Problems with and Alternatives to Humanitarianism and Savior Narratives for Ethiopia and Rwanda

Total Page:16

File Type:pdf, Size:1020Kb

Problems with and Alternatives to Humanitarianism and Savior Narratives for Ethiopia and Rwanda “A Puzzle Viewed From Within”: Problems with and Alternatives to Humanitarianism and Savior Narratives for Ethiopia and Rwanda by Mandy Ann Davis A dissertation submitted in partial fulfillment of the requirements of the degree of Doctor of Philosophy (Comparative Literature) in The University of Michigan 2014 Doctoral Committee: Professor Frieda Ekotto, Chair Assistant Professor Omolade Adunbi Associate Professor Christi Merrill Associate Professor Miriam Ticktin, The New School Dedication This dissertation is dedicated to our son, Nelson, and Baby #2, who will make his or her appearance soon. You both inspire my work and make it all the more urgent. My dream is that you may carry this work forward, as well. ii Acknowledgements My sincere thanks to my committee, Omolade Adunbi, Christi Merrill, and Miriam Ticktin, and especially my chair, Frieda Ekotto, who has been with me throughout this journey. Thank you for all of your individual and collective advice and encouragement. Thanks also to the Department of Comparative Literature for allowing me the time and latitude to explore in many different directions. Thanks to the members of my cohort: Jeffrey for laughter and keeping me sane during our early years; Suphak for many discussions and encouragement that helped me stay on course; Corina for adding beauty to our lives and for the last-minute editing that strengthened the project immensely. To my family and my in-laws: thank you for your help and encouragement in getting here. To the many friends and colleagues recently who have helped me as I've sought a balance between being an academic and being a parent. And finally, my biggest thanks to my husband, Dave. His unfailing support and encouragement, his faith in me and this project, have made all the difference. I would not have gotten here without you. iii Preface This project has many origins, but its most concrete beginning is with the novels about Rwanda by Tierno Monénembo and Boubacar Boris Diop, which Frieda Ekotto introduced me to. My reading of them and fascination with them was shaped by courses I took around the same time: several dealing with human rights, another on violence in Africa, and another on citizenship. The theme of human rights clearly came up many times, but conferences, lectures, and conversations also led to thinking about the role of humanitarianism. All of these influences lingered in my mind as I read through many histories of Rwanda and accounts of the genocide. In the meantime, two conference papers gave me the space to think of each novel in relationship to depoliticization – a theme that resonated strongly when people wrote about the genocide. Based on these accounts, I looked at media coverage of the genocide and included comparisons in my conference papers. The frequent depoliticization piqued my curiosity: why was it so easy to write about Rwanda in this way? What other references did writers have in mind when they saw Rwanda without a political lens, as a place of natural or inevitable crisis? Anyone familiar with African literature and history will know that misrepresenting Africa is not new, but in my pondering, I recalled one of the moments that shaped my own childhood knowledge of Africa – the famine in Ethiopia, which, as a child, I saw mainly through the lens of the song “We Are the World.” Intrigued, I began reading histories of Ethiopia and read through the lyrics of the song, as well as “Do They Know It’s Christmas?” and “Tears Are Not Enough,” and saw a similar vein of depoliticization. Though vastly different and highly political, the famine and the genocide were written about in ways that obscured their histories, insisted on the importance of humanitarianism, and often made the North the focus of the story. The unexpected similarities in the discourse convinced me that looking at both Ethiopia and Rwanda would shed light on the problems of the discourse, as well as some alternatives. In this way, I brought the project into focus by looking at how the media iv and humanitarian advertisements constructed the stories of the two countries around strikingly similar savior narratives and humanitarian discourses. Comparing each country shed light on the other – revealing further problems with the discourses, and yet also promising alternatives. This project has been challenging in three often-related ways: on the one hand, the subject matter is difficult and, though compelling, also heart-wrenching. These are stories of hundreds of thousands of lives lost and the sheer size of that loss is nearly overwhelming. This leads to my second point: that, though I feel compelled to learn about this, and then to share what I’ve learned through conversations or teaching or writing, this response often feels inadequate. And challenging humanitarianism – a movement which is saving lives now – feels audacious, at times, even as I keep in mind the bigger goal of reshaping the world such that humanitarian interventions are no longer necessary. These finally lead to my third point: that my personal challenge has always been finding and trusting my own voice in my research and writing. Setting myself this project has not made my task easier! But in teaching undergraduates and discussing my project with colleagues both inside and outside of academia, I remain convinced that these three significant challenges make the project all the more critical, in respecting those lost, challenging the status quo. v Table of Contents Dedication..................................................................................................................................ii Acknowledgements............................................................................................................... iii Preface........................................................................................................................................iv List of Figures..........................................................................................................................vii Introduction: On Depoliticization, Savior Narratives, Rhetoric, and Power in Humanitarian Discourses.....................................................................................................1 Chapter One: Media and Humanitarian Ads for Ethiopia: Capitalism as Savior .................................................................................................................................................... 34 Chapter Two: Media and Humanitarian Ads for Rwanda: Distancing and Disempowering..................................................................................................................... 65 Chapter Three: Songs for Famine Relief: From Savior Narratives to “Tears Are Not Enough”............................................................................................................................ 90 Chapter Four: Novels About the Genocide: Countering Humanitarian Discourses and Imagining Alternatives......................................................................116 Conclusion: Empowering and Looking Ahead ..........................................................171 Bibliography.........................................................................................................................181 vi List of Figures Figure 1 – Advertisement for International Christian Relief, run 15 Dec 1984 ............... 56 Figure 2 – Advertisement for ComputerLand, run 28 May 1985..................................... 61 Figure 3 – Advertisement for Royal Air Force, run 27 March 1985 ................................ 63 Figure 4 - Advertisement for Oxfam, run 19 Dec 1984.................................................... 64 Figure 5 – Advertisement for CARE, run 20 May 1994................................................... 80 Figure 6 – Advertisement for CARE, run 27 July 1994 ................................................... 81 Figure 7 – Four advertisements enforcing the “emergency discourse” ............................ 82 Figure 8 – Advertisement for the American Jewish Joint Distribution Committee, run 29 July 1994................................................................................................................... 86 Figure 9 – Cover art for “Do They Know It’s Christmas?”.............................................. 95 vii Introduction: On Depoliticization, Savior Narratives, Rhetoric, and Power in Humanitarian Discourses In writing about the Holocaust, scholar Yehuda Bauer argues, “It has often been said that if the Holocaust is totally inexplicable, utterly mysterious…then it is also outside history and therefore irrelevant to rational discourse….if the Holocaust is a onetime, inexplicable occurrence, then it is a waste of time to deal with it” (14). Against this view, he makes clear that he believes in studying and demystifying the Holocaust because “we ought to do everything in our power to make sure [the Holocaust] is a warning, not a precedent” (3). These sentiments from Bauer’s book – recommended to me by a professor in Rwanda – have stayed with me as I started my research on problems of humanitarianism in relationship to the 1984/85 famine in Ethiopia and the 1994 genocide in Rwanda. In my project, I study the literature in which the media and humanitarian advertisements, songs and novels explain the famine and the genocide, how they fit into history and rational discourse, with the hope that, indeed, they do not become a precedent. From another angle, Peter Redfield and Erica Bornstein observe the great number of
Recommended publications
  • Papaoutai Memory Studies Redacted for Pure Dec 2018
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by King's Research Portal King’s Research Portal Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Norridge, Z. C. (Accepted/In press). Papaoutai? Family Memory, Parental Loss and Rwandan Artists Today. Memory Studies. Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.
    [Show full text]
  • A Film by Atiq Rahimi "There Is No Better Lycée Than Our Lady of the Nile
    A film by Atiq Rahimi "There is no better lycée than Our Lady of the Nile. Nor is there any higher. Twenty-five hundred meters, the white teachers proudly proclaim. “Two thousand four hundred ninety-three meters,” points out Sister Lydwine, our geography teacher. “We’re so close to heaven,” whispers Mother Superior, clasping her hands together." Excerpt from Scholastique Mukasonga "Our Lady of the Nile" OUR LADY OF THE NILE A film by Atiq Rahimi 2019 - France, Belgium, Rwanda - 93 mn - Color - French with some Kinyarwanda SCREENINGS SCHEDULE @ TIFF INTERNATIONAL SALES Nicolas Eschbach ([email protected]) Florencia Gil ([email protected]) PRESS & INDUSTRY Simon Gabriele ([email protected]) SAT 7, 11:45 AM @ Scotiabank 6 Clément Chautant ([email protected]) FRI 13, 12:30 PM @ Scotiabank 8 INTERNATIONAL PRESS PUBLIC Touchwood PR THU 5, 6:45 PM @ TIFF Bell Lightbox Cinema 1 Andrea Grau FRI 6, 12:15 PM @ Jackman Hall [email protected] SAT 14, 8:30 PM @ Scotiabank 8 +1 (416) 347 6749 SYNOPSIS Rwanda, 1973. Young girls are sent to Our Lady of the Nile, a prestigious Catholic boarding school perched on a hill, where they are taught to become the Rwandan elite. With graduation on the horizon, they share the same dormitory, the same dreams and the same teenage concerns. But throughout the land as well as within the school, deep-seated antagonism is rumbling, about to change these young girls’ lives – and the entire country – forever. ATIQ RAHIMI Atiq Rahimi is a novelist and filmmaker. His first feature, EARTH AND ASHES, co-authored with Iranian filmmaker Kambuzia Partovi, was presented in the “Un Certain Regard” section at the 2004 Cannes Film Festival where it was awarded the Prix du Regard vers l’Avenir.
    [Show full text]
  • Marygold Manor DJ List
    Page 1 of 143 Marygold Manor 4974 songs, 12.9 days, 31.82 GB Name Artist Time Genre Take On Me A-ah 3:52 Pop (fast) Take On Me a-Ha 3:51 Rock Twenty Years Later Aaron Lines 4:46 Country Dancing Queen Abba 3:52 Disco Dancing Queen Abba 3:51 Disco Fernando ABBA 4:15 Rock/Pop Mamma Mia ABBA 3:29 Rock/Pop You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:31 Rock AC/DC Mix AC/DC 5:35 Dirty Deeds Done Dirt Cheap ACDC 3:51 Rock/Pop Thunderstruck ACDC 4:52 Rock Jailbreak ACDC 4:42 Rock/Pop New York Groove Ace Frehley 3:04 Rock/Pop All That She Wants (start @ :08) Ace Of Base 3:27 Dance (fast) Beautiful Life Ace Of Base 3:41 Dance (fast) The Sign Ace Of Base 3:09 Pop (fast) Wonderful Adam Ant 4:23 Rock Theme from Mission Impossible Adam Clayton/Larry Mull… 3:27 Soundtrack Ghost Town Adam Lambert 3:28 Pop (slow) Mad World Adam Lambert 3:04 Pop For Your Entertainment Adam Lambert 3:35 Dance (fast) Nirvana Adam Lambert 4:23 I Wanna Grow Old With You (edit) Adam Sandler 2:05 Pop (slow) I Wanna Grow Old With You (start @ 0:28) Adam Sandler 2:44 Pop (slow) Hello Adele 4:56 Pop Make You Feel My Love Adele 3:32 Pop (slow) Chasing Pavements Adele 3:34 Make You Feel My Love Adele 3:32 Pop Make You Feel My Love Adele 3:32 Pop Rolling in the Deep Adele 3:48 Blue-eyed soul Marygold Manor Page 2 of 143 Name Artist Time Genre Someone Like You Adele 4:45 Blue-eyed soul Rumour Has It Adele 3:44 Pop (fast) Sweet Emotion Aerosmith 5:09 Rock (slow) I Don't Want To Miss A Thing (Cold Start)
    [Show full text]
  • Papaoutai? Family Memory, Parental Loss and Rwandan Artists Today
    King’s Research Portal DOI: 10.1177/1750698019844807 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Norridge, Z. (2019). Papaoutai? Family Memory, Parental Loss and Rwandan Artists Today. Memory Studies, 0(0), 1-21. https://doi.org/10.1177/1750698019844807 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.
    [Show full text]
  • Scholastique Mukasonga IGIFU Translated from the French by Jordan Stump
    archipelago books 232 third street #A111. brooklyn, ny 11215 www.archipelagobooks.org FOR IMMEDIATE RELEASE please contact: Sarah Gale Publication date: 15 September 2020 [email protected] Newly translated work from the National Book Award–nominated Scholastique Mukasonga IGIFU Translated from the French by Jordan Stump In this new collection of short stories, Scholastique Mukasonga examines Rwanda through the habits, alliances, superstitions, and rituals that make up her characters’ lives, before and after the genocide. In one story, a child observes his father tenderly caring for his herd of cows, protecting them from poisonous plants, steep slopes, and cunning cattle thieves; teasing nearby cowherds about the superior health of his herd; bringing them fresh water from a nearby spring. In another, a woman begins to reckon with the loss of her entire family in the genocide first by attending the funerals of strangers and then by returning to Rwanda and to the place where she was raised. The gentleness of shared daily labor comes into sharp relief against the bitter meaninglessness of mass murder. Mukasonga masterfully renders these contrasts, and the many shades of life that come between them, in five sharply drawn stories, translated here for the first time into English. Praise for Igifu Haunted though they are by the memory of the unspeakable atrocities visited on her family and her people, these stories by Scholastique Mukasonga breathe upon a vanished world and bring it to life in all its sparkling multifariousness. — J. M. Coetzee A profound love of family and the Tutsi tradition infuses, suffuses, and animates Mukasonga's stories of the Rwandan genocide, the slaughter of her people.
    [Show full text]
  • Songs by Title
    Songs by Title Title Artist Versions Title Artist Versions #1 Crush Garbage SC 1999 Prince PI SC #Selfie Chainsmokers SS 2 Become 1 Spice Girls DK MM SC (Can't Stop) Giving You Up Kylie Minogue SF 2 Hearts Kylie Minogue MR (Don't Take Her) She's All I Tracy Byrd MM 2 Minutes To Midnight Iron Maiden SF Got 2 Stars Camp Rock DI (I Don't Know Why) But I Clarence Frogman Henry MM 2 Step DJ Unk PH Do 2000 Miles Pretenders, The ZO (I'll Never Be) Maria Sandra SF 21 Guns Green Day QH SF Magdalena 21 Questions (Feat. Nate 50 Cent SC (Take Me Home) Country Toots & The Maytals SC Dogg) Roads 21st Century Breakdown Green Day MR SF (This Ain't) No Thinkin' Trace Adkins MM Thing 21st Century Christmas Cliff Richard MR + 1 Martin Solveig SF 21st Century Girl Willow Smith SF '03 Bonnie & Clyde (Feat. Jay-Z SC 22 Lily Allen SF Beyonce) Taylor Swift MR SF ZP 1, 2 Step Ciara BH SC SF SI 23 (Feat. Miley Cyrus, Wiz Mike Will Made-It PH SP Khalifa And Juicy J) 10 Days Late Third Eye Blind SC 24 Hours At A Time Marshall Tucker Band SG 10 Million People Example SF 24 Hours From Tulsa Gene Pitney MM 10 Minutes Until The Utilities UT 24-7 Kevon Edmonds SC Karaoke Starts (5 Min 24K Magic Bruno Mars MR SF Track) 24's Richgirl & Bun B PH 10 Seconds Jazmine Sullivan PH 25 Miles Edwin Starr SC 10,000 Promises Backstreet Boys BS 25 Minutes To Go Johnny Cash SF 100 Percent Cowboy Jason Meadows PH 25 Or 6 To 4 Chicago BS PI SC 100 Years Five For Fighting SC 26 Cents Wilkinsons, The MM SC SF 100% Chance Of Rain Gary Morris SC 26 Miles Four Preps, The SA 100% Pure Love Crystal Waters PI SC 29 Nights Danni Leigh SC 10000 Nights Alphabeat MR SF 29 Palms Robert Plant SC SF 10th Avenue Freeze Out Bruce Springsteen SG 3 Britney Spears CB MR PH 1-2-3 Gloria Estefan BS SC QH SF Len Barry DK 3 AM Matchbox 20 MM SC 1-2-3 Redlight 1910 Fruitgum Co.
    [Show full text]
  • Celebrating 40 Years of Commercial Radio With
    01 Cover_v3_.27/06/1317:08Page1 CELEBRATING 40 YEARS OF COMMERCIAL RADIOWITHRADIOCENTRE OFCOMMERCIAL 40 YEARS CELEBRATING 01 9 776669 776136 03 Contents_v12_. 27/06/13 16:23 Page 1 40 YEARS OF MUSIC AND MIRTH CONTENTS 05. TIMELINE: t would be almost impossible to imagine A HISTORY OF Ia history of modern COMMERCIAL RADIO music without commercial radio - and FROM PRE-1973 TO vice-versa, of course. The impact of TODAY’S VERY privately-funded stations on pop, jazz, classical, soul, dance MODERN BUSINESS and many more genres has been nothing short of revolutionary, ever since the genome of commercial radio - the pirate 14. INTERVIEW: stations - moved in on the BBC’s territory in the 1960s, spurring Auntie to launch RADIOCENTRE’S Radio 1 and Radio 2 in hasty response. ANDREW HARRISON From that moment to this, independent radio in the UK has consistently supported ON THE ARQIVAS and exposed recording artists to the masses, despite a changing landscape for AND THE FUTURE broadcasters’ own businesses. “I’m delighted that Music Week 16. MUSIC: can be involved in celebrating the WHY COMMERCIAL RadioCentre’s Roll Of Honour” RADIO MATTERS Some say that the days of true ‘local-ness’ on the UK’s airwaves - regional radio for regional people, pioneered by 18. CHART: the likes of Les Ross and Alan Robson - are being superseded by all-powerful 40 UK NO.1 SINGLES national brands. If that’s true, support for the record industry remains reassuringly OVER 40 YEARS robust in both corners of the sector. I’m delighted that Music Week can be involved in celebrating the RadioCentre’s 22.
    [Show full text]
  • Masarykova Univerzita V Brně Filozofická Fakulta
    Masarykova univerzita v Brně Filozofická fakulta Ústav hudební vědy Management v kultuře Michael Kořínek Kontext Band Aid, USA for Africa a Live Aid ve vývoji moderní populární hudby a absence vnímání tohoto kontextu v československém prostředí Magisterská diplomová práce Vedoucí práce: PhDr. Aleš Opekar, CSc. 2014 Prohlášení: Prohlašuji, ţe jsem bakalářskou práci vypracoval samostatně s vyuţitím uvedených pramenů a literatury. …………………………………… II Poděkování: Panu PhDr. Aleši Opekarovi Csc. děkuji za všechny konzultace k této magisterské diplomové práci. Pánům doc. Ing. Vladimíru Hyánkovi, Ph.D. a Mgr. Bc. Jaroslavu Benákovi děkuji za konzultace a doporučení stran zdrojů a materiálů. Za odpověď a vyplnění emailového dotazníkového šetření děkuji: Heleně Burianové, Janě Jaruškové, Pavlu Stratilovi, Gabriele Štěpánkové a Jitce Václavkové III PŘEDMLUVA: ................................................................................................................................... 1 ÚVOD: ................................................................................................................................................. 1 HUMANITNÍ ODDÍL: ....................................................................................................................... 6 OSOBNOSTI CHARITATIVNÍCH NAHRÁVÁNÍ A KONCERTŮ: ......................................... 12 3.1 BOB GELDOF ............................................................................................................................. 12 3.2 BONO VOX ...............................................................................................................................
    [Show full text]
  • Making Music Radio
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Stirling Online Research Repository MAKING MUSIC RADIO THE RECORD INDUSTRY AND POPULAR MUSIC PRODUCTION IN THE UK James Mark Percival A thesis submitted for the degree of Doctor of Philosophy Department of Film and Media Studies University of Stirling July 2007 J Mark Percival - Making music radio: the record industry and popular music production in the UK For my mother, Elizabeth Ann Percival (née Murphy) (1937-2004) and my father, Stanley Thomas Percival. J Mark Percival - Making music radio: the record industry and popular music production in the UK i ABSTRACT Music radio is the most listened to form of radio, and one of the least researched by academic ethnographers. This research project addresses industry structure and agency in an investigation into the relationship between music radio and the record industry in the UK, how that relationship works to produce music radio and to shape the production of popular music. The underlying context for this research is Peterson's production of culture perspective. The research is in three parts: a model of music radio production and consumption, an ethnographic investigation focusing on music radio programmers and record industry pluggers, and an ethnographic investigation into the use of specialist music radio programming by alternative pop and rock artists in Glasgow, Scotland. The research has four main conclusions: music radio continues to be central to the record industry's promotional strategy for new commercial recordings; music radio is increasing able to mediate the production practices of the popular music industry; that mediation is focused through the social relationship between music radio programmers and record industry pluggers; cultural practices of musicians are developed and mediated by consumption of specialist music radio, as they become part of specialist music radio.
    [Show full text]
  • Coldplay at Super Bowl Dear Denise Warner, I
    From: [email protected] To: [email protected] SUB: Coldplay at Super Bowl Dear Denise Warner, I have been reading the articles published on Billboard about Coldplay and many other singers. I appreciate the way Billboard is always updated and the posts cover interesting news. Since the several articles Billboard writes about music, and the different sections that are on your website, I would like to ask you to write about Coldplay’s show at the Super Bowl 50. The article could be published either in the news or in the rock section. Thank you for your time and consideration, Best regards, Diana Nicole Caldara Diana Nicole Caldara [email protected] COLDPLAY AT SUPER BOWL 50 To celebrate the seventh album release on December 4th, Coldplay are going to play during the half time show at Super Bowl 50. They will perform famous songs as well as new ones. COLDPLAY PERFORMING AT LEVI’S STADIUM Sunday February 7th at 3.25 pm in the City of Santa Clara at the state-of-the-art Levi’s Stadium. The band is celebrating their new album a Head full of dreams Coldplay are preparing a memorable show for the Super Bowl game this February; they will perform with special guests Beyoncé and Bruno Mars for an unforgettable half time show. The Super Bowl 50 will open with Lady Gaga singing the national anthem, then the game Panthers versus Broncos will start, and during the half time Coldplay will perform as never before. More info about Coldplay REVIWS According to Rolling Stone, Coldplay's 2014 album Ghost Stories was “a surprisingly dark and muted set released .And A Head Full of Dreams might be Coldplay's brightest album ever”.
    [Show full text]
  • Scholastique Mukasonga the New Yorker, June 22, 2020
    Grief Scholastique Mukasonga The New Yorker, June 22, 2020 On TV, on the radio, they never slaughter had spared them for now? called it genocide. As if that word were Maybe they’d managed to escape into reserved. Too serious. Too serious for exile, as she had? Her parents, on Africa. Yes, there were massacres, but the hill, had no telephone, of course, there were always massacres in Africa. but she called one of her brothers, who And these massacres were happening taught in Ruhengeri. The phone rang in a country that no one had ever and rang. No one answered. She called heard of. A country that no one could her sister, who’d married a shopkeeper find on a map. Tribal hatred, primi- in Butare. A voice she’d never heard tive, atavistic hatred: nothing to un- before told her, “There’s nobody here.” derstand there. “Weird stuff goes on She called her brother in Canada. He where you come from,” people would was the eldest. If their parents were tell her. dead, then he’d be the head of the fam- She herself didn’t know the word, ily. Perhaps he had news, perhaps he but in Kinyarwanda there was a very had advice, perhaps he could help her old term for what was happening in her begin to face her terror. They spoke, homeland: gutsembatsemba, a verb, and then they fell silent. What was used when talking about parasites or there to say? From now on, they were mad dogs, things that had to be eradi- alone.
    [Show full text]
  • Fifty Years of Songs and Large Concerts for Solidarity
    Fifty Years of Songs and Large Concerts for Solidarity Alba Sanfeliu Bardia Translated by Alba de Béjar Muiños and Patricia Rodríguez Groba Solarità, è questa qua la parola chiave che ti do, aprire farà quegli occhi che si stanno abituando al buio da un po’. Solarità, intesa lo sai, come chiarezza dove sempre non c’è, come calore d’umanità che vorrei sentire intorno a me. Solarità, è questa l’idea, se provi a crederci anche tu, si diffonderà di più… Eros Ramazzotti, Solarità, album: Calma Aparente, 2005. Solarity, this will be the word that I’ll make up. I know it’ll open the eyes that are getting used to not wanting to see. Solarity will mean light and warmth that impregnates each being, Like a hug of humanity that I would want around my being. Solarity, this is the idea, if you can accept it, it will give us hope. Eros Ramazzotti, Solarità, album: Calma Aparente, 2005. Throughout history, Occidental music―specifically the style known as pop-rock that surfaced sixty years ago―has maintained a close relationship with the concept of solidarity. This essay will focus its attention on the musical feedback around the notion of solidarity emanating from Europe and the United States. The essay centers on certain given songs that have signaled a turning point with respect to this concept, that is, songs that have meant a break from the past since they were played for the first time. Likewise, the analysis stresses the individual prominence of certain singers and musical initiatives that, by means of music, have promoted solidarity.
    [Show full text]