Harry in ing in the distance are visible through When the Martin window. lowers himself into the bathtub the bare of his side hip is seen. Meanwhile, in the foreground African porters carrying Martin them. and civilized as the European characters and the against a backdrop of manualhas just arrived laborers and and he Harry walk from the dock to Harry singing as they unload cargo, Martin quently, as a complement to the music in this scene, clothing becomes a a plays an important in role the becomes clothing scene, try from to woo Jane away Tarzan and the this jungle. becomes It the in symbol Conse- characters. European music the to the civilization of to best the represents that complement a as quently, striking visual signi light their sexual dimensions. majority The of the scenes discussed occur during those in moments which playsa signi music these notions and as works an clothing aural to the way complement visu- ally embodies them. the degree to which clothing covers European and African male and female bodies created controversy the time at of the

africaTODAY 104 “WHEN HEARTS BEAT LIKE NATIVE DRUMS” africaTODAY 105 CLARA HENDERSON s ’ sex sex “ built lm cally cally t she fi “ fi fi ts worn worn ts fi a face that on on ” ” S “ ts, in the fi s prayer for a caves prayer (Haskell quoted in in quoted (Haskell ’ ” aps at theaps front at and Thornton Delehanty fl saying he was was he saying ” John writing S. Cohen, (quoted in 1967: Fenton ” article providing a retro- ” cently proportioned body, body, proportioned cently fi s costume are clearly articu- ’ s funny. We were unreal unreal were We funny. s ’ s career upon death her recounts movie maiden ’ “ his magni “ s release among North American view- ’ Sullivan ’ lm and and fi New York Evening Post New York ” Times Herald-Record g-leaf-and-bough-man, fi sensual, animalistic, and good-looking, and animalistic, sensual, , called him the “ (quoted in Fury n.d.:6). Producer Lesser Sol described ” perfection “ t have to have ray guns or run around with an ’ s face as ’ s laterthoughts reaction public about to the scanty out ’ [Tarzan is] accessible more than other heroes have. . . . we You don It startedIt such a furor. . . . Letters started coming in. added It up to thousands objecting of women costume. to my In those days they took things I was offered seriously. all kinds of places where I could go in shame my to hide from thecruel It me. throw ready to at stones public people, and were real. yet we New York Sun New York In a similar vein, the Twenty-seven year swimmerTwenty-seven Olympic old Johnny Wiessmuller was Sullivan ’ gave thegave impressions of jungle life . . . outdoor Creed 1987:3). A June 1998 Creed 1987:3). as nineteen:wore was Jane she when spective of actress Maureen O O organs, male or female, child or animal, real or stuffed by both Jane and Tarzan. Jane wears a small bra-like top that exposes her midriff. On theirhips both and she Tarzan wear back joined only a string by the waist at that leaves their sides and hips exposed. Because of public outrage these over skimpy out is portrayed as part the of ambient backdrop of the homogeneous savage environment along with the African singing and dancing taking place as these scenes unfold. On the other hand, European especially nudity, as it pertains to Tarzan and Jane and their implied sexual relationship, is dangerous because ventures it too to the close suggestion of uninhibited savage sexuality for the comfort of the civilization-minded censors. ers created quite a stir because the of revealing nature of the out chosen over other well-known actors to play the part of Tarzan speci his about raved sequels Tarzan longer wore loin-cloths and ultimately shorts and Jane was fully clothed in safari even Eventually, Creed suits 1987:3). (Elber 1997; Cheetah and his simian siblings required were to wear body stockings to production codemeet requirements that the exposure forbade the of for his physical appearance. For the brevity of his costume Weissmuller received praise more than condemnation from local critics the time. at In an article published in the his catlike walk, and his virtuosity in the water. in the the in man, ape man, and a big lated by actor Denny Miller portrayed who Tarzan in 1959: like a Greek statue “ sexual The 167). implications of Weissmuller Weissmuller

” savage. “ s storybook char- ’ t highlighted the fi s out ’ gure into the scene initially, fi singing supplies a primal ostinato in the ’ t been that male much beefcake on came along. (quoted in Elber 1997) ’ nest examples of civilized accouterments fi ” lmmakers deliberately capitalized on the overt fi Baywatch “ behavior and appearances. It may be surmised that this this that surmised be may It appearances. and behavior ” er of his colonized status. savage Although the majority fi the latest Paris evening gowns and dresses, as well as hats, — nd fi your chest. . . . You justyour take chest. off . . . You most of your clothes. . . . in fact Tarzan is kind of a cross between Dr. Doolittle and Chip- pendales. . . . There hasn screen until civilized “ s simultaneous comparison of Tarzan to a children a to Tarzan of comparison simultaneous s ’ Judging from reactions public to the costumes of both Tarzan and Saidi is the only African wears who European shorts that are pre- In the scene in which Harry and Martin try to lure Jane back to civili- Miller background, Harry embodies the charming aspect and Martin the sexual not does Tarzan seducer. male the of aspect as is he off building a sleeping place in the trees for himand Jane. Harry and Martin brought have the very canthey approach created discomfort in the general because public aroused it in them their own simultaneous attraction and revulsion to things Jane, it is clear that the the that clear is it Jane, sensuality their costumes implied throughthe subtle juxtaposition of Afri- can and European with Toying the of the notion civilized nudity. enjoying the nudity that belonged in the realm of the challenged savage notions of proper underlying innocence and overt sexuality of his character thatmade him so appealing to Jane and the North American female viewers. acter and a male stripper illustrates Tarzan how sumably a signi zation, they with her tempt and music varied adornments body for her that they believe will appeal to the civilized woman. In their persuasive performance, as the African porters Their protests subsequent may vehement then be interpreted as an attempt to maintain a clear divide between their and notions of savage civilized in order to keep these concepts in their proper place. of Africans are portrayed as wearing very little clothing, the porters wear earrings, necklaces, and various rings and bones that pierce their mouths and ears. African The warriors, on the other hand, are all elaborately deco- withrated group one sporting white paint designs on their heads and faces and the other group wearing what appear to be large curved hippo teeth in a circle around their heads and piercing their mouths and ears. warriors The brandish spears and shields and wear decorative grass or feather anklets and armlets. Inwearing the bones and teeth of animals they have killed, the warriors are portrayed as being enmeshed in the violence of their own environment. With their exotic adornments the of and their aggressive behavior characters European the to representatives visual become also they strange, inhospitable,and terrifying nature the of African savage environ- the Europeansment are attempting dominate, to conquer, and plunder. high heels, silk stockings, perfumes, and makeup. Harry is anxious for Jane to try on the clothes because assumes he that does once she will she real-

africaTODAY 106 “WHEN HEARTS BEAT LIKE NATIVE DRUMS” africaTODAY 107 CLARA HENDERSON ap of ap Then fl Why, I I Why, Chee- ” d be at d be at s price- “ ’ ” ’ Not thatNot I “ She “ Eyebrow pencilEyebrow . . . “ s visual transforma- ’ re kissed . . . I brought ’ an evening gown. into withower a perfume like this fl coax coax As we shall see, while Jane begins begins Jane while see, shall we As “ ” Jane readjusts coyly skimpy her ” ” s no jungles no ’ t come off you when ’ t you liket you get to all dressed up again? s had to ’ ’ In a suave manner, Harry presents with her ” s comment reveals his ambivalence to the notion ’ There “ s transformation is complete as European dance dance European as complete is transformation s ’ Wouldn he remarks as he hands her what appear to be satin satin be to appear what her hands he as remarks he s learned the abandon of the she yet savage, s antics caricature is what considered sophisticated in ’ “ in musical tastes, in their approach to covering the ’ ” ” Martin ” Gorgeous! “ rst woman he Makes me feel like her. like feel me Makes fi “ foreign is yet t, curiouslike to see look would what she in an evening fi “ and and s the ” ’ Meanwhile, Martin makes suggestive comments, When Tarzan arrives, his reaction to the European clothes and music Against a contrasting backdrop of singing African porters maintain- As is she dressing in Martin the tent, remarks to Harry, ” Lovely! music plays. The savage environment savage plays. The music and inhabitants its are temporarily overpowered by the fantasy of civility and the music the clothing cre- have tah then appears dressed in various accessories and Jane begins to laugh. Once again Cheetah and in theirbody, approach to the body as a sexual object. As suggested whileabove, the scene unfolds, mirrors music Jane tion. African The porters provided who the background as music Jane shed leather her bikini for a Paris evening gown have stopped singing and can be seen in the background watching Harry curiously. has brought a Jane and gramophone brings the and savage civilized face to face in their interpretation of what deemed is civilized society and suddenly make all it seem ludicrous to Jane. of savage as he sexualizes it and then elevates it by associating it with the the with it associating by it elevates then and sexualizes it he as savage of highest class of the of the notion civilized, the suburb of Mayfair in London thewhere British aristocracy kept apartments andentertained lavishly. JaneWhen presents herself in a satin dress, Martin remarks seductively she that home in Mayfair. various accessories, trying convince to that her nothing in Africa even beauty: her to compares Jane. lipstick won . . . indelible . . . it izethe folly of living crudely in the jungle and come to him. back Martin seems to be of two minds. He obviously the enjoys revealing nature of her present out gown.He asks Jane, looks admiringlyhe exposed her at hips and legs and remarks, have any complaints on that score. leather as if trying to modestly cover herself andreplies assuredly, had this specially designed for me. less! A woman who ing a subtle awareness of their context, savage Martin and Harry take Jane to the in tent which the items are displayed. Her delight is obvious as she runs from gown one to the next feeling their textures and exclaiming “ all the allurements, undergarments. When Jane tries on a hat and in looks the mirror Harry observes that the hat makes like look her the Jane Parker used he to know. Jane replies, trying on the clothes, they gradually transport from her the realm of the andsavage foreign its to the civilized music European of sophistica- world tion with familiar its music. s ’ Tarzan ” and that These are ” “ s perspective perspective s ’ s investigation I think Tarzan Tarzan think I ’ refers to unin- to refers “ ” sexual, “ He starts lifting her she explains to him. ” ” nd within the civilized realm realm civilized the within nd fi savage abandon savage s perfume, ’ “ d like them. ’ It “ cult to to cult fi Something provocative the about feel of is synonymous with with synonymous is she explains. she As bends he down and feels “ ” ” s neck. s reaction all? to it Whether the magic of the ’ ’ savage appears to only be available for Europeans deep “ ” ng Jane ng fi s sexual freedom in the jungle and knowledge her of ’ Tarzan and strokes more some leg states her emphatically, Martin chimes in: in: chimes Martin ” ” These are stockings, “ sexual abandon ” “ t lift too high. it Tarzan to let sticks leg her She out feel silk her ’ In their to seduce attempt Jane, Harry and Martin bring the sexual On the other the African side, porters gaze with incomprehension at s pantomime pours on the performance. water cold Their combined ’ Like them? Like them. Like stands and begins snif begins and stands silk. Same was. Always curiosity as had the about phonograph. we Then she looks over to Harry over looks she Then and Martin and remarks, approves. dress looking Harry legs. for her and Martin Tarzan watch Jane down demurely holds the bottomintently. gown of her soTarzan doesn stockings. them repeats, he as is his custom, the last words previous of her remark, “ “ ated. Tarzan tugs a little roughly shoulder her at strap and falls it off. Jane rebukes him and continues he up and her look to down curiously as feels he dress.her Jane, slightly amused his at reaction, explains to him, dimensions the of and notions of savage civilized into direct confrontation. inOn side, one stark contrast to the Africans singing in the background, Harry and Martin appeal to their own understanding of the highest level of civility through the invocation of French fashion and British aristocracy. With the tactile seductions of sensuous not silk, or erotic perfumes, and indel- whether is question ultimate the mix, the into thrown lipstick ible these allurements complicate can matters, Martin entice Jane. To struggles with his own ambivalence While to notions of savagery. elements some of dimensions sexual the killing, of point the to him repulse savagery of savagery fascinate him. If his of notion clothes. Women wear clothes. them Women because they hope will men like them. That his with him, for even that suggesting is he then freedom, sexual hibited reputation as a womanizer, it is dif why I wore these, I wore why Tarzan. I thought you insinuates that the term for him within also the jungle. he savage wants the prestige Yet and status offered in the high life of the British upper class. For Martin Jane the best of both worlds in embodied is responses infer that those inhabit who the realm of the need do savage not create European or seduce expensive European clothing to or dance music Jane of what But appeal. sexual civilized has seduction has it or whether failed worked is soon made evi- Afterdent. dancing only once with Martin all and at not with Harry, Jane social graces in honed the upper class social circles of Britain. This is why he is so attracted to her. the antics of the civilized; Tarzan seems unimpressed by the visual and tactile of the seduction elements and by the civilized music; and Chee- tah the sexual liberation he desires. The implication of Martin of implication The desires. he liberation sexual the

africaTODAY 108 “WHEN HEARTS BEAT LIKE NATIVE DRUMS” africaTODAY 109 CLARA HENDERSON s ’ cult to to cult fi ve scenes ve fi lm: Africans when are fi outtakes. Musical qualities evi- expedition. Since no individuals individuals no Since expedition. lm is comprised of out-takes from fi (1931) shot in Africa. This footage was was footage This Africa. in shot (1931) re in the evening. In each of these scenarios Trader Horn fi Trader Horn Trader Horn s desire to carrythe to treetops,away her leaving Harry lm lm ’ expedition or whether, as was proposed with Tarzan with proposed was as whether, or expedition fi lmmakers themselves it is impossible to determine the the determine to impossible is it themselves lmmakers fi lm are seen ever singing the when singing occurs, is unclear it lm is also from the the from also is lm fi fi cient materialcient exists to propose whether they are indeed pieces of The sameThe or a similar song is used in scenes, some and the singing Unaccompanied African singing occurs as a backdrop in fi s composers. ’ Trader Horn lm Much of the African footage in this The Element of Unaccompanied Singing African submits to Tarzansubmits to and Martin behind. scene The that follows the next morning in which she swims naked with Tarzan further illustrates preference. her Luxurious clothing or the latest English popular Her has ulti- music her. swayed not mate decision is to be free ofand sexual her enjoy these freedom within the realm. savage trappings andto stay behind with Tarzan the earlier MGM used to embellish all the of MGM Tarzan sequels that followed (Hay 1991: is therefore It safe112). to assume that of the some African heard music the in is depicted as helping either Africans counter the drudgery and of work travel, or as providing them with entertainment, or as warding off fear. In each scene the singing is brief and repetitive and is sometimes performed in unison, or in as a call-and-response a solo, with style singing a soloist strongly chorus the above lower of male of the voices. texts None is in English, and because the words are discernable always not is dif it the singing is used to provide a contrasting African ambiance to a scene in which the dialogue or action taking place in the foreground comments in on savagery way of thesesome Some or civility. scenes discussed were in the previous sections on race and clothing and will be discussed furtherin the sections on drumming and dancing. determine in which language the songs are sung. Due in part to the brevity, poor sound quality, and narrow inventory pitch of many of the songs, often insuf African taken music from the whether the unaccompanied singing segments are actually out-takes from the in the the in yodel, the producers electronically manipulated these out-takes to achieve the sound they desired, they or whether are the original creations of the fi depicting three types circumstances of in the ininvolved manual they labor; when are journeying on foot; and when they are sitting around a camp indent of these some songs such as repetition, call-and-response singing, a pentatonic preference, pitch and polyrhythms, together with song contexts travel, andthat work, entertainment, involve are consistent with what is known today styles some about of African singing; without documen- but the from tation nitive. fi s compos- ’ authenticity ’ lm characteristics fi — cance of the similar- fi outtakes, suggestion one described earlier. ” gure comprises 1, a three-note fi sounding song work for the purposes Trader Horn ” lmmakers to create images of Africa and gure 7) the main chorus in the call-and- fi fi rst scene, Harry, when Martin, and their fi African “ rst impression of African singing as dull (sung fi syndrome of savagery of syndrome “ s boat arrives the dock. at As voices sing in unison ’ It is interesting to note that, in the background music ” oading boats. One is voice heard singing an octave above s bathing scene ( ’ fl s origins, the drudging and lackluster in way which is sung it ’ rst scene in which singing is heard occurs the beginning at of fi out of tune. “ likely origins. Therefore, any comments on the songs the on comments any Therefore, origins. likely The The A short while after this Although the dominant voices are singing unison an pitches octave ’ lm when Martin when lm fi nal four of this pitches refrain. While this origins and music probable its songs are speculation mere and be considered not should in de any way However, the focus this of However, discussion is to determine not whether or not the songs are original African to analyze but music in the way which Afri- can hasmusic been used by the the other refrain, voices. The illustrated in Africans that relate the to concepts of savagery and civility and their sexual dimensions. the a short repetitive refrain, African laborers can be seen in the background loading and of ers might have taken this sequence pitch from the dance scene, music and slowed it down to create an of establishing the ambiance they desired for introducing the audience to the African environment in the opening scene. Apart from the ambiguities of the song rhythmic or harmony (lacking simple enthusiasm), without and slowly complexity), of tune, out and boring (constantly repeated) party of porters are making their through way the jungle toward the sacred and the vagueness tuning of its to North American ears, creates for the North American a viewer apart, the sound is thickened by other voices singing slightly or below theabove dominant in pitches a cross between a spoken and sung To voice. the North American ear could it have the effect that of the some voices are singing during Martin response singing that accompanies the drumming and dancing echoes the fi as African will be discussed in detail more in the drumming and dancing is what pertinentsections is here to follow, the signi ity between the two pieces If of music. the drumming and dance scene does indeed contain taken music from the for the similarities between these two selections is that the the with resonate that phrase repeated tempo. a slow at and over over, Figure 1.

africaTODAY 110 “WHEN HEARTS BEAT LIKE NATIVE DRUMS” africaTODAY 111 CLARA HENDERSON

I ” “ Well, Sud- “ ” culties the culties fi gure 3). gure fi ve hated it for days. ’ I “ Martin responds, responds, Martin ” ed by the qualities of their fi lmmakers to paint a mood of of mood a paint to lmmakers fi fear of theMutia escarpment) as ’ re frightened by something. ’ Martin replies, replies, Martin re frightened. ’ ” Saidi replies, as he begins whipping the ground to ” s why they s why ’ lmmakers also create the impression that compared compared that impression the create also lmmakers fi all withthe exception of Saidi. Harry knowingly says to This is different. They different. is This “ — Yes, bwana, “

” Juju . . . thatJuju “ t going to lose time just because they are afraid. Saidi, on, Come get ’ In this next scene, the European characters directly comment on the Referencing with the music, foreboding Harry remarks to Martin, African is here used music by the t like the sound that of chant. ’ gure 2). This sequence is repeated once. fi em going.em Harry warns, Harry warns, upon seeingdenly, the Mutia escarpment, all of the porters scream and fall to the ground Martin, Figure 3. foreboding their and to complement portrayal of the danger of the African environment (symbolized by the Africans and feared Mutia escarpment, the porters sing a song in tempo and a slow in free rhythm. lines soloist The a call out answered by a chorus of porters ( well as to provide musical accompaniment to highlight the dif we aren ’ startle the porters to their feet. this is at It point that Martin shoots of one the porters refuses who to go on. As they resume their journey to the Mutia, the begins sombre solo again in a manner suggestive of a funeral wail. African singing occurs. as it Just as they approach the Mutia, of the one porters is heard singing mournful, a slow, haunting With a slightly solo. high-pitched nasal vocal timbre free sings the soloist rhythm in a slow, a series of gradually ascending notes with blurred pitches by the manner in which they are sung is as slurred pitch one into the next ( European characters encounter in penetrating the land savage as they travel (enduring hacking heat, their through way jungle foliage, and crossing dangerous rivers). The collective singing within the context of their cruel environment, is peculiar, strange, and unpleasant. These sentiments negative Africa about and Africans, through impressions of their are music, clearly most articulated by the European characters in the following scene. don to civilized Europe, the realm of savages, signi Figure 2. ). ). juju singing, therefore, ’ re, few visual indications fi res swaying back and forth (each fi nd themselves. It also provides a a provides also It themselves. nd fi gure 4). gure fi with the exception perhaps of the clothing — of civilitynements and reminisce their about fi nd ivory. nd fi In this scene, the European characters unequivocally link savagery savagery link unequivocally characters European the scene, this In As to the scene a prelude during which Martin and Harry attempt As the porters sustain their last the using note, soloist, the same type Figure 4. Through their comments they also openly belittle and express their loath- ingfor these and elements for Africans themselves. Furthermore, Martin takes this opportunity he so to demonstrate his doing In to dominate attempt the savage porters. the of one killing by peoples its and environment provides an example to the other porters that he will not tolerate what he considers nonsense and will he allow not any person or thing to thwart his mission to as it isas expressed it in African singingwith superstition and witchcraft ( to woo Jane back to civilization with the gifts the they brought have her, porters can be seen sitting around camp movement markingmovement a half out note), as they sing a short, repetitive, over- lapping, call-and-response refrain ( place the scene in the jungle of the European characters. backdrop The of the porters of nasal vocal timbre described earlier, begins singing anoctave higher than the chorus, slurring into pitch the one next. This sequence is sung once, and as the dialogue between the characters begins fades the music to the background. This repeated sequence continues throughout the scene, suggesting perhaps a looping of the recording by the producers to provide a consistent background of singing for the dialogue. Because the scene takes place in the darkness of the night, as the cameras turn to focus on the Euro- camp own their around gathered characters pean functions as a constant aural reminder of the present reality of the savage environment in which the Europeans experiences of social functions in upper-class British society. striking contrast of savagery to the dialogue between Harry, Martin, and re the discuss they as Jane

africaTODAY 112 “WHEN HEARTS BEAT LIKE NATIVE DRUMS” africaTODAY 113 CLARA HENDERSON s ’ nal nal fi ed two-beat ed nal battle at at battle nal fi fi er of the horror to to horror the of er fi expedition. Despite Despite expedition. rst scene takes place fi lm is footage authentic fi lmmakers themselves it fi y shown playing drums while Trader Horn fl lm with the exception of the the of exception the with lm fi lmmakers might electronically have rst heard, all of the African porters fi fi es. Ululating can be heard the above fi footage used in this reactions as foolish superstition. Instead, the lm footage, the drumming sequences are also ’ fi lm is heard in two major scenes in which African fi ghting intensi ghting re, screams, and as are people shouts, killed and pan- fi fi lmmakers thought necessary it to reshoot of the some fi Trader Horn lm the when group is eat overcome by the lions. who men fi scenes in America because the wild animal footage not was The Europeans The fear show never the at sound of drumming and 7 thatlm, is the conceivable it enough (Hay Given this 1991:83). approach to the visual elements fi Drumming in the the in Drumming As with sections of of sections with As ” wild The Element of Drumming As with the scenes involving unaccompanied singing, individuals are not seen singing or playing drums in the scene in which drummers some are brie the end of the In both scenes the drumming is primarily accompanied by singing is but initially heard alone in the distance acting as a signi perched in trees. Because of these the movements drummers are coor- not dinated with the sound, is clear not it whether they are actually playing the drums on the sound track or whether they being were used as props to simulate the drumming. warriors attackthe Europeans and their party. The near the beginning cannibals when ambush the group as they approach the Mutia escarpment. second The scene takes place during the with the exception of Saidi draw in back terror, falling some the to ground fright. in come. the Whenever drumming is response of the Europeans is to order Saidi to whip the fear of the por- out drums the of sound the As journey. their with on get can they that so ters drawsnearer, the attacking warriors emerge from their hidingplaces to assault the group with spears and arrows. In both scenes people are running in every direction while the drumming and singing gradually increase in volume as the likelymost taken from the outtakes of the they dismiss the Africans the dismiss they the fact that the the that fact the from Africa, the Trader Horn “ of the or four-beat pattern. demonium breaks loose. So much commotion occurs in these scenes that that scenes these in occurs commotion much So loose. breaks demonium the singing or the drumming taking place in the background is sometimes barely on the sound audible track, resulting in a muddled confusion of certainnoise. At points the drumming in the action, however, manages to overpower the din of the battle. In both scenes, what can be heard of the drums these at points does delineate not polyrhythms, as might be expected of African drumming, instead but they outline a uni cacophony of gun manipulated the and music drumming (as they allegedly did with Tarzan Africa they wanted to portray. As with the unaccompanied singing seg- singing unaccompanied the with As portray. to the moods to complement theyyodel) wanted to create and the images of wanted they Africa without furtherments, information from the drumming sequences. the of authenticity the determine to impossible is

” but but ” superstitious “ Voodoo Dance, “ lmmakers used drum- used lmmakers fi rst THUMP receives two beats). fi explains that these horns are meant a motif with which North American ” — , a term they use to refer to gure 5). gure fi pattern (the juju ” nal battle scene the drums outline a repetitive, four-beat fi the-men-who-eat-lions, rst scene, as the party is attacked by warriors the at foot of the fi “ s musical vocabulary in Western movies to signify the danger ’ gure 6). gure fi This sequence is repeated over and over in a looped fashion, gradually In the the In The steadyThe THUMP-thump drumming continues a faster at speed in the In The AfricanThe drumming in these two scenes is used primarily as a wood THUMP-thump-thump Figure 6. increasing in tempo so that the progressively pitches rise as well. Eventu- ally a high repetitive, pitched, call-and-response refrain is begun. In a fast tempo lines the soloist a call out and the chorus echoes the same phrase in ( unison Figure 5. Mutia, the drumming that is heard outlines a quick repetitive THUMP- thump pattern (each thump equals quarter one note). A chorus of voices sings the refrain in unison ( What is important to this discussion is how the the how is this discussion to important is What ming to portray Africa and Africans as and savage sexualized. “ this last refrain seems but almost disengaged from the singing since is it exactlynot aligned with the rhythm of the voices. The singingThe is barely as audible, the drumming takes precedence in this scene. This drumming pattern only not echoes a similar rhythm dominant in the American-composed main title music is also reminiscent of the drumming that had already become a part of Holly associated with Native Americans is also associated with chaos, confusion, and the savagery of eating lions lions eating of savagery the and confusion, African chaos, beliefs that fear invoke and terror with in the Africans. drumming The associated also is leitmotif associated with the savagery warfare of violent and with the what European call characters to attract the lions and to come kill the Europeans and their party. audiences have been would familiar that at time. During the drumming sequence, warriors are also pictured in trees (together with drummers) some blowing long horns that imitate the sound of lions. describes Jane, who the warriors as

africaTODAY 114 “WHEN HEARTS BEAT LIKE NATIVE DRUMS” africaTODAY 115 CLARA HENDERSON es es fl s love s love ’ and to ” lm when Martin Martin when lm fi s view of the perfor- ’ s narratives on the sport ’ toughness and prowess of “ savage superstitions savage “ es to kill or attempt to kill whoever gets gets whoever kill to attempt or kill to es y between him and Jane becomes another fl fl 39) – s body obscures the audience ’ a term normally he associates with undesirable quali- ” ” s room to take a bath. In the distance through a window in ’ savage, “ The huntThe for trophies forces the white lone male to venture into the wilderness in order to bring back tokens of his power, metonymically incarnated in those phallic huge horns. 1993:38 (Strychacz lm, represents the male libido in his His lust for Janeand for ivory. s quarters Africans can be seen singing and dancing, although for fi ’ When writing Ernest about Hemmingway res his yearning for ivory. fi lm present an interesting study in contrast discussed when together. Afri- with phallic power that in turn represents the the represents turn in that power phallic with become jungle African savage the within deep buried treasure ivory the and interlocked in their minds as feminine one an entity they desire entity, to conquerand dominate. As will be illustrated in the following section, Martin, has who been portrayed as a womanizer right from the beginning of the The Element of Dancing Both African dancing and European dancing as theyare portrayed in the fi can dance is depicted in the scene the beginning at of the of trophy hunting in Thomas Kenya, Strychacz associates horns and ri Apart from the fact that they are hunting ivory in order to amass great wealth, Martin and Harry are also carrying their out mission within a context of sexual tension between each of them and Jane. Pursuing ivory and Jane with equal is easy vigor, it to seethe treasure how of Jane and killing humans. To North American ears the drum patterns may sound sound may patterns drum the ears American North To humans. killing and uncomplicated, reinforcing qualities the simple associated with savagery. For Harry and Martin the unknown and supernatural connected elements with drumming are perceived as both threatening to their domination of the African landscape and as a frustrating hindrance to their pursuit of ivory treasure. the At same time, of African they the elements relegate singing and drumming to that realm of savagery that they desire to bring under submission. In an endeavor to dispel assert their authority theover Africans and their environment, savage Martinand Harry use their ri includingin their is Tarzan. the jungle it way, In and the however, end, its inhabitants that overpower and kill them. linkage of the inner man: Harryenters Harry of themost scene Martin mance. African with men long feathers on their headpieces are seen dancing energetically while running speed a moderate at in a clockwise direc- ties, to the sexual sparks that telling indication of hisambivalence toward the and notion of the desire that

a ” “ Both, I “ style of intricate ’ Dance of the Savages, ective of some expres- ﬂ “ ” Martin smirks and asks, asks, and smirks Martin s ’ ” s counter clockwise movement, ’ expedition. Dancing clockwise in a circle to which Harry laughs and replies, gure 7. gure ﬁ ” Well, well . . . haWell, . . . ha . . . fresh from the Folies- re was a Frenchre was cabaret fashionable in Paris in the “ è Trader Horn Harry explains to him that the Africans are performing ll be heading back country tomorrow. ” ’ s long feathers ostrich), (possibly and the dancers ’ As the scene unfolds, Martin walks to the over window and sees the More thanMore drum one undergirds playingthe melody a complementary The Folies-BergThe re, eh? re, s circle. Occasionally thedancers turn and face each vigorously other, è ’ Personal or agricultural? or Personal seems uncharacteristic of African dancing that is generally understood to counter the women move clockwise. Yet and rhythmical shoulder are and torso types evocative movement of some of African ceremonial clothing and dance. Similarly, in the way which drumming polyrhythmic the with overlapped rhythmically is singing the re also is format call-and-response its with together quick a at sions of African singing andantiphonally drumming. sung is song In this The sequence a short musical over. and over repeated is phrase lines soloist The tempo. a call out that is barely and audible the singers respond with variations variations of a basic chorus. of the choral Two response are illustrated in the men Figure 7. tinues throughout the entire scene, although it is almost inaudible during inaudible almost is it although scene, entire the throughout tinues certain parts of the dialogue. dancers commenting, moving their shoulders and torsos backwards and forwards as they move into the center of the circle and back again. though Even the rhythms of the singing and drumming on the sound track seem do not to be coordi- nated with the visual depiction of the dance various elements movements, in both the visual footage and the sound track suggest that they might be outtakes from the polyrhythmic accompaniment. This dancing, singing, and drumming con- tion around a circle, hopping on two feet after every fourth Plainly step. dressed are women barely visible moving counter clockwise within the men Berg ceremonial dance. Something to do with fertility. with do to Something dance. ceremonial which performed she wearing only a handful of pink feathers, had already 1920s. African-American performers such as Josephine Baker popular were entertainers among the French upper class. Baker “ think. They think.

africaTODAY 116 “WHEN HEARTS BEAT LIKE NATIVE DRUMS” africaTODAY 117 CLARA HENDERSON s ’ re. è You “ ed native ed ﬁ They jok- ” re, when she she when re, è glori “ re places init the She demonstrates She è ” Music likeMusic the natives “ Folies boys. Curious about “ appearsrst it that is he coming ﬁ s nothing in there, Tarzan. That Tarzan. there, in nothing s then forcefully kisses her. She in in She her. kisses forcefully then ’ ” re back in Europe among the cream of There s version of thes version Folies-Berg è “ ’ s peculiar relationship with the ’ s choice to live in this harsh environment, their ’ I believe I have this dance, Lady Jane. “ Tarzan questions. Jane explains, ” Jane emerges wearing of the one Paris evening gowns they ” re a fascinating little savage, ’ and talktheir about notions of civility and their planlure to her Music? ” “

s linkage African of dancing with the Folies-Beg ’ ” The connectionThe Harry and Martin make between here African danc- European dancing is depicted during the scene in which Harry and social event. Suddenly Martin looks intensely at Jane and remarks, remarks, and Jane at ingly mimic upper-class social graces intensely In to the as music. they their move looks Martin conversation they fantasize that they are attending an aristocratic British Suddenly event. social know you know ing and fertility rituals also eroticizes the dancing by associating with it the sexual dimensions of savages. of the Against world this backdrop of the sexualized dancing and singing of the as savage, Martin takesbath, a andhe Harry discuss Jane Afterbrought for her. commenting Martin beauty, on her takes handher and kisses saying, it, realm exotic of spectacle performed for the pure entertainment of those belonging to the highest of civility. Placing level himself the above dancing in the realm of the civilized, can he down and look trivialize on it as it caricature. savage music. the Martin attempt to persuade Jane to return to Europe. Martin sets up a a up sets Martin Europe. to return to Jane persuade to attempt Martin gramophone popular to play some dance of the music time. Both Tarzan and Harry departed have temporarily to other to attend business, leaving Jane and Martin alone. As begins, the music the Africans had been who singing in the background gather around the gramophone. Martin shoos From inside is she the changing, where tent them away. Jane inquires about the is it that replies Martin commotion. the ape-man back to civilization. With the dancing savage providing a stark contrast to Jane of discussion their conversation centers on their confusion to reside want would she as to why Africa with world strange this in could the attend real Folies-Berg civilized society. how the gramophonehow by lifting works the arm and stopping the sound. part reciprocates and taken then pulls aback by the encounter. After away, they apologize to each other,indiscretion as as long Martin Jane remembers that the only man one is for her asserts that theyTarzan. should Just then Tarzan leaps from a tree near the gramophone and creeps forget At about knife. his drawing their forward, stealthily toward Jane and Martin, and in the look their eyes reveals that they are not creeping is he that apparent is it Then place. took just what saw he if sure towards the gramophone. He bends the over machine listening, trying to discover the source sound. of its He tries touching the spinning record. Jane comes to him over and says, make on their tom toms. This is civilized. a little more bit made famous her another at cabaret before joined she the Folies-Beg Martin music.

s s ” ” ’ ’ It lm. lm. “ fi Music jungle “ “ Martin Martin Martin, Martin, ” ” t it? ’ s appearance, ’ s association of ’ s ambivalence rises s passion to for her ’ ’ greater fascination, greater “ Martin alludes to the to his fascination with ” ” Before Harry haschance a ” savage “ Folies boys, Folies Jane, pleased and giggling, says: “ ” s explanation to Tarzan of theEuropean ’ impulses get thebetter of him. His forced ” s reference to their tries encounter, to diffuse ’ Harry, oblivious entendre, to the double cautions ” savage he sexualizes once more the notion of savagery, savagery, of notion the more once sexualizes he Adds to the fascination. Yes, the jungle does grow on one doesn “ ” “ “ civilization,ned supplies a continuous stream of Euro- and he admits that it had only recently captured his his captured recently only had it that admits he and fi Martin, looking intensely Jane, comments, at ” ” qualityned of the ritual until Martin fi t forget, Martin. There are dangers in the jungle too. ’ t it. ’ ll be the talk of the town. ’ Don “ s excitement at the prospect at s excitement of conquering both Jane and Africa. He ’ By calling the curious porters re. Perhaps because his mind is focused on the anticipation of danc- è soothe the savage the soothe “ Jane, you Only very lately on me. “ isn thrilling, Tarzan imitates Harry her. returns and is taken by Jane still has charms to soothe the I know . . . but savage a greater fascination. still staring and her at determined to dwell on their transgression, replies, “ Martin, Martin, to the surface and his the is attention paying he by making her a remark that assigns different meaning his to aside, ing with is Jane, reminded he of the African counterpart to this European fertility dance that is to take about place. In contrast to the energetic and spirited African dancingpictured earlier, the controlled and subtle civilized dancing of Martin and Jane is then placed within the framework of a European mating ritual of the civilized Referencing variety. upper-class social graces as they dance from music their to enjoyable own culture re the maintains Jane, embarrassed by Martin nonchalantly asserts, to dance with Jane, Tarzan, showing disinterest in their conversation and antics, persuades to retire her with him to their treetop abode. scene described previously in which links he African dance to the Folies- Berg Jane in the context of a kiss highlights Martin once more savageness with free sexual expression. gramophone, The that ubiquitous re of representative pean dance to dominate music the musical soundscape. thus It provides the behavior expected the to connection waning their maintains that thread within the civilized mating ritual. is until not It Tarzan appears that they are pulled from their reverie. Jane clearlymusic places in it the category of civilized expressionand over theabove base expression of African singing that had been taking place just earlier.moments When Martin associates European with music the power to The restThe is implied. Linking the of notion insinuating perhaps that the civilized helped to keep music his own sexual impulses under control. His reference to knowing a kiss with Jane is the only explicit sexual interaction in the entire the feminine embodiment of Africa. When comments she that the which implies his total infatuation with Jane, causes to make her a diver- sionary remark that hasthe effect of linking Martin does grow on one, heart, he is tying Jane and Africa together into one feminine entity. Harry innocent remark warning Martin of the dangers of the jungle fuels simply Martin

africaTODAY 118 “WHEN HEARTS BEAT LIKE NATIVE DRUMS” africaTODAY 119 CLARA HENDERSON s ’ lm lm fi The African The ectiveof the fl ” s seduction by ’ nitions of savagery fi s promise of sexual freedom ’ delity, or death. or delity, fi s most prominents most scenes, Euro- ’ with the inhabitants and lands of lm ” fi syndrome of savagery. of syndrome “ as they were constructed by Holly- by constructed were they as ” civility “ with Africans and the African continent, and ” civilized s conclusion, European carries music the audi- “ ’ lm, provides music a means of bringing the notions lm during the 1930s. As a product re fi lm fi provides an interesting paradigm in which to explore explore to which in paradigm interesting an provides lm. In of the one fi fi and and s upbringing and jungle environment link him to their liation of liation ’ fi c savagery ” fi “ cant in role shaping North American opinion public about fi savage lm in music bringing to light the sexual dimensions of the fi “ The AfricanThe that music surfaces strategic at points in the As the Europeancharacters carve their out de Throughout the Europeanne. imitating music African prepares music the audience for fi and unclaimed treasure, so for him, the potential dangers of attempting to dominate both of them add to the simply thrill. Martin and Harry, bringing their notions and of savage civilized behavior the At face. to face provides an exotic backdrop upon which Jane, Martin, and Harry piece together their perceptions of savagery and For them, civility. African peoples and animals together with blend African singing, drumming, and dancing into representation a homogeneous African of raw savagery that encompasses blackness, innocuous nakedness, caricature, sexual ritual, superstition, self-mutilation, and barbaric colonized violence. The Africans like Saidi and the porters represent to them a partially tamed of all version of these qualities grouped under the against themselves as the prototype of civility, Tarzan becomes an anom- Tarzan them. to aly the role of therole ence on away a note of reassurance that true love like that shared between Tarzan and Jane can conquer all obstacles despite a hostile environment, the threat social of barriers and pressures, in Conclusion Mate His and Tarzan notions his of the but savage whiteness connects him to their own civilized heritage. is in It his relationship to the African landscape that Tarzan has been captivated by Jane and by the jungle pean dance provides music the setting for the scene of Jane that emerged from this particular representation still have the potential potential the have still notions of representation particular this stereotypes of Africa from that prevailed during that time period, the concepts emerged that to play a signi must he interior an of embodiment feminine the into landscape, Harry, on the other hand, is transformed for Martin, and to a certainfor extent penetrate in order to possess riches. its wood in speci one the association of the concomitant af concomitant the North America and Europe. andof savage civilized into confrontation, accentuating or the other one depending on which term of the European one characters is struggling to de Africanits journey by creating a mood of danger and chaotic adventure at the beginning of the

” ” wife wife ” tomboy. “ abandon of (quoted in “ the implied ” proper ” “ magazine called called magazine living together in in together living “ harlot, “ unlearn feminine her Time “ in terms of playing the ” lm is described as having having as described is lm fi and the era of the ” s foray into the jungle is a sym- ’ which currentlymeans a girl who the joy of making jungle whoopee ” What chemistry, what romance, what romance, what what chemistry, What “ “ s active sexual role in her relationship ’ romped like a boy a like romped pre-feminine, “ s release, the relationship between Jane and tomboy, ’ “ “ and the same at time liken the relationship of lm ” fi like a boy, originally meant meant originally boy, a like describing the jungle couple as as couple jungle the describing ” ” which gives rise to his admiration the for ” xes gaze its on the African landscape as well. Critics of s domain is in the air: the African earth, to which he fi ’ tumbles “ which communicates wild, disgraceful, highly entertaining orgy of comic, sensual sensual comic, of orgy entertaining highly disgraceful, wild, ” “ savage, ” “ Tarzan sometimes descends, inhabited is world a lower by hostile animals and plants and black Africans. Swimming . . and swinging in the treetops both suggest a liberation fromity and grav- from earth. (1994:44) and and ” (1987:1). In doing Jane so, (1987:1). At the time of the the of time the At Likewise Jane presents another anomaly and to a cut dried distinc- The sexualThe lens through which the relationship between Tarzan and ” lm lm a fi sexiness “ romps lm also focus sexual on its overtones. The “ connections to civility and savagery are clearly more articulated. Tarzan maintains a tie to civility by his dominion the over animals andthe terrain of his savage environment,people. He lives in as the trees and has therefore well symbolically risen the above as by his lack of interaction earthsavage and peoples beneath him. As Kenneth Cameron writes: with African Tarzan, seen as combining aspects of the civilized and the inspired savage, Americanone review that highlighted sexuality. its the savage. nonsense sadistic and the the would not be allowed not would to express sexual behavior in that manner, which is harlotswhy hired were jungle The to do so. environment requires Jane to behave like a tomboy in order to survive. must She socialization: abandon dresses, her make-up, proper manners and lady-like ways the towards ambivalence ubiquitous that Martin in arouses Tarzan with notion of bolic return to the era of the She explains that the term term the that explains She active sexual role. Presumably social mores dictated that a tion between savagery and civility. Her upbringing and whiteness connect to civilityher relationship her but with Tarzan andrevealing her clothing, yodeling call, and liberated sexual behavior connect to notions her of Barbarasavagery. Creed asserts that Jane meaning being a woman who Mergetel n.d. (b):6). contemporary Some English language reviews of the fi natural ignoring frivolity, the precepts Hays and of Tsar obeying civi- no lized conventions except, perhaps, those of birth control . . . a (Zacharek Others 1997:5). proclaim, Jane is viewed implicit torrid sexuality! Tarzan and Jane to that of the biblical Adam in and the Eve Garden of Eden see also 1998:1; Creed(Traugott 1987:4).

africaTODAY 120 “WHEN HEARTS BEAT LIKE NATIVE DRUMS” africaTODAY 121 CLARA HENDERSON , lm lm fi cant cant fi (1985) Tarzan t age like ’ lms together with with together lms fi in shaping views of Out of Africa ning these notions to Africa doesn Africa fi “ es the act of domination. fi lm is part of that genre of of genre that of part is lm (1984), fi s sexual liaison with Jane, Martin ’ still exist today and that they are ” Greystoke Tarzan and His Mate His and Tarzan lms, focus is placed on European characters characters European on placed is focus lms, civilized fi “ (1966), rst cinematic impressions of Africa, music its fi to differentiate between themselves and African ” and and (1931) when the when protagonist the woman watches he (1931) in their penetration of the closed spaces the heart at ” ” Born Free Born lms such as fi — savage civilized “ manly from an historical advantage allows alternative readings to to readings alternative allows advantage historical an from “ “ Likewise, mirroring Tarzan ” Trader Horn and and s portrayal of the sexual dimensions of the notions of savagery and ’ ” lms together with their testify music to the lackprogress of that fi Presumably, modernPresumably, audiences disparage would theuse of the terms lm lm lm fi fi savage a woman. their too irrelevant, music antiquated, and innocuous signi to have fanrenditions video sites, of the Tarzan rereleases, clubs, Tarzan Web story, and contemporary reviews and articles Tarzan about movies seem to indicate otherwise. This paper proposes that underestimate should not one the early of impact “ lands and peoples. may Some consider the Tarzan and Harry become tied to the African landscape in the same manner through their desire and conquer, dominate to enter, in it search of ivory. impact on fashioning present-day images of Africa for North American and European audiences. prevalence The of contemporary Hollywood loves sail loves with away a younger man. In his resignation to stay behind in Africa comforts he himself with the thought that Western colonial expansion assertthat the colonial enterprise rendered the colonized land a female, maintaining that for the colonialist this projection of female sexuality to the land indirectly justi As a result, Western expansion becomes connected issues to of sexuality explorers if that argue others further, Carrying idea this 1993:62). (Shohat to Africa are of the Dark Continent, then what they explore Thisn.d.:15). feminization must of the be African female continent is evident the at end of (Torgovnick the movies that created their their created that movies Africa and people in its the minds the of North American and European general non-Africans, public. For some the and His Mate the and peoples, its and that likewise in hada role shaping their childhood fan- tasies of adventure and conquest. For other non-Africans, viewing has been made in the transformation of these notions the over last seventy years. fact The that in some who representwho the upper class and often who a deeper have affection for and closer relationship to the African landscape and animals its than to African peoples civility as they pertain to Africa. Rather than con than Rather Africa. to pertain they as civility the African realm, exploring they ironically were how internalized within the European characters invites contemporary individuals to question the degree to which these same concepts and images might exist possibly within themselves and might subsequently be projected their onto own understanding of all things African. is Perhaps therefore it safe to say that like concepts of Africa that continue to be perpetrated by some contemporary Holly- contemporary some by perpetrated be to continue disguised simply behind that different terminology. misconstrued The images Africa of wood

” s ’ lm- lms lms ﬁ ﬁ barbarian, Disney “

The Australian Australian The ” or or ” rst note is indicated indicated is note rst (1997) fi savage “ . New York: Continuum. The Element of Race. of Element The ” “ tritone. “ lm and music complementary its fi George of the Jungle the of George is one way in way whichis one various modern A Case of Mistaken Identity in Paradise. — — 12. Retrieved12. 30 September 2000 from the World Wide , 15th ed., , 15th s.v. – frequently using as for music a potent tool gures 1 through 7 have been transcribed using the exact fi and those they set out to conquer as — ” lm. To facilitate reading, others have been transcribed using using transcribed been have others reading, facilitate To lm. (1994), fi (2000) 1 (1):1 civil “ s behavior, see the section on ’ Sullivan (Zacharek 1997:6). rst century is counter to the dominant Hollywood ’ (2001) fi Africa on Film, Beyond Black and White andne shape Africa notions about in that the way Afri- fi The Lion King rst scene their “dialogue” focuses on them proclaiming their love for each other and — s nude body is actually that of Olympic swimmer Josephine Kim, who was the body ’ . 1966. 35 mm,. 1966. 35 95 min. Culver City: Columbia Pictures. Journal of Media & Culture wwwmcc.murdoch.edu.au/ReadingWeb: Room/1.1/Creed.html. Video and Turner Entertainment. Turner and Video themselves as of notions within parentheses. within different pitches. In the latter illustrations the actual pitch of the Jane reminding Tarzan that she is his “wife.” for the purposes the for article this of restrict pertain will they these I notions as discussionto my to the interaction of Europeans and Africans. close by her. In both scenes she is not wearingIn the fi clothes and is only covered by an animal skin. double for Maureen O pitches that are sung in the The New Encyclopaedia Britannica I Dreamed of Africa 4. lms submerged have and homogenized the characters and individual per- Born Free Born 1994. M. Kenneth Cameron, REFERENCES CITED REFERENCES Creed, Me Jane: Barbara. Tarzan! You 1987. 2. arguedGreeks,Althoughbethethat may it Romans,Chinese, andamong others, espoused NOTES 1. This description is found on the box cover of the 1991 video released by MGM/UA Home and 7. For a discussion of Saidi

In 3. two separate scenes Jane is shown waking up in their treetop abode with Tarzan lying 5. Jane 6. Some of the songs illustrated in makers in the twenty- actors dressed in animal costumes rather than through individual Afri- individual through than rather costumes animal in questionable notions of Africagenerate through animated characters and dressed actors can people The Legend of Tarzan communicating these challenge notions. The then for contemporary ﬁ sonalities of African peoples. In like manner, other some Hollywood practice of depicting Africa and Africans as and exotic, savage, primitive and to utilize the powerful resources of to de components cans themselves perceive them.

africaTODAY 122 “WHEN HEARTS BEAT LIKE NATIVE DRUMS” africaTODAY 123 CLARA HENDERSON

Green Hills s , ed. Hamid ’ Boston and New New and Boston 97. The Plays of William William of Plays The – . 1 (1):187 2000, n.d. Retrieved 25 Octo- 75. – . Retrieved September 12 2000 from the Dum-Dum . Retrieved 6 November 2000 from the World Musical Quarterly 39 (1):149 39 . 1984. 35 mm, 143 min. mm, Burbank:. 1984. 35 143 Warner Bros. 47. civilized – . 1980. London:. 1980. Macmillan. . Atlanta: Publishing. Turner . Bloomington:. University Indiana Press. and . Englewood Cliffs: Prentice-Hall. 2000. Tritone. Retrieved October24 2000 from the World – . Retrieved 25 October 2000 from the World Wide Web: www. 13 (1):37 s Mate Jane Dies at 87. Retrieved 12 September 2000 from the the from 2000 September 12 Retrieved 87. at Dies Jane Mate s . Lilly Library T7628, Indiana PN6120.S42, University. Screenplay. ’ Savage Savage . Retrieved 25 October 2000 from the World Wide Web: www/ . Retrieved 25 October 2000 from the World Wide Web: www. . 1999 . White on Black, Images of Africa and Blacks in Western Popular Culture. The Complete Poetical Works of Percy Bysshe Shelley. in. ﬂ London: J. Nichols & Son. & Nichols London: J. African Studies Review Studies African

The Big Swingers Big The Trader Horn When the Lion Roars

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. . 1934. 35 mm, min. 35 104 Santa. 1934. Monica: Metro-Goldwyn-Mayer. . 1932. 35 mm, 35 99 min. Santa. 1932. Monica: Metro-Goldwyn-Mayer. The Film Music Film The . 2000. 35 mm, 114 min. Culver. 2000. City: mm, 35 114 Columbia Pictures Hollywood and Vine: Investigating Tarzan Hemingway Review Hemingway The MGM Films MGM, Tarzan and His Mate His and Tarzan . 1994. 35 mm,1994. 35 89 min. Burbank: Walt Disney Pictures.

. . 1985. 35 mm, 150 min. mm, Universal 35 150 . 1985. City: Universal Pictures. cy and Teshome H. Gabriel. Switzerland: Harwood Academic Publishers. Otherness and the Media, the Ethnography of the Imagined and the Imaged ﬁ Wide Web: www.britanica.com/seo/t/tritone. Web: Wide Films of the 1930s. armoreite.com/sotries/060697/fun/fun07.html. World Wide Web: www.th-record.com.1998/06/24aposulli.html of Africa of ber 2000 from the World Wide Web: www/jeddak.com/fury.html. Na York: Houghton Mif In mergetl.com/~geostan/mgm.html. mergetel.com/geostan/mate.html. mergetel.com/~geostan/music.html. Animation. Wide Web: www. calliope.ucs.indiana.edu/cgi-bin.Wide Web: www.amctv.com/ontheair/realtoreel/archives/tarzan3.html. Wide World Shakespeare New Haven: University Yale Press. Fenton, Robert W. 1967. Fenton, Robert 1967. W. Densmore, The Study Frances. of Indian 1915. Music. Dunn, Kevin. 1996. Lights . . . Camera. . . Africa: Images of Africa and Africans in Western Popular RetrievedElber, Tarzan Lynn. 32 Movies. 20 October 1997. 2000 from the World Wide Web: www. Online Britannica Encyclopaedia Strychacz, Thomas. Hunting Trophy 1993. As of a Trope Manhood in Ernest Hemingway Tarzan theTarzan Ape Man andTarzan His Mate Times Herald-Record Mergetel. n.d.(a). Hay, Peter. 1991. Peter. 1991. Hay, Greystoke: The Legend of Tarzan, Lord of the Apes Fury, David. Johnny Weissmuller . . . The Two-Career Star. George of the Jungle Shohat, Ella. Gender 1993. and Culture of Empire: a Feminist Toward Ethnography of the Cinema. Shelley, Percy Bysshe. 1901. Mudimbe, V.Y. 1988. 1988. V.Y. Mudimbe, New Grove Dictionary of Music and Musicians Out of Africa Oxford English Dictionary, ed. 2d Shakespeare, Measure William. for Measure. 1813. Much Ado about Nothing. In . n.d.(c). . . n.d.(b). . I Dreamed of Africa Legend of Tarzan, The Lion King, The Pieterse, Jan Nederveen. 1992. 1929. Richard. Schayer, Potter, Alicia. n.d. . Retrieved 25 October ed. Langston Hughes. New ippo/cinema/noblesav.html. ﬂ . Retrieved September 12 2000 from the . Berkeley: University of California. An African Treasury, Josephine Baker Collection. July Retrieved 1992. – Black African Cinema Jungle Love, Still Tarzan Swings . Is the Noble Savage Extinct? A Non-Feminist Perspective . 1931. 35 mm, 122 min. mm, Santa 35 122 Monica:. 1931. Metro-Goldwyn-Mayer. World Wide Web: www.salon.com/june97/tarzan970606.html. Wide Web: www.georgetown.edu/departments/amer_studies/limit/tarzan.html.Wide York: Crown Publishers. American Literature. Henry Hurford Janes 22 October 2000 from the World Wide Web: webtext.library.yale.edu/sgm12html/beineck e.jobaker.sgm.html. 2000 from the World Wide Web:www.powernet.net/~h Torgovnick, Marianna. n.d. Taking Tarzan Seriously. Retrieved 30 September 2000 from the World World the from 2000 September 30 Retrieved Seriously. Tarzan Taking n.d. Marianna. Torgovnick, Trader Horn Traugott, Caryl. 1998 of Collection Yale Library. Manuscript and Book Rare Beinecke University Yale G. Timothy Young, 1997. Stephanie. Zacharek, Vaughan, Koyinde Africa J. 1960. and the Cinema. In Ukadike, Nwachukwu Frank. 1994.

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