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Part Four: Disease and Cultural Production PART FOUR: DISEASE AND CULTURAL PRODUCTION POEMS OF THE PANDEMIC: POPULAR CULTURE AND THE SPANISH FLU IN SOUTH AFRICA One of the most overwhelming cultural constitute the pop culture archive features of the Covid-19 pandemic is future historians consult to understand include the Spanish Flu as part of the the onslaught of media responses that how we began to make sense of the One of Ours, permeate almost every aspect of daily Covid-19 pandemic as it emerged in was not published until 1922, when it life in the United States. The barrage 2020. 4 of opposing political opinions, the We are not only using pop culture For in-the-moment commentary uncertainty surrounding the collection to navigate the present, though. in 1918, communities turned to of reliable data, the dysfunctional Commentators are using historical relationship between state and federal comparisons to make sense of our absence of radio, music circulated governments, and the general failure current moment, too. A key touchstone in print; new songs often found of the state to provide a coherent for this coronavirus crisis—in the distribution soon after being response—or even to disseminate English-language media and in this composed. The two poems and two trustworthy information—laid bare special issue of the World History cracks in the foundations of American Bulletin time cultural responses to the Spanish society and our contemporary world. pandemic commonly known as the Flu. Although they likely do not Musical parodies provide amusing Spanish Flu.3 Other contributions represent the entirety of the genre— distraction from the 24-7 news cycle in this issue document government much pop culture was ephemeral and and attract large audiences. Singer- policy, mortality, medical treatments, escaped archiving, and is now beyond living memory—this small corpus provides a valuable counterpoint of ingesting bleach as a treatment for to newspaper articles and cartoons. The verses can be read as historical sung to the tune of “A Spoonful of popular cultural responses to the Spanish Flu in South Africa. This emotional responses to the pandemic Mary Poppins—garnered nearly research reveals that linguistically and voice perspectives from diverse and culturally diverse poetry and song weeks after its release.1 Amateur and share common themes in the face of variegated culture-scape. professional musicians alike have a threatening disease. The verses of An anonymous poem published in angry Afrikaners, a mission educated a regional Afrikaans newspaper, a watched by millions on YouTube, Zulu, privileged schoolboys, and a song by a prominent Zulu musician, Facebook, TikTok, and other media. dyspeptic district surgeon coalesce a schoolboy ditty, and a lengthy ode around fear, disruption, and a institutions such as the Getty Museum deep distrust of authority, whether administrative or spiritual. in Amsterdam issued social media challenges to encourage people to form of pop culture in the early for weaving individual narratives into photograph reenactments of famous twentieth-century British colonial a meaningful, encompassing history. artworks in their own homes, then world—which included South Africa post the images online. The results are in 1918, even though white settlers leading historian of the Spanish Flu, astonishingly creative and beautiful.2 negotiated independence in 1910. This online overload—family and likely the school song never entered 1918, but theaters were closed during under social distancing; the sudden transfer of work and education to public health response, seems to have spread of misinformation about of popular culture and news media, escaped historical commentary until Covid-19 via Twitter—will all did not enter the public realm until now.5 World History Bulletin • Vol XXXVI • No. 1 • Page 41 The anonymous poem begins district surgeons wrote that influenza a young schoolboy in the Transkei at with the existential question of “swept like an avalanche through the the time. Sisulu would grow up to be human contact with a deadly District carrying off hundreds if not a prominent member of the African contagious disease: “Spanish Flu, thousands and leaving whole kraals National Congress with Nelson from overseas/ What are you doing desolate in its wake.”10 Mandela; he was sentenced to life in our Fatherland?”6 The opening Medical personnel (doctors, nurses in prison alongside Mandela at the stanzas invoke the poem’s place of and pharmacists) were spread very Rivonia Trial in 1964.14 publication, a newspaper called Ons thinly over huge regions which put Reuben Tholakele Caluza, the Vaderland (our fatherland), which tremendous pressure on the few doctors song’s composer, would have been had only been in circulation for two and nurses available. Magistrates and in the midst of this suffering. Already and a half years. The Afrikaans press native commissioners had to scramble famous when he wrote Influenza 1918, was relatively new, an outgrowth of to get medical supplies brought in he was music teacher at the Ohlange Afrikaner nationalism and political from cities where there were also Institute in KwaZulu-Natal—an organization following the defeat of serious shortages. Once the disease institution founded by Africans and the Afrikaner Republics by the British took hold, villagers began practicing modeled on the Tuskegee Institute. empire in the South African War what we now call social distancing Caluza was also a journalist, and (1899–1902). Despite maintaining in an effort to save themselves. One prominent member of the New power over indigenous Africans in rural observer from the interior of East African Movement. Well on his way post-war negotiations with English- London reported, “For two weeks a to becoming one of the most popular speaking settlers and the British great solemn hush has prevailed, no composers and performers of his day, empire, Afrikaners remained bitter one to be seen, no one to be heard; no Caluza’s music covered an enormous about the appalling treatment of their life on the farms, no work in the lands. range from ragtime music about communities during the war. The Lord influenza and his followers have modern love and urban life to political British use of concentration camps to held the countryside in their grip.”11 songs that reflected the burning issues imprison civilian women, children, Government officials also took of his time. While still a teenager, and the elderly was a rallying cry measures to enforce social distancing he wrote one of the most enduring of Afrikaner nationalism. There by “closing schools, prohibiting African protest songs, lamenting was active support amongst some meetings and indoor church services the 1913 Land Act that dispossessed Afrikaners for the Germans in World for Blacks, postponing court-cases Africans of their land and formed the War I and resistance to the new united and the payment of taxes, and basis of Apartheid-era homelands. South African government, including suspending military recruiting.” The South African Native National an armed rebellion.7 South African Only labor recruitment for the mines Congress, precursor to the African forces quelled the rebellion only nine persisted.12 National Congress, adopted the months before Ons Vaderland began Medical students, both white and song as its official anthem. Caluza’s circulation. It remained an explicit African, volunteered their services, choir made Enoch Sontonga’s Xhosa organ of the National Party and but medical and government hymn Nkosi Sikelel’ iAfrika (God promoted education in Afrikaans. The officials met with hostility in local Bless Africa) popular. It became a newspaper had ties to both prominent communities who distrusted their preeminent anti-Apartheid struggles Afrikaner politicians and intellectuals, motives and methods. A report from song and eventually South Africa’s including in the literature department Umtata noted that, “The people national anthem after the end of of the Dutch Reformed Theological simply would not have us. One stood Apartheid.15 Caluza’s music was so School in Potchefstroom, where the outside his hut and insisted his child popular that many of his songs became poem may have been written.8 The was better; another woman took our part of the standard repertoire of other poem’s explicit religious invocations medicines but said we had come to groups. He was one of the first African accompany the fear that disease may poison them.”13 Africans used folk- composers to record his music and at undermine hard-fought political rights medicine and commercially prepared the forefront of introducing African and folk identity. concoctions, but there was almost music to a global audience. Columbia The Zulu song Influenza 1918 also total hostility to inoculations which Records recorded Influenza 1918 laments a community’s profound officials abandoned as a public health and African-American newspapers, disruption.9 Like white settlers, method because of suspicions about including W.E.B. DuBois’ The Crisis, African colonial subjects experienced the motives for the measure. The promoted his music.16 the upheavals of two major wars in a suffering was too great; suspicions Given the power differential among lifetime, followed by several outbreaks about white motives and malevolent Afrikaner, Black, and English South of virulent disease culminating in the spirit possession took hold. Some Africans, it is not surprising
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