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Post-Mortem Projections: Medieval Mystical Resurrection and the Return of Tupac Shakur Alicia Spencer-Hall*

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Post-Mortem Projections: Medieval Mystical Resurrection and the Return of Tupac Shakur Alicia Spencer-Hall* Citation: OPTICON Spencer-Hall, A 2012 The Post-mortem Projections: Medieval Mystical Resurrection and MDCCCXXVI the Return of Tupac Shakur. Opticon1826, 13: 56-71, DOI: http://dx.doi.org/10.5334/opt.af ARTICLE Post-mortem Projections: Medieval Mystical Resurrection and the Return of Tupac Shakur Alicia Spencer-Hall* Medieval hagiographies abound with tales of post-mortem visits and miracles by saints. The saint was a powerful religious individual both in life and in death, a con- duit of divine grace and lightning rod for Christian fervour. With her post-mortem presence, the presumptive boundary between living and dead, spirit and flesh, is rent apart: showing the reality of the hereafter and shattering the fantasies of the mortal world. The phenomenon of a glorified individual returning to a worshipful community after their apparent mortal expiration is not just medieval. In April 2012, the rapper Tupac Shakur “performed” on stage at the Coachella music festival. Tupac was murdered in 1996; his ghostly presence was the result of a hologram. His holo- graphic form, the “Pac-O-Gram”, took to the stage to a breathless crowd of fans. The holographic performance is a product of technological advances. Yet reports of the holographic performance were filled with references to Tupac’s “resurrection”, a significant word choice, and one which links the rapper’s return with medieval hagiography more than the advance of technology. What can an examination of the modern example of the Pac-O-Gram and examples drawn from medieval hagiography of the dead returning to life add to each other? Introduction ‘felt like they were seeing Tupac rise from Renowned American rapper and actor Tupac the grave,’ according to one source (Dinar Shakur was gunned down on 7 September 2012). Another was impressed that the Pac- 1996. Six days later, he died in hospital. On O-Gram’s performance of the song ‘Hail 15 April 2012, Tupac returned to the stage Mary’ was ‘incredibly lifelike’, and applauded at the Coachella Valley Music and Arts Fes- the creators with successfully ‘reanimat- tival to the rapturous reception of 75,000 ing corpses’ (Souppouris 2012). The perfor- spectators, in an unexpected appearance mance was described as a ‘resurrection’ in during Dr Dre and Snoop Dogg’s headline three other sources (Gardner 2012, Magrath set. The Tupac “hologram”, created by Digi- 2012, Wappler 2012). tal Domain Media Group and also known as The technology to “reanimate” Tupac is a the Pac-O-Gram, performed some of his own form of optical illusion called Pepper’s Ghost songs, accompanied at turns by Dr Dre and (Souppouris 2012, Wappler 2012, Orr 2012). Snoop Dogg (Collins 2012). The audience Pepper’s Ghost, named after co-developer John Henry Pepper, was in wide usage from the end of the nineteenth century (Posner * Department of French, UCL 2012: 149-204). In 1862, Pepper unveiled an [email protected] improved and simplified version of technol- Spencer-Hall / Post-Mortem Projections 57 ogy initially created by Henry Dircks which mony against God, that he hath raised would allow for the apparent projection of up Christ; whom he hath not raised spectres in any space large enough to con- up, if the dead rise not again. For if tain the necessary mechanisms (Posner 2012: the dead rise not again, neither is 191-92, Pepper 1890: 3). Pepper and Dircks Christ risen again. And if Christ be not patented the device shortly thereafter in risen again, your faith is vain, for you 1863 (Posner 2012: 192). In Pepper’s Ghost, are yet in your sins. (Douay-Rheims a thin metallic film screen is placed in front Catholic Bible)2 of the stage, at an angle of 45 degrees to the audience (Pepper 1890: passim; Beech Moreover, medieval hagiographic tales 2012: 59-60). An image is projected on to have a number of examples of saints’ resur- the film, from an LED screen of projector rection. Such occurrences of resurrection placed in a recess below the screen. From the echo the first resurrection of Christ. Thus, perspective of the spectators, the reflected such occurrences both depend on doctrine visuals are onstage. Thus, the Pac-o-Gram is for authenticity but also bolster the valid- not actually a product of cutting edge holo- ity of the doctrine itself. The biography of graphic technology — nor a hologram per se Christina Mirabilis (c. 1150-1224), written — but rather an old conjuring trick1. “Holo- Thomas of Cantimpré ca. 1232, begins with gram” in the popular parlance, and media the first death of its protagonist, a humble sources consulted for this research, equates cow-herding orphan from Sint-Truiden (Can- to the spectral appearance of (computerised) timpré 1868). Devout religious meditation bodies through unobtrusive or overtly unac- has led to a fatally severe illness. However, knowledged artificial means. It is the strange after a day’s wait, her corpse springs to life ghostliness of the Tupac hologram which is and the holy woman is delivered back to the almost universally acknowledged, whilst the earthly world (Cantimpré 1868: 651). Chris- technology underpinning it is almost irrele- tina has been returned to the living in order vant. Reports on the Tupac hologram are sol- to experience the torments of purgatory on idly focussed on the blurring of the bounda- earth by divine will (Cantimpré 1868: 651-2). ries between life and death rather than the Her post-mortem body will be able miracu- development of technology. lously to withstand such suffering, and she Resurrection, at first glance, appears to will remain essentially corporeally intact — be a topic more pertinent to a discussion of unable to die — by the myriad punishments medieval Catholic theology than modern rap to come. After her initial death, Christ tells music performances. In I Corinthians 15:12- Christina that if she chooses to return to 17, St Paul proclaims that a belief in general earth, she will receive an ‘immortalis animus’ resurrection follows from the fundamental (‘immortal soul’) in a ‘mortale corpus’ (‘mor- cornerstone of Christian theology, Christ’s tal body’) that will receive purgatiorial pun- own resurrection: ishments on earth ‘sine detriment sui’ (‘with- out damage to it’) (Cantimpré 1868: 652 and Now if Christ be preached, that he 2008: 131). Christina dies a second time at arose again from the dead, how do the end of the narrative, only to be resur- some among you say, that there is no rected for a few moments by an inquisitive resurrection of the dead? But if there nun (Cantimpré 1868: 659). The holy woman be no resurrection of the dead, then experiences three deaths in total, but only Christ is not risen again. And if Christ the last one sticks. Christina’s returns to life be not risen again, then is our preach- are examples of “literal” resurrection, as it ing vain, and your faith is also vain. were, with Christina returning to her life on Yea, and we are found false witnesses earth complete with a (glorified) body, await- of God: because we have given testi- ing her next death. 58 Spencer-Hall / Post-Mortem Projections Christina’s resurrection experiences are degrade and cannot seemingly be altered by not unique within hagiography. At least the mortal world. eight other medieval saints are shown to Andrew Joynes maintains that medieval experience mystical resurrection. Elizabeth tales of the dead returning to life ‘indicate Petroff cites the mystics Catherine of Siena various aspects of medieval belief about (1347-1380), Magdalena Beutler (1407- the possibility of traffic across the mysteri- 1458), St. Teresa of Avila (1515-1582) and ous border between the living and the dead’ Julian of Norwich (1342-c.1416) as expe- (2001: xi). Given the loaded language of “res- riencing miraculous resurrection (Petroff urrection” used to describe the Tupac holo- 1986: 40-1)3. Christine Quiqley suggests gram, it is hard not to draw a similar conclu- the following individuals as further cases of sion about modern beliefs, at least at first mystically resurrected saints: St. Winifride glance. What facilitates such meditations (d. c. 660), Blessed Peter Amengol (d. 1304), on the boundaries between life and death Saint Agnes of Montepulciano (d. 1317), and within modern secular society? What other Blessed Margaret of Castello (d. 1320) (Quig- signification does the Pac-O-Gram offer upon ley 1996: 192-3). I add the further example further examination? Can alternative inter- of Saint George (d. 303) who experienced pretations of the Pac-O-Gram add to medi- three deaths and subsequent resurrections eval scholarship on saintly resurrection? during his martyrdom, chronicled by Simund de Freine (1909) in an early twelfth-century ‘Forget keeping it real; thug life version of George’s life. just got surreal.’ (Wappler 2012) Another form of momentary resurrec- As Jesus’ resurrection is at the very core of tion is evident in medieval hagiography: the Catholic doctrine, the possibility that Tupac return of the dead, complete with a physical still lives is at the heart of his celebrity body, in mystical visions. For example, Mar- mythos. Tupac is an individual whose life/ garet of Ypres (1216-37) appears three times death status is already problematic, which post-mortem, both in the mortal world in a accentuates the unsettling, ghostly nature hall at the side of a preacher and in visions of of his holographic projection at Coachella. heaven (Cantimpré 1948: 129-30). The Pac- Days after the Coachella performance, Suge O-Gram corresponds to a short-lived literal Knight, former CEO of Tupac’s home label resurrection—the rapper “comes back to life” Death Row Records and eye-witness to once the hologram is switched on, and then Tupac’s fatal shooting, suggested that the “dies” when the apparatus is turned off.
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