performing nostalgia: body, memory, and the aesthetics of past

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LSU Doctoral Dissertations Graduate School

2012

Performing nostalgia: body, memory, and theaesthetics of past-homeJade C. HuellLouisiana State University and Agricultural and Mechanical College, [email protected]

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PERFORMINGNOSTALGIA:BODY,MEMORY,ANDTHEAESTHETICSOFPASTHOME

ADissertation

SubmittedtotheGraduateFacultyoftheLouisianaStateUniversityand

AgriculturalandMechanicalCollegeinpartialfulfillmentofthe

requirementsforthedegreeofDoctorofPhilosophy

in

TheDepartmentofCommunicationStudies

by

JadeC.HuellB.A.,ColumbiaCollege,ColumbiaSouthCarolina,2006

M.A.,UniversityofSouthCarolina,2008December2012

ii

Acknowledgements

First,Ithankmyfamilyfortheircontinuedsupportandforgoingaboveandbeyond

tomakesureIhadtheopportunitytopursueallofmyeducationalendeavors.Forthis,I

ameternallygratefulandforeverindebt.AlthoughIwillneverbeabletorepayyouforall

youhavegivenme,pleaseconsiderthefollowing.Dad,youareherebyforgivenfortossing

“Ping,”mygrease‐stainedconstructionpaperduck,inthegarbagewhenIwasachild.And

Mom,youwereright—Howeverunconsciously,Idotendtoleavecabinetsopen.Tomy

grandmothers,Idrawmystrength(andgoodgenes)fromyou.TomyJordan,Iloveyou

always.

Iextendmyheartfeltthankyoutoeachoneofmyfriendsandcolleagueswhose

company,help,andknowledgehavebeeninvaluable.Dr.JoeRhodes,Iforgiveyouforthe

hideousbluepaintinourfirstoffice.Dr.DanielleDickMcGeough,thankyousomuchfor

ourlongtalks,foryourencouragementeverystepoftheway,andforyourgreatfriendship.

CrissyStafford,wecanalwayssaywewrote“sistertations”together.EmilyGraves,

AnnemarieGaleucia,andMikealaDurrant,youguysarethebeststudybuddiesinthe

universeandIhavelovedmytimewitheachofyou.Toeveryonewhowasinvolvedinmy

showsand/orinmyindependentstudycourse,thankyou,thankyou,andthankyou.

Thosememorieswilllastforever.Additionally,Iwouldliketothankallthegraduate

studentswhohavetouchedmylifesincemovingtoBatonRouge.Youknowwhoyouare

andyouknowIlookforwardtoembarkingonourcareerstogether.Thankyouforworking

withmeinclass,inshows,andinlife.

Iextendmyappreciationtothegreatmindsthathaveguidedmealongthewaywith

theirknowledge,patience,andbeliefinmyabilities.ToDr.TrishSuchy,Dr.JohnFletcher,

iii

Dr.FemiEuba,Dr.TracyStephensonShaffer,Dr.StephanieHoustonGrey,Dr.NathanCrick,

Dr.LorettaPecchioni,Dr.RachelHall,Dr.MichaelBowman,Dr.BrianRusted,Dr.Lisa

Flanagan,Dr.DanielleVignes,Dr.SharonWeltman,Dr.MindyFenske,Dr.JasonMunsell,Dr.

HelenTate,Dr.TamaraBurk,SaraNalley,KyleLove,allthebrilliantfolkfromtheBlack

FeministPerformanceInstitute,andothers,Iexpressmygratitude.Eachofyouhas

touchedmyworldandthisdissertationinsomewonderfulway.Ihavebenefittedgreatly

fromthequalityanddiversityofyourapproachestoresearch,performance,andpedagogy.

Ioweabigthankyoutoeachmemberofmydissertationcommittee.Yourthoughts,

provocations,andcritiquecontinuetoinfluencemythinkingaboutthisproject.Iespecially

thankDr.RuthLaurionBowman,mydissertationadvisor,forherlove,respect,and

unwaveringconfidenceinmethroughoutmydoctoralstudies.IamsorryIburnedyour

okra.ButIamnotsorryIhadtheopportunitytobeoneofyouradvisees.Guidingme

knowinglyandskillfully,encouragingmetobemybest,youhavebeenalifeline,an

inspiration,andafriend.IbelievethatIcandomore,thatIammore,becauseofmy

relationshipwithyou.Thisdissertationwouldnotbepossiblewithoutyou,andIlook

forwardtoourfuturecollaborations.

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TableofContents

Acknowledgements………………………………………………………………………………………………………...ii

Abstract……………………………………………………………………………………………………………………….....v

ChapterOne.TracingtheBodyofNostalgia:Nostalgia,Performance,andPerformingNostalgia………………………………………………………………………………………………………………………..1

ChapterTwo.TheNostalgicBody:PracticesofAfricanAmericanGenealogicalMemory…………..……………………………………………………………………………………………………………22

ChapterThree.MyNervousBody:PerformingNostalgiaatElminaSlaveCastle……………...70

ChapterFour.StagingNostalgia:TimeandSpaceinCopiousNotes:ANostalgiaTale……………………………………………………………………………………………………………………………107ChapterFive.NotesTowardPerformingCriticalNostalgia:AReturnHome………………….175Epilogue………..……………………………………………………………………………………………………………200

WorksCited…………………..………..…………………………………………………………………………………..206

Vita…………………………………………………………………………………………………………………………….212

v

Abstract

Sinceitsetymologicalbeginnings,themeaningsandusagesofnostalgiahaveshifted

markedly.Intheshifting,nostalgia’sassociationswiththebodyandwiththeconceptof

homehasdiminished.ThisstudyofAfricanAmericannostalgiaforAfricausesgenealogical

inquiry,personalandautoethnographicnarrative,andperformancetheoriesandpractices

toreinvigoratetherelationsbetweenbody,memory,aesthetics,past,andhome.Attending

tooperationsoftimeandspace,Itheorizetheaforementionedrelationsinordertobuilda

theoryofcriticalnostalgia.FollowingDebboraBattaglia,Iargueandillustratethat

nostalgiaisanactrealizedinperformance,andIdevelopmytheoryofcriticalnostalgia

investigatingthreeprimarysitesofmemory:twoAfricanAmericangenealogywebsites,

ElminaCastle,aslavecastlelocatedonGhana’sWestcoast,andmyownstagedtheatre

productionCopiousNotes:ANostalgiaTale.

InformedbyMichelFoucault’smethodofcriticalgenealogyandJosephRoach’s

genealogiesofperformance,Ioffercriticalnostalgiaasamethodofscholarlyinquiry,asan

activepracticeofpersonalandculturalmemory,asatoolforrepresentingmemoriesof

past‐homes,andasacompositionalaesthetic.Inthestudy,Iinterrogatethehistoryof

nostalgiaanditsuseforscholarsasacriticalcategory.Theorizingthepositionalityofthe

corporealblackbodywithinnostalgicappealsofhome,homelandandcommunity,Iattend

totherelationsbetweenorigin,roots,andidentity.Further,Iexploretheperformative

possibilitiesofnostalgiainrelationtoaffectivebodilyexperienceandinrelationto

narrativesoftrauma.Finally,Iillustratetheutilityofcriticalnostalgiaforcreating

aestheticperformancessensitivetotimeandspace,andIsynthesizethemajortenantsof

criticalnostalgiaforuseinperformancepraxis.

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ChapterOne

TracingtheBodyofNostalgia:Nostalgia,Performance,andPerformingNostalgia

In1688,SwissphysicianJohannesHofercoinedtheterm“nostalgia,”combiningthe

Greeknostos,meaningtoreturnhome,andalgos,forpainorlonging,torefertoafamiliar

pathologywemightcallhomesicknesstoday.Sinceitsdebutinmedicalterminology,

nostalgiahasenjoyedarichcareerasadescriptiveandcriticalcategoryinthesocial

sciencesandinthehumanities.In“TheNostalgicSubject:AGenealogyofthe‘Critiqueof

Nostalgia,’”NaumanNaqvitracesthedevelopmentofnostalgiathroughhistoryinorderto

“induceorheightenanxietyabouttheuseofthewordasacriticalcategory”(Naqvi7).1

AccordingtoNaqvi,nostalgiaemergedasamedicaltermintheseventeenthcenturyto

describethemaladyofdesperatelyhomesick“peasant‐soldiers.”Inthenineteenthand

twentiethcenturies,nostalgiabecameassociatedwithcriminology,describingmotivation

foravarietyofcriminalactivity,suchasarsonandassault.Bythe1930sand1940s,

nostalgiawasknownasapsychologicaldisorder,amentalconditionthatmostcommonly

affecteduniversitystudents(Naqvi7‐8).

Further,somewherealongtheline,nostalgiatransformedfromuseasadiagnostic

tool,appliedtoindividualsdisplayingspecificbehaviors,toanindistinctcritique

“target[ing]thevalorizationandmanipulationofthepast”(Naqvi5).Thischangemarks

twoshiftscrucialtomystudy.Thefirstshiftisthemovementawayfromthecorporeal

bodyasanindicationofnostalgictendenciestowardanemphasisonpsychology.The

secondshiftisthatfromdiagnostictooltosocialcritique,turningnostalgiaintoalargely

theoreticalandsubjectiveconcept.Nostalgiatransformsfrombeingsubject‐centeredto1Forothercurrentreviewsofnostalgia,seeSusannahRadstone,TheSexualPoliticsofTime:Confession,Nostalgia,Memory;andJenelleWilson,Nostalgia:SanctuaryofMeaning.

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beingcenteredonthesubjectiveevaluationofatextorotherexpression,attitudeorstyle.

Nowadays,nostalgiaisusedofteninthecolloquialasastyleofdealingwithorwriting

aboutthepast,atbestintermsofromanticismorescapismandatworstinaneffortto

censorthepast.2Bytheendofhisstudy,Naqviconcludesthatthetermnostalgia,orany

temporalorientation,“cannotserviceasacriticalcategory”becauseit“obfuscatesour

judgment”and“tellsusnothingabouttheethicalandpoliticaltextureofawayofthinking”

(Naqvi48).Naqviarguesthatthehistoryofnostalgiaanditsnegativeassociationsembroil

itinthe“lossesandtormentsofmodernity”(Naqvi48).AccordingtoNaqvi,nostalgia

minimizestheconsequencesofmodernityandspecificallycolonialismbycharacterizing

thepastaspleasantandproductive,incollusionfinallywiththemodernprojectof

progress.

Conversely,inthisdissertation,Iarguethattheetymologyandhistoryoftheterm

nostalgiagiveweighttoitscriticalpower.InresponsetoNaqvi,Ishowthatnostalgiacan

counternarrativesofmodernity.3Todoso,Ireturntoatheoryofnostalgiathatfeatures

thebody,abodytheorizedandrealizedinperformance.Above,IoutlinedwhatIseeas

twomajorshiftsinthehistoryofnostalgia,namely,themovementawayfromcorporeal

experienceandknowledgeandthemovementtowardnostalgiaasalargelytheoretical

concept.In“OnPracticalNostalgia:Self‐ProspectingAmongUrbanTrobrianders,”Debbora

Battagliaretainsthecorporealandmaterialaspectsofnostalgia,noticinghow“itcanbe

practicedindiverseways”byusersfortheirownpurposes(Battaglia77;emphasisin

original).Inkeepingwiththeetymologyofthetermnostalgia,denotinga“returnhome,”

2DavidLowenthalwritesthatnegativecritiquesofnostalgia,asafalserememberingforinstance,limitourunderstandingofnostalgiabyoverlookingtowhatnostalgiamayrespondandthepleasuresassociatedwithnostalgia(Lowenthal29‐30).3RadstoneprovidesacomprehensivereviewofthescholarlydebateregardingwhethernostalgiaisafriendorfoeofmodernisminChapterTwoofTheSexualPoliticsofTime.

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thetitleofthisdissertationrepresentsmyattempttoreturnnostalgiatoitsassociations

withthebodybyexploringitsmanifestationsinperformanceasanaestheticyetcritical

encounterwithmemory.Inotherwords,Iextendnostalgiaasasiteofknowledge

exercisedthroughperformance,consideringitsefficacyasacriticalcategoryand

elucidatingitspotentialtomakeconnectionsbetweenthebody,memory,andaesthetics

physicallymanifest.4Inthestudy,Iamparticularlyconcernedwithperformancesof

nostalgiathatfeatureAfricanAmericanhistory,memory,andbodilyexperience.

Below,Iprovideareviewofrelevantliterature,articulatemymethodofstudy,and

specifythesitesofperformanceIanalyzeintheupcomingchapters.Iconcludewitha

discussionthatanticipatesthesignificanceofpracticingandtheorizingnostalgiaasa

criticalperformance.Thisdiscussionlaysthegroundworkforthetheoryofcritical

nostalgia,whichwillunfoldoverthecourseofthestudy.

TracingNostalgia,(Re)locatingBodies

Whilestudyingnostalgiaasperformancehasreceivedlittlenoticeinthescholarly

community,nostalgiaitselfisahottopic,discussedinmanywaysacrossseveral

disciplines.Themainconversationsfocusonnostalgiaasdisease,asdesireembeddedin

objectsofmemory,asescape,asimpactingidentity,andasacomplexnarrativeofhome.

Authorsaddressthesignificanceofthesetopicsbyattendingtothecharacterorqualityof

nostalgia,itsscope,andfunction.Whenauthorsaddresscharacterorquality,theytendto

evaluatenostalgiaasagoodorbadideaorpractice,asaprogressiveorregressive

phenomenon,orasanontologicalorepistemologicalconcern.Whenscopeisfeatured,

authorsfocusontheoperationofnostalgiaatdifferentlevels,suchasthepersonalor4InFictiveDomains,JudithBroomeretainsconnectionsbetweennostalgiaandthebodybyfocusingonhowthebodyisconfiguredinnovelsandothercreativetextsofnostalgiafrom1717‐1770.

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individual,withinaspecificcommunityorculture,oratthelevelofmasscommunication

andculture.Scholarsconcernedwithfunctionaskquestionsregardinghownostalgia

operatesorisapplied,forwhatpurposeandwhosebenefit.Theabove‐notedtypologyis

incompleteandshiftingofcourse,andmanystudiesfallwithinmultiplecategories.Below,

then,Iselectanddiscussahandfulofsignificantstudiesthattogetherrepresentthemain

topicsandperspectivesandthatareofpertinencetomyresearch.

Nostalgiaasadiseaseofthebodyorbraincarriesnegativeconnotationstypically,

andtherebyspeakstothecharacterorqualityofnostalgia.Ina1941article,“Nostalgia:A

ReviewofLiterature,”WillisH.McCannchroniclesthedefinitionalandclinicallifeof

nostalgia.Henotesitsnegativeorigins,explaininghowatfirstnostalgiawasthoughtto

causejustaboutanythingfrombadbreathtodelirium.Whilenostalgiaisnolongerusedto

diagnosethemaladiesofanindividual(corporeal)body,itcontinuestocarrynegative

connotations,particularlywhenunderstoodasasocialsickness.5

Conversely,ahandfulofscholarshavesoughttoredeemnostalgia,laudingits

reflectiveorconservativequalitiesasgenerative.Forexample,inheranalysisofGeina

Mhlophe’s1986SouthAfricanplay,HaveYouSeenZandile?,JenniferDelislearguesthat

nostalgiaactsasapowerfulreconstructivetoolinpost‐apartheidcommunitiesbyallowing

nativestolookuponthepastasaresourceforproductiveidentitybuilding.Inthisway,

nostalgiaisgood.Whileitisnotuncommonforscholarstouseagood/badbinaryintheir

evaluationofnostalgia,graduationsarecommontoo.Thegradationsappearintwoforms,

whichmayormaynotbeappliedsimultaneously:Qualifiersmodifyorappenddescriptors

tothetermtohighlightcertaintraitsofnostalgia,whilethedialecticformstresses

5SusanStewartreferstonostalgiaasa“socialdisease”(Stewart23);andLowenthalas“modernmalaise”(Lowenthal31).

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definitionaltensions.6Forinstance,MarchegianiandPhauusethequalifiedterm“unified

nostalgia”negatively,toargueagainstanostalgiathatwouldignorethehistoricalversus

personaldialecticembeddedintheirunderstandingoftheterm.JustasMarchegianiand

Phaudevelopanargumentofscopetonegateaparticularwayofviewingnostalgia,hence

addressingthecharacterofnostalgiaalso,Delisleattendstothecharacterofnostalgiaas

basedonitsabilitytobuildcommunity,therebyaddressingscopeaswell.

Asecondcommonwayscholarsstudynostalgiaisasadesireorfeelingpeople

embedincertainobjects,especiallyolderones.7Oldfamilyphotographsoritemsfoundin

avintagestoreholdanostalgicallureformany.Nostalgiaisusedoftentosellitemsby

associatingthemwiththe“goodolddays,”whichpeoplecanrecallandownbypurchasing

theitems.DeneenGilmourlooksatnostalgiaintermsofhumanmotivationandactions.In

anefforttoexpandBurke’stheoryofsubstance,sheaddressesthepracticeofU.S.

consumerspurchasing“nostalgia‐basedfurnishings”(Gilmour57).Hertheoryofsimulated

substancedescribesa“materialisticmaskinwhichpeopleusepersonalpossessions,such

asfurniture,houses,cars,clothing,ordecorationstosignaltheirsubstancetoothers”

(Gilmour58).Gilmourclaimsthatthepurchaseofnostalgicitemsservesasawayfor

peopletodisplayalongingforandprivilegingofpasttimesandmemories.Anargumentof

scopeandfunction,Gilmour’sstudyfocusesonpersonalmotivationstostart,butby

questioningwhogainsfromthepurchaseofnostalgicgoods,thestudyembracesbroader

issuesofgender,race,andclass.

6ExamplesofqualifiersincludeRenatoResaldo’sessayon“ImperialistNostalgia”andJonathanBach’sessayonEastGermannostalgia.ExamplesofdialecticsincludeGregDickinson’sstudyof“nostalgiafortheexoticandnostalgiaforhome”(Dickinson13);andSvetlanaBoym’sessayon“reflective”and“restorativenostalgia”(Boym41).7Stewarttheorizesthestakesofobjectsthatcarryapastwiththem,suchasthesouvenir(Stewart134‐138).

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Nostalgiaasescapeconnotesamentaljourney,ashiftintimeandplacethatfor

somefunctionstodisconnectthemfromthepresentandreconnectthemwiththepast.

Muchofthescholarshipconcernedwiththismodeofthinkingfocusesontheeffectofthe

cognitiveshiftintimeandplaceonthepresent.KimberlySmitharguesthatnostalgia

emergedoutofa“resistancetoindustrialization”andmodernity,recallinganagrarianpast

perceivedtobemoreintouchwiththeelementsoflife(Smith128).Likewise,Stuart

Tannockobserves,“invokingthepast,thenostalgicsubjectmaybeinvolvedinescapingor

evading,incritiquing,orinmobilizingtoovercomethepresentexperienceoflossof

identity,lackofagency,orabsenceofcommunity”(Tannock454).BothTannock’sand

Smith’sobservationsonnostalgiaasescaperevealanassumptionconcerningthequalityof

nostalgia,characterizingitasanontologicalquestionofbeingdevelopedinresponseto

materialconditions.Theontologicalqueryhighlightsthescopeofnostalgiaaswell.An

individual’sdesiretoescapethepresentbyrecallingwhatsheperceivesasabetterpast,

particularlyapast‐home,impliestheimpactofbroadersocialconditionsandcollective

recall.

Inthepriordiscussion,theinfluenceofnostalgiaonidentityisnoted,andmany

scholarshandleitdirectlyintheirresearch,askinghownostalgiafunctionstodevelopand

validate,empowerornot,asthecasemaybe,theidentityofanindividualorgroup.In

“PattyandMe:PerformativeEncountersBetweenanHistoricalBodyandtheHistoryof

Images,”RachelHallcountersnegativeconceptionsofnostalgiabyillustratingtheefficacy

ofnostalgiaasasiteforpoliticalengagement.8Hallchroniclesherchangingorientation

towardPattyHearstasasubjectofhistory,therebyreconstructinghistoryandidentityon8Inhis1979text,YearningforYesterday:ASociologyofNostalgia,FredDavisanticipatesHall’scriticalcounter,theorizingnostalgiaasapoliticallyviabletool.

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personalandhistoricallevels.InhernarrativeentwiningherlifewiththelifeofPatty

Hearst,Hallmakesthecaseforaqualifiednostalgia,afeministnostalgiathatinfusesthe

imageofthehelplesswhitefemalevictimwithagency.Bymeansofherperformative

writing,Halldemonstrateshow,byengagingthepast,oneisabletonegotiatewhooneis

andwhereonebelongs.

InamoreexplicitmannerthanHall,GregDickinsonextendsthescopeofnostalgia

inidentitypoliticsbyexamininghowacommunalidentityisconstructedthroughnostalgic

appeals.In“MemoriesforSale:NostalgiaandtheConstructionofIdentityinOld

Pasadena,”Dickinson,likeGilmourandSmith,arguesthatnostalgiaisaresponseto

modernityandthefragmentedidentityassociatedwithit.Heobserves,“timesofrapid

changeorinsecurityencourageatremendousdesireforthepast”(Dickinson1),andfinds

that“OldPasadenagainsitsrhetoricalforcebybeingalegendaryplacefullyinvolvedinthe

past,”itsstrengthlying“initsnostalgicinvocations”(Dickinson7).Dickinsonproceedsto

analyzehow,inoldPasadena,nostalgiaiscreatedbythe“copiousrepetition”ofembedded

fragments,signsandinscriptions,whichcontributetothedevelopmentandsustenanceofa

collectivePasadenaidentity(Dickinson7‐8).Delislemakesasimilarargumentregarding

SouthAfricanidentity,maintainingthataproductivefunctionofnostalgiaisitsabilityto

createpositiveversionsofacommunalidentityincontrasttothoseindeliblymarkedby

racismanddiscrimination.

Embeddedinthestudyofhownostalgiaimpactsidentityisaninterestinhowit

functionsasastrategyofpersuasionforpoliticalends.InSmith’sanalysisofnostalgia,she

highlightsitspoliticalfunctionnotingthatnostalgianecessitatesaquestioningof“whose

memoriescount,whatkindofattachmentsandmodesoflifearevaluable,andwhatkinds

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ofharmsarepoliticallyrelevant”(Smith516).ShawnJ.andTrevorParry‐Gilesanalyzethe

rhetoricalfunctionofnostalgiainBillClinton’s1998addresscommemoratingtheMarchon

Washington,whichwasoneofthelargestprotestsforAfricanAmericancivilandeconomic

rightsintheU.S.TheauthorsmaintainthatClinton’sspeech“revealshowthepresidency

functionsasasitefortheconstructionandformationofcollectivememory.In[Clinton’s]

address...memoryisnostalgicanddistorted,evidencingamultifariouscharacterof

collectivememoryofpoliticalandstrategicends”(Parry‐GilesandParry‐Giles418).

Operatingunderthepremisethattheappealofnostalgialiesinitsabilitytocreate

identificationwithandprovokeanemotionalresponsefromanaudience,Parry‐Gilesand

Parry‐Gilesconcludethatnostalgiaencouragesaspeakerto“distortthepast”(Parry‐Giles

andParry‐Giles427).Characterizedashistoricalrevisionism,nostalgiaisviewedbythe

authorsasafalseexperienceandexpressionofhistoryandcommunity.

AsimilarviewisheldbySusanStewartinherstudyofnostalgiaasmanifestedinthe

“miniature”metaphysicsofhomeordomesticity.HerpositionandLucyLippard’s

responsetoitexemplifytherangeofperspectivesonthecharacterandfunctionof

nostalgia,particularlyasitrelatestohome.InOnLonging:NarrativesoftheMiniature,the

Gigantic,theSouvenir,theCollection,Stewartcontendsthatnostalgiaisa“socialdisease”

informedbyadomesticideology(Stewartix).Provincialandreactionary,anostalgicview

oftheworlddiscreditsthepresentandglorifiesanidealpast.Stewartwrites,“nostalgia,

likeanyformofnarrative,isalwaysideological:thepastitseekshasneverexistedexcept

asnarrative,andhence,alwaysabsent,thatpastcontinuallythreatenstoreproduceitself

asafeltlack”(Stewart23).Conversely,inOntheBeatenTrack:Tourism,Art,andPlace,

Lippardexperiencesnostalgiaasagenerative“returnhome”(Lippard153).Whileshe

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understandswhyscholarslikeStewartassociatenostalgiawith“duplicityandsentimental

inauthenticity,”sherefusestodiscreditalongingshefeelsforherpast‐homeofNew

England,experiencingnostalgiaas“thedreamlikeprocessofmemory”(Lippard153)or

remembering,whichsheenactsonthepagesofherbook.Althoughnostalgiafeels

dreamlikeforLippard,thefeelingisgroundedinherrevisitingherhomeandseeingand

recallingeventsandobjectsofherpast.Intheseways,LippardcountersStewart’s

assertionthatnostalgiais“asadnesswithoutanobject”or“adesirefordesire’”(Stewart

23).Instead,bymeansofheractionsoftouringandwriting,Lipparddemonstrateshow

nostalgiaisverymuch“partofmylivedexperience,”a“desireunremovedfromthesenses,”

whichsheconsiders“aseamlessandpositivepartoflife”(Lippard164).

MyapproachtonostalgiaissimilartoLippard’sinthatIretaina“returnhome”and

theimportanceofphysicalexperienceinmyconceptionandapplicationoftheterm.

Below,Ifocusonthesekeyaspectsandhowtheyoperateinthestudy.

Asmyliteraturereviewdemonstrates,manyscholarsofnostalgiaoverlookthe

etymologicalassociationbetweennostalgiaandhome,implementinginsteadamore

generalunderstandingofnostalgiaasaparticularviewofthepast.FollowingLippard,I

emphasizetheconnectionsbetweennostalgiaandhome,arguingthatpracticesand

discoursesofhomealterandspecifyorientationstowardthepast.ThevariablesofhomeI

undertakeinmystudyinclude:1)Homeasaplaceoforigin,indicatingabirthplaceorthe

physicallocationfromwhichancestorsderive.InYesterday’sSelf:NostalgiaandImmigrant

Identity,AndreeaRitivoitheorizesnostalgiaasrootedinexile,immigration,andDiaspora.

2)Homeasafeelingthatsignifiesasenseofbelonging,asin“Ifeelathomehere.”3)Home

asaplaceofpersonalhistoryorattachmenttoamaterialarea.InLippard’sessay,homeas

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afeelingofbelongingandaplaceofpersonalhistorypredominate.4)Homeascommunity

denotesthepeopleandcultureofhomenotnecessarilyattachedtoaplace.Overthe

courseofthestudy,Ienterinto,movebetween,andexpandthesedifferentnotionsofhome

whilealsoaddressingtheaforementionedtopicsofdisease,escape,identity,andhow

nostalgiaisembeddedinmaterialitems.

Inmyliteraturereview,thenotedtopicsdemonstrateanegationorsubordination

ofthephysicalbody,atleastashandledbycontemporaryscholars.Forinstance,by

abstractingdiseasefromdiagnostics,nostalgiaispropelledoutsidetherealmofphysical

bodies.Evenstudiesofembeddednostalgiarelyonmetaphysicaldiscussions,of

simulation,forexample.Insum,accordingtothebulkofliteratureonnostalgia,bodies

maybeinfluencedbynostalgiaortheymayfeelnostalgiainternally,buttheydonotdo

nostalgia,theydonotcreateorenactitexternally.Ifweunderstandnostalgiaasa

return(ing)hometoapastofsomekind,thereisnobodythere,nobodyathome.Thus,the

materialbodyisvirtuallyabsentfromdiscussionsofnostalgia.Ascounterandsupplement

tothistreatmentofnostalgia,Iarguethatthephysicalbodyisasitewherehomeisrecalled

andcreated.Inotherwords,Iapproachnostalgiaaspeopleperformingareturnhome.

Todate,thereareveryfewstudiesthataimtotheorizenostalgiaintermsof

performance.Iamawareofthree:RayCashman’sstudyofmaterialcultureinNorthern

Ireland,DebboraBattaglia’sstudyofyamgrowingbyurbanTrobrianders,andJudith

Hamera’sdeploymentofBattaglia’stheoryinheranalysisofballetstudiosandpractice.In

“CriticalNostalgiaandMaterialCultureinNorthernIreland,”CashmanfindsthatIrish

CatholicsandProtestantspreserveanddisplaylocalartifactsfromthepastinwaysthat

invitecriticalthoughtinthepresentandhighlightpossibilitiesforsocialchangeinthe

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future.In“OnPracticalNostalgia:Self‐ProspectingAmongUrbanTrobrianders,”Battaglia

endowsnostalgiawiththepotentialtoencouragepeopletocreatepracticalmanifestations

orperformances.ShefindsthattheTrobriandersperformnostalgiabyperformingthe

actionsandsensibilitiesofhome.DrawingonBattaglia,Hameratheorizesa“tactical

nostalgia”inballetpracticewhere,bymeansoftheirlaborsandtheexpressivetechnique

theirlaborsrecall,dancersforgeagenerativehomosocialcommunity(Hamera114‐115).

LikeBattagliaandHamera,Iexaminetherelationshipbetweennostalgiaandperformance

inmystudy.ExtendingandcounteringCashman,Ialsotheorizenostalgiaasacritical

practiceaimedatrecallingandrearticulatingthepastanditsaffectiveregisters,as

comparedtopositioningthepastsolelyinservicetotheneedsofthepresentandfuture.

Methods

Iuseavarietyofmethodsinthestudy,allowingmycasestudiestoinformthe

analyticalapproach.Themethodsincludegenealogicalpractices,textualanalysis,

autoethnographicnarrative,andvariousperformancetechniques.JosephRoachoutlines

thebasicapproachandaimofcriticalgenealogies,specificallygenealogiesofperformance,

tellingusthey“document–andsuspect–thehistoricaltransmissionanddisseminationof

culturalpracticesandattitudesthroughcollectiverepresentations”(Roach25).Roach’s

useoftheterm“suspect”isanticipatedbyMichelFoucaultwhenhehighlightsthatakey

aimofgenealogyistounearthandstageforgottenhistoriesthathighlightthe“dissension”

betweenratherthan“inviolableidentity”ofhistoricalremnants(Foucault142).Inthis

study,then,Iunearththecomplexhistoriesofnostalgiaanddecipherthemasandthrough

performancepracticeinordertobetterunderstandhowandwhypeoplecreate,enact,and

therebyusenostalgiapurposefully,asacriticalactivitythatwe,inturn,mightdrawonand

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use.Inmyapplicationofthemethod,IexaminethenostalgicperformancesofAfrican

Americansinanefforttofocusmystudyandaddressmyinterestinblackperformance.

Asrequiredbythepracticeofcriticalgenealogies,Ialsoundertakeclosetextual

analysesofvarioustexts,events,activities,inotherwords,performances,inorderto

examinehownostalgiaisembeddedinthemandtowhatpurposeorfunction.Ialsoacton

aswellasanalyzethescopeofnostalgicactivity.Thatis,Isupplementtheculturalaspects

ofnostalgiaascommunicatedthroughpracticesofcollectivememorybyincluding

autoethnographicnarratives.BasedonmyexperiencesofAfricanAmericannostalgia,the

narrativeshighlighttheroleofpersonalmemoryandbodilyknowledgeintheperformance

ofnostalgia.Thesenarrativesalsoallowmetoarticulatemypersonalexperiencesin

relationtobroadersocialsystems,contexts,andhistories,andtheyallowmetoexploremy

positionalitywithrespecttoAfricanAmericanandacademiccommunities.LikeBryant

Alexander:

Iamcontinuallyinterestedinusingethnographyasatooltoexcavatethemeaningfulnessoffamiliarculturalsites.Inwhichcasethereporter(ethnographer)holdsadualmembership–inboththeculturalcommunitythat[she]reportsonandtheculturalcommunitiesthat[she]reportsto–theintricaciesofwhichoffergreateropportunitiesforinterpretation,translation,andtransference.(Alexander139)

FollowingAlexander,IimplicatemybodyaspartoftheAfricanandAfricanAmerican

communitiesIreportonandtheacademiccommunityIreportto.

Finally,Idrawonvariousperformancetheoriesandmethodsinordertoexamine

hownostalgiaisperformedineverydaylifeandmightbeperformedaesthetically,ona

stageforanaudience.TheideasandpracticesofBertoltBrecht,ConstantinStanislavski,

andAnneBogartprovideframeworksforcompositionthathelpmerealizehownostalgiais

createdthroughtheinteractionofbodies,time,andspace.Inthisway,too,thenoted

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practitionerscontributetoavocabularyforexpressinganaestheticofnostalgia,an

aestheticofreturn,foruseinperformancecomposition.

SitesofNostalgia

In“BetweenMemoryandHistory,”PierreNoradescribes“lieuxdemémoire”orsites

ofmemory,whichpeoplecreateinresponsetowhatNoraperceivesasanaccelerationof

history,suchthatthepresentslipsquicklyintothepast.9Notingevidenceofthiscultureof

imminentdisappearance,Noraremarks,“Wespeaksomuchofmemorybecausethereis

littleofitleft”(Nora7).Hecontinues:

Ourinterestinlieuxdemémoirewherememorycrystallizesandsecretesitselfhasoccurredataparticularhistoricalmoment,aturningpointwhereconsciousnessofabreakwiththepastisboundupwiththesensethatmemoryhasbeentorn–buttorninsuchawayastoposetheproblemoftheembodimentofmemoryincertainsiteswhereasenseofhistoricalcontinuitypersists.(Nora7;emphasisinoriginal)

Inthisstudy,I“speakofmemory”andoftherupturesNoradescribessoastohighlightand

theorizethe“problemoftheembodimentofmemory”usingthevocabularynostalgia

offers.Further,IquerythewaysinwhichthesitesofperformanceIselectpromoteor

deconstructtheillusionofhistoricalcontinuity.

Ihaveselectedthreemainlieuxdemémoireorsitesofmemorytoanalyze.In

performanceterms,onesiteisconstitutedbysocialoreverydaylifeperformances.A

secondsitefallswithintherubricofculturalperformance,wheredeliberateandtypically

moreelaboratedisplaysofheritageandcommunityareoffered,asisthecasewitharitual

orfestival.Thethirdsiteofmemoryisanaestheticperformance,whichdrawsonand

displaysexplicitlyartisticformsframedforaudienceconsumption.Thesocial

performancesIexaminearetwowebsitestargetedatAfricanAmericanswhodesireto9Noracontrastslieuxdemémoirewithmilieuxdemémoireorthemythicalenvironmentsofmemory,whichhearguesnolongerexistbecauseoftherapidaccelerationofhistory(Nora7).

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tracktheirancestrythroughDNAtesting,ononewebsite,andcommunityresource

documents,ontheother.Theculturalperformancesconsistoftheactualsite,physical

tour,andvideotouroftheElminaslavecastleinGhana,WestAfrica.Theaesthetic

performanceconsistsofthescriptandstagingofCopiousNotes:ANostalgiaTale,apieceI

wroteconcerningAfricanAmericannostalgiaforAfrica.Addressingastheydosocial,

cultural,andaestheticcontexts,thethreesitesspeaktothescopeandfunctionofnostalgic

practice.Moreover,aseachisanactualeventwherepeopledothings,theyallowmeto

concentrateonhowbodiesperformnostalgia.

InthechaptersummariesthatfollowIelaborateoneachperformancesiteand

clarifymyselectionanduseoftheoriesandmethods.Youmightnoticethatthematerialin

ChaptersTwothroughFourisorganizedsoastoactivatethebroadprocessofacritical

genealogy.Inthesecondchapter,Iquestiontheoperationsof“origin”inperformancesof

AfricanAmericannostalgia;inthethirdchapter,Idescendintotheliteralandfigurative

bodyofsaidoriginanddiscoverthedisparatehistoriesthatsupportandconfoundit;and

inthefourthchapter,Iascendtoaliteralstagetocomposeagenealogythatdisplaysthe

contentioushistoriesthathaveemergedinmyresearch.

In“ChapterTwo:TheNostalgicBody:PracticesofAfricanAmericanGenealogical

Memory,”IfocusonthesocialpracticesofpopularandgeneticgenealogyandhowAfrican

Americanindividualsandcommunitiesengageandperformthem.Specifically,Ianalyze

theactivityontwowebsitesofmemoryorremembering:AfriGeneas.com,whichinvolves

usersintrackingtheirancestrythroughcommunityresourcedocumentsandmaterials,

andAfricanAncestry.com,whichconnectsuserswiththeirpast(ideallyAfrican)home

throughDNAtesting.Toexaminethesites,Idrawonthemethodofcriticalgenealogy,

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particularlygenealogiesofperformanceasconceivedbyJosephRoachfollowingFoucault.

Roach’sprinciplesofsurrogation,kinestheticimagination,behavioralvortex,anddisplaced

transmissionhelpmeanalyzethetwositesasperformance.Asaresult,Ifindandquery

howthewebsiteperformancesbothdisplaceandcenterthenostalgicbodybypositioning

itwithinasocially‐sharedunderstandingofapast‐homeandhowtheyinspireglobal

communitybuilding.Thechapterexaminestheintersectionofgenealogies,nostalgia,

home,homeland,andcommunity,focusingonhowbodiesembeddedintextandinfrontof

computersactivatethesekeytopicsthroughperformance.Imaginingthetheoretical

implicationsofgenealogiesofperformanceinformedbynostalgia,Ispecifymytheoryof

criticalnostalgiathroughadiscussionoforigin,roots,andidentity.

InChapterThree,“MyNervousBody:PerformingNostalgiaatElminaSlaveCastle,”I

useacombinationofgenealogicalinquiry,includingclosetextualanalysis,andpersonal

narrativetoexaminethescopeandfunctionofnostalgiainculturalperformancesofElmina

Castle.LocatedonGhana’scoast,thecastleisnowaUNESCOWorldHeritageMonument,

preservedforitsinfamousroleintheslavetrade.ThemainperformancesIexamineare

thecastleitselfasasiteofmemoryembeddedwithnostalgia,avideotourofthesite,and

myrecollectionsofatourItookwhenIvisitedthecastlein2007.Byrecallingthese

performances,Idescendintothecastleandintomyownbodilyexperiences.Ascendingto

stagemyfindings,Ianalyzetheperformancesintermsofabittersweetnostalgiathat

emergesthroughtheuseofoppositionsandironies,formationsofspaceandplace,and

historicalandpersonalknowledgeintheperformances.Thechapterthendemonstrates

hownostalgiaispracticed,performed,asasocialstrategyandtactic,inthiscasefor

confrontingthetraumaticghostsofthepast.Inconclusion,Iplacetraumaandnostalgiain

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conversation,arguingthat,asacriticalact,nostalgiacanengagedisturbingmemoriesand

historieswithoutidealizingthemoritselfasaredressivemeasure.

InChapterFour,“StagingNostalgia:TimeandSpaceinCopiousNotes:ANostalgia

Tale,”Idemonstratethepotentialofnostalgiaasanaesthetic,acompositionaltool,anda

subjectofstageperformance.Inthechapter,IpresentandanalyzethescriptofCopious

Notes:ANostalgiaTale,apieceIwroteandstagedintheHopKinsBlackBoxatLouisiana

StateUniversity.CopiousNotesisadramaticinterpretationofmyexperiencesinGhana,

andthereforeconnectswithChapterThreebybringingsomeofitscontentandconflictto

thestage.AligningMikhailBakhtin’stheoryofthechronotopeandRoach’sbehavioral

vortex,Ianalyzethepieceinlightoftheinteractionbetweenbodies,space,andtime.My

interestofcourseconcernsifandhowsaidinteractionresultsinanaestheticofnostalgia

or,moreprecisely,anaestheticofcriticalnostalgia.Mymainaiminthechapteristo

discoverandexpresshowwemightcomposebodiesinspaceandtimeinordertorecallthe

pastinexplicitwaysandimplyanattitudetowardit,i.e.,performcriticalnostalgia.Ifind

thatthethreemajorchronotopesinoperationinCopiousNotesresultinagrotesque

nostalgia,andthatthepieceillustratesoneparticularwaytodocriticalnostalgia.While

manyperformancemethods,suchBertoltBrecht’sepictheatre,areconcernedwithsimilar

matters,thedifferencehereisthatthehistoricizationofeventsisfocusedontheactions

andsensibilitiesofreturninghome.Inthischapter,Idetailmycompositionprocess,calling

onthemethodsofConstantinStanislavski,AnneBogart,andSusanHarbagePage.Ilookat

howhomeplacefunctionsonstageandhowanaestheticofreturnisenacted.Inaddition,I

turntoanalyzethespaceandtimedynamicsofthedramaticcharactersintheplay,finding

thattheyservenotonlyasforcesinthedramaticvortexbutalsoasrepresentationsof

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shiftingnotionsofhome.Iclosethechapterbyintroducing“seeingandfeelingtime”asa

waytocontextualizethebodyintime.

Intheconcludingchapter,Irecollectthemajorideasinthepreviouschapters,

pointingtorelevantavenuesofresearchbeyondthescopeofthestudy.Here,Ipositthe

potentialinexploring“homeplaceasbody”anddevelopingvocabularyfortherelations

betweennostalgiaandaffect.Inthechapter,Irearticulatemajorideasinthestudyby

placingtheminconversationwithoneanother.Indoingso,Idiscusstheresearchjourney

thatbroughtmetothetheoryofcriticalnostalgia,framingthejourneyasanoscillation

betweendomesticandacademicspaces.Theorizingthesetwospacesintermsofthe

contentofthedissertationmorebroadly,Ielaborateontherelationshipbetweenhome,

domesticity,andthebodybylookingatwomen’sbodiesacrossthesitesofstudy.AndI

elaborateontherelationshipbetweenrepresentationandthebodybyattendingtothe

politicsoftheblackbodyonstageandtothepoliticsofwriting.Thechapteralso

refunctionsthemajorideasofthestudysothattheyserveastwelve“notes”detailingthe

theoryofcriticalnostalgiaforperformancepraxis.Iendthechapterwithareflectionon

thedevelopmentofthestudyintermsofitscontributiontoblackperformanceand

performingmemorymoregenerally.

NostalgiaforPerformance(Studies)

Recognizingthatnostalgiahasanexplicitpastorientation,Iformulatemytheoryof

criticalnostalgiadrawingonexistingideasofperformanceasconstitutedby/inthepast.

Anideathatconnectsdifferentdefinitionsofperformanceisthatperformancerepeats

itself;itisinterdependentonwhatcamebeforeit.Inthisway,performancehasahistorical

consciousness,althoughaperformermaynotbeawareofitandaperformancemaynot

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callattentiontoit.TheworkofperformancetheoristsRichardSchechner,Dwight

Conquergood,VictorTurner,andJudithButlerprovideinsightonthisidea.

AccordingtoRichardSchechner,performanceis“restored”or“twice‐behaved”

behavior(Schechner,BetweenTheatreandAnthropology36).Inperformance,peoplecall

onandenactcertainculturalformsandconventions,practicesandexpressionsthat

precededthem.Further,whileaperformermayaimforpreciseimitation,therestoration

isneverexactandinventivealterationsarelikelyandoftendeliberate.InSchechner’s

definitionthenperformanceshowsitselftobereliantonthepastandyetalsoliableto

change.

SoyiniMadisonoffersasuccinctexplanationofDwightConquergood’stakeon

performance,writing,“thetriadofmimesis,poiesis,andkinesisisoneofConquergood’s

mostpopularconceptualizations”(Madison,CriticalEthnography169).Recallingthe

aestheticpreferenceoftheancients,mimesisistheattempttoimitatelifebyrepeating

certainformsandconventions,ofwhatwecallrealismtoday.Becauseofitsocularand

stylisticbias,mimesisdoesnotfullycaptureperformanceinallitsfacets.Poiesisstresses

theprocessesofperformance,understandingperformanceassomethingwedoandasking

questionsaboutitanditsconsequencesratherthan,forinstance,askingquestionsaboutits

meaning.Kinesis,forConquergoodandMadison,focusesonperformanceasanemergent

practicewhereindividualorsocialchangeisthepromiseandaim.Conquergoodcredits

theanthropologistVictorTurnerforshiftingthe“thinkingaboutperformancefrom

mimesistopoiesis.[Further]Turner’sworkontheproductivecapacitiesofperformance

setthestageforamorepoststructuralistandpoliticalemphasisonperformanceaskinesis,

asmovement,motion,fluidity,fluctuation,allthoserestlessenergiesthattransgress

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boundariesandtroubleclosure”(Conquergood138).WhileConquergoodhighlights

poiesisandkinesisandtheirpresentandfutureorientations,itshouldbenotedthat

Turneriswellknownforhisunderstandingofhowrepeatingstructures,inritual

particularly,areembeddedwiththeirownanti‐orcounterstructures.Thatistosay,

performersrestorethepastnotonlytosustainit,butinmanycasestoquestionandalterit,

demonstratingthattransgressiveandresistantaswellasconservativeactsemergefrom

thepracticeofrestoringthepast.

ForfeministscholarJudithButler,performativityisa“stylizedrepetitionofacts”

(Butler,“PerformativeActs”519)thatcites“anormorsetofnorms,”suggestingthatthe

“actthatonedoes,theactthatoneperformsis,inasense,anactthathasbeengoingon

beforeonearrivedonthescene”(Butler,BodiesThatMatter12).Butler’sspecificinterest

isinhowperformativityaffectsgenderidentity,Butlerarguingthatgenderisinscribedon

thebodythroughtherepetitionofheteronormativestructuresandacts.

AswiththetheoriesIoutlinedabove,performancesofnostalgiarecallthepast,but

inaspecializedwaythatfeaturesanorientation,attitude,andaffecttowardideasand

practicesofhomelocatedinthepast.Wemightusethedescriptor“past‐home”inorderto

highlightbothspaceandtimeandtoavoidconflatingnostalgiawithhistoricalperspectives

generally.Anorientationtowardsapast‐homeconnotesone’srealizationoftheirposition

inrelationtoit,suggestingthatperformancesofnostalgiaacknowledgetheirhistorical

consciousness.Anattitudetowardsapast‐homeimpliesanevaluationorjudgmentthatis

manifestedinaction.Andaffecttowardsapast‐homereferstotheemotionaldynamicsat

playinrepeatingorreturningtoapast‐home.

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Akeycontributionofthisstudythenisthatitoffersawaytotalkaboutperformance

thatemphasizesitspastreferencingabilities;thatvaluesorfindscurrencyinthehistorical

consciousnessofperformance.Thisemphasisdiffersfrommanytheoriesofperformance

thatfocusonthepresentandfuturereferencingabilitiesofperformance.In“Performance,

Utopia,andtheUtopianPerformative,”JillDolanremarksonthestruggletodescribewhat

isineffableaboutperformanceandprovidesatheoryoftheutopianperformativeasa

partialanswertothequestion.Dolanwrites,“Ibelievethattheatreandperformancecan

articulateacommonfuture,onethat’smorejustandequitable,oneinwhichwecanall

participatemoreequally,withmorechancestolivefullyandcontributetothemakingof

culture”(Dolan,“Performance,Utopia,andtheUtopianPerformative”455).While

articulatingautopianmissionforperformanceisgenerative,itismyfeelingthatsucha

missionhasanequallygenerativecounterpartinnostalgia.Attendingtowhata

performancerestores,howandwhy,isimportanttounderstandingthestructuresand

counterstructuresatworkinanyoneperformance,andattendingtothoseconcerned

specificallywithapast‐homeprovidesinsightintotheorientations,attitudes,andaffective

dynamicsofhome,timeandplace,bodyandmind,historyandmemory,andhowthese

forceseffectidentity.Toconceiveofperformanceintermsofthepresentorfutureonly

runstheriskofadangerousforfeitureofknowledge(s)andpeople(s)ofthepast.Indeed,

thisdissertationasks,ifmomentsofutopia,momentsthatcreatewonderfullittle“no‐

places,”arethehopeforthefuture,whatthenshallwedowiththepast?Istherea

formulationofperformancethatcallsonthepastinawaythatsupplementsrestoration

withtheaimofrevealingbodieswithinthetexturesoftheiraffectivehistories?

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Itismypremisethatattendingtohistoriesthatincludeandaccountforaffective

relationsisimperativetoapoliticallyinvestedtheoryofperformance.Thisdissertation

promotessuchatheorybymakingstrangetheconventionaluseofthetermnostalgia,i.e.,

asapleasantremembering.Inthestudy,Ireconfigurenostalgiaasacomplexperformative

process,askinghowitaffectsandeffectsthebodyinperformance.Performingnostalgia

allowsustolookatthephenomenoninawaythatexposesitsassumptionsaboutthebody

andacknowledgesitsphysicalandmetaphysicaltensions.Iarguethattoembodynostalgia

istoforceaconfrontationwithmateriality.Imobilizetheideaofnostalgiaasacriticalact

byintroducingtheproblemsandpossibilitiesofnostalgiaasamodeofperformancewithin

social,cultural,andaestheticrealmsandanalyzingthegendered,raced,andclassedbody

asittraversestherelationsbetweenhistory,memory,andimagination.Theserelations

forceustonegotiatethepastinsuchawaythatdoesnotdenyaffectorlonging.Lookingat

nostalgiathroughaperformativelensexpandsitsuseasacriticalcategorywhilereturning

itbacktoitsroots,groundingitinthebody.

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ChapterTwo

TheNostalgicBody:PracticesofAfricanAmericanGenealogicalMemory

“Whereareyoufrom?”heinquires.“Whereareyoufrom?”Itwasmyfirsttime

abroad.IfoundmyselfinPrague,CzechRepublic,onastudyabroadforasemester.In

ordertogettotheinternationalcollegeweattended,mycolleaguesandIwalkedseveral

blockstothemetroandthenanothermileorsototheschool.Ourdailytrektookus

throughthebackalleysofshopsandrestaurants.Thestreetsweremadeofunevenstone,

andthebuildingsseemedtohavebeenthereforever.Therewasamanwhoworkedatone

oftherestaurants,andalmosteverymorningasIpassedthebackdooroftherestaurant,

he’dbetheresmokingacigarette.

Myfirstfewengagementswiththemanconsistedofpolitenodsof

acknowledgement.Hewouldeyeourgroupaswewalkedtogether,chatting.Hewasatall,

slendermanwithverylittlehaironhisheadandface.Afteracoupleofweeksofcasual

passing,hebegantogreetuswithwords.“Goodmorning,”he’dsay.Hewasblond,asfar

asIcouldtell.Oneday,heaskeduswherewewerefrom.Thegroupconsensuswas

“differentplacesacrosstheU.S.,”Ithink.Heworeablackhalf‐apron.Anotherday,asIwas

travelingpasthisrestaurantinasmallergroup,hesingledmeout.“Whereareyoufrom?”

heasked.“America,”Ireplied.Hewithdrewwithhisface.Notmanydayslater,heposed

thequestiontomeagain,“whereareyoufrom?”thistimeplacingemphasisattheendofhis

question.Clearly“America”wasnotgoingtocutit.Itried“SouthCarolina”onanotherday.

Theexchangebecameagame,orachallenge,oraresearchquestion.Bytheendofmytrip,

Irealizedthatnoanswerwasgoingtobesatisfactoryandthatitwouldtakeacertain

23

amountofsocial,historical,andcorporealworktoevenbegintotacklehisquestion,

“whereareyoufrom?”

Topursuesuchaninvestigation,Imightbeginbyteasingoutthemoreimplicit

questionsembeddedintheinquiry.Whereareyourpeoplefrom?Howdoyouconnect

yourselfwithyourhistory?Howdoyounameandclaimahistory?Howdoyoureconcile

andlocateyourbodywithrespecttothebodiesandstoriesofthosewhocamebeforeyou?

Toask,“whereareyoufrom?”isperhapstoask,“whatisyourpastandevenwhatisyour

home?”AsIpointedoutinChapterOne,Hofercoinedtheterm“nostalgia,”combiningthe

Greeknostos,meaningtoreturnhome,andalgos,forpainorlonging.Thiscombination

articulatesnostalgia’setymologywithnotionsofreturn,home,affectiverelations,andthe

body.

Genealogy,orthepracticeandstudyofancestraltracing,isacompellingexampleof

howpeopleperformHofer’scompositeterm,“nostalgia.”Genealogytakesseveralforms

andispracticedinvariousways.Inthischapter,Ilookatgeneticgenealogy,popular

genealogy,criticalgenealogy,andperformancegenealogyand,inthepriortwocases,as

usedbyAfricanAmericanindividualsandgroups.Additionally,Iconsiderthetheoretical

implicationsofaperformancegenealogyinformedbynostalgicthought.Iseektoelucidate

thewaysinwhichtheconceptofnostalgiainteractswithandfunctionsinthese

performativepractices.Finally,myintentistoimaginethepracticeofgeneticandpopular

genealogyalongsidetheoriesofcriticalandperformancegenealogyinordertoengageand

questionthepositionalityofthecorporealblackbodywithinnostalgicappealsofhome,

homeland,andglobalcommunity.

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Ibeginwithadiscussionoftheaforementionedformsofgenealogy,attendingto

differences,similarities,andperformativedimensions.Then,Iactivatetheformsof

genealogythroughtheanalysisoftwowebsites:AfriGeneas.comandAfricanAncestry.com,

whichrepresenttwopolesofthepopulargenealogicalspectrum.Drawingonprinciplesof

performancegenealogy,IenactcriticalnostalgiathroughmyownbodyasIinteractwith

thesewebsites.Toclosethechapter,Idevelopmyconceptofcriticalnostalgiafurtherby

specifyingitsethicsbydiscussingtherelationshipbetween“origin”and“roots.”

ATypologyofGenealogy

Iusetheterm“geneticgenealogy”torefertothetypeofgenealogythatutilizes

biology,specificallyDNAtesting,asitsprimarymodeofinvestigatingancestral

connections.AccordingtotheAmericanHeritageDictionary,geneticsis“thebranchof

biologythatdealswithheredity,esp.themechanismsofhereditarytransmissionandthe

variationofinheritedcharacteristicsamongsimilarorrelatedorganisms,”or,initssecond

definition,“thegeneticmakeupofanindividual,group,orclass”(“Genetics”578).Onthe

precedingpageofthedictionary,theauthorsdefinegenealogyas“arecordortableofthe

descentofaperson,family,orgroupfromanancestororancestors;afamilytree”

(“Genealogy”577).Initsseconddefinition,genealogyissimply,“directdescentfroman

ancestor;lineageorpedigree”(“Genealogy”577).Anddefinitionnumberthreedeemsit,

“thestudyorinvestigationofancestryandfamilyhistories”(“Genealogy”577).Combining

thetermsgeneticandgenealogymightseemredundantatfirstglance.However,asthe

definitionsaboveillustrateandthisanalysisreveals,therearedifferenttypesof

genealogies,andthedistinctionsaresignificanttowhatonelearnsandhow.

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Thephrasegeneticgenealogyisnecessaryfortworeasons.First,thetermgenetics

denotesaspecifictreatmentofthecorporealbody.Itisabodythatisdeterminedbythe

discoursesofscienceandmedicine,andhence,itisabodythatcanbestudied,traced,

ordered,anddocumentedinparts.Asimpleanatomicaldiagramshowstheprecisionwith

whichabodyisdividedintoindividual,thoughofteninteracting,partsforstudy.In

genetics,althoughthephysicalbodyiscentraltotheanalysis,themostinvisiblepartofthe

body,itsDNAcode,canbeviewedasthekeytounderstandingthecompositionofabody

andestablishingrelationsbetweenbodies.PerformancetheoristDianaTaylortheorizes

therelationshipbetweenDNAandperformance,recognizingthatDNAisaknowledge

systemthatperformsspecificculturaltasks.Shewrites,“DNAfunctionsasabiological

archiveofsorts,storingandtransmittingthecodesthatmarkthespecificityofour

existencebothasspeciesandasindividuals.Yetitalsobelongstothehuman‐made

archive,forensicorotherwise”(Taylor171).

Similartotheideaofconstructingthebodyintermsofacode,RichardSchechner

refunctions“computerjargon”inordertoarguethattheperformingbodymightbe

understoodin“bits”(Schechner,“MagnitudesofPerformance”41).JustasDNAcarries

molecularunitscalledgenes,Schechner’sbitsrepresent“thesmallestrepeatablestripof

action”;a“moleculeofaction”(Schechner,“MagnitudesofPerformance”41).Asacoding

device,TaylorseesDNAasastructuralelementthatsimultaneouslydenotesthesimilitude

ofthehumanspeciesandindividualitywithinthehumanspecies(Taylor171).Likewise,in

Schechner’stheoryofactortraining,bitsservenotonlyasbasicunitsofhumanbehavior,

buttheyalsocanberecalledand“rearranged”bytheactor“tomakenewaction,”

(Schechner,“MagnitudesofPerformance”41),thusinformingSchechner’sbroader

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understandingofperformanceas“restoredbehavior”(Schechner,BetweenTheaterand

Anthropology35).Inthisway,bothgenes(invisiblecode)andbits(visiblestripsofaction)

possesspotentialfororganizationandoriginality.

Taylor’sandSchechner’sideashighlightthewaysinwhichbodiesareconstituted,

addressingPaulConnerton’sconcernthatthebodynotonlybeseenassocially

“constructedasanobjectofknowledgeordiscourse,”butalsoas“sociallyconstitutedin

thesensethatitisculturallyshapedinitsactualpracticesandbehaviour”(Connerton104).

Indeed,TaylorpointstotheperformativedimensionsofDNA;thatis,thefactabodycanbe

codedonlyifhumansconstructitintermsofcodeandbehaveinsuchawaythatenacts

saidcode.

Genealogy,ontheotherhand,isnotapracticeofcodingthebodyscientifically,but

ratherapracticeoftrackingtherelationsbetweenbodiesmoregenerally.Whilethe

principalelementofgeneticsdependsoninternal(andinvisible)processesofthebody,

genealogyisfocusedontheexternal,visible,andrelationalprocesses,whichestablishlinks

betweenbodies.Asathirdgradeproject,Icreatedagenealogicalchart.Ibeganby

drawingapictureofmyselfatthebottomofapieceofconstructionpaper.Then,Idrewmy

motherandfatheraboveme.Abovethem,Icrayonedlikenessesofeachofmy

grandparents.Intheend,myprojectdisplayedhumanfiguresofallshapesandsizes,

arrangedinrelationtobirthorder,ascendingtowardthetopofthepaper,labeledwith

names,genderedbypoorlydrawnponytailsorcrewcuts.Bymeansofthisgenealogical

process,acreativeprocessfinally,theindividualbodyexpanded,extendeditselfinto

multiplebodies.Agenealogyisarecordoftrackingthemultiplicationsandpermutations

ofthebody.Whereasthesymbolofgeneticcode,thedoublehelix,representsanabstract,

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metaphysical,orinvisiblebodypart,ingenealogy,thesingularcorporealbodygrowsextra

armsandlegs,limbsandtrunks,branches,androots.A“familytree”isformed,theguiding

metaphorofgenealogy;ametaphorthatmovesawayfromtheinteriorbiologyofhuman

mattertoasymbolicmanifestationthatimportsculturalunderstandingsofnaturalscience,

notionsofhierarchyandrank,andtheimportanceoforigin.Thefamilytreeisnotonlya

metaphorforfamilialconnection,butalsoachartthatorganizesculturalmaterialwhile

implicitlysupportingitsubiquitousstatusas“natural.”

Therelationshipbetweengeneticsandgenealogyhighlightsthetreatmentand

constructionofthematerialbiologicalbodyandtheprocessbywhichthisbodyischarted

inrelationtootherbodies.Therelationshipexcitesthreecentralquestions:1)What

happenstothecorporealbodyinthetheoryandpracticeofgenealogy?2)Ifgenealogyis

theconstructionofa“familytree,”whatmaterial,emotional,andculturalmaterialsare

usedinthisconstruction?3)Andwhatdoesthisconstructionrevealaboutpracticesof

communitymemory?

Geneticgenealogy,asdefinedabove,isasubsetofwhatIwillrefertoaspopular

genealogy.Populargenealogyisgenealogybroadlyconceived.Itis“thestudyor

investigationofancestryandfamilyhistories”(“Genealogy”577).Thisdefinitionimplies

thatgenealogyisthebroadpracticeof“lookinginto”lineages.Thebreadthofthispractice

isillustratedinthedefinitionprovidedonthewebsiteoftheBoardCertificationfor

Genealogists:

Genealogyisthestudyoffamiliesingeneticandhistoricalcontext.Withinthatframework,itisthestudyofthepeoplewhocomposeafamilyandtherelationshipsamongthem.Attheindividuallevel,itisbiography,becausewemustreconstructeachindividuallifeinordertoseparateeachperson’sidentityfromthatofothersbearingthesamename.Beyondthis,manyresearchersalsofindthatgenealogyisastudyofcommunitiesbecausekinshipnetworkshavelongbeenthethreadsthat

28

createthefabricofeachcommunity’ssociallife,politics,andeconomy.(BoardforCertificationofGenealogists)

Asanodtowardtheideasofpersonhood,people,andpopulaceevidentinthisdefinition,I

appendthemodifier“popular”tothepracticeofgenealogydescribedabove.Ialsomeanto

suggestthatpopulargenealogyreflectsaconceptofgenealogymorereadilyaccessibleto

thegeneralpublic,thelayperson,andnon‐specialist.Popularalsoaccountsforthe

increasedvisibilityofgenealogicalpracticesduetotheinfluxoftelevisionshowsand

internetwebsitesongenealogyinthefirstdecadeofthetwenty‐firstcentury.Additionally,

populargenealogymightserveasanumbrellaterm,housingarangeofculturalpractices

enactedforthepurposeofestablishingancestralrelations.Suchpracticesinclude

searchingcensusdata,reviewingslaveinventorylists,exploringdeathandmarriage

records,andconductingorsubmittingtogenetictesting.Finally,populargenealogyshould

bedistinguishedfromtheothertypesofgenealogyIdetailinthischapter,namely,genetic

genealogy,criticalgenealogy,andperformancegenealogy.Thetypesarenotmutually

exclusive,ofcourse,butdoindicatedifferentmodesofenactmentandinvestigation.

Ifgeneticgenealogyspecifiespopulargenealogyintermsofpracticesrelatedto

genetics,“criticalgenealogy”and“performancegenealogy”entailaspecificmethodof

historicalengagement.Historians,academics,andperformancescholarshaveadoptedthe

practiceofcriticalgenealogytodescribespecifictypesofculturalanalysis.In“Nietzsche,

Genealogy,History,”MichelFoucaultproposes“critical”or“effective”genealogyasan

approachtohistoricalinquirythat“rejectsthemetahistoricaldeploymentofideal

significationsandindefiniteteleologies”(Foucault140).Heclarifies,“Itopposesitselfto

thesearchfor‘origins’”(Foucault140).ForFoucault,criticalgenealogyshouldnotsearch

fororiginsbecausetheyrepresentthefictionofclaiminganultimatetruth,essence,or

29

stableidentity.Instead,acriticalgenealogy“focusesonthephysicalratherthanthe

metaphysicalevent.Itthenreadsthephysicaleventmeticulouslysoastorevealthe

variousanddivergentparticularsthatshowtheculture(s)inactionandculturalhistories

asenacted”(R.Bowman,“DivergingPathsinPerformanceGenealogies”168).A

genealogist,inFoucault’sterms,shouldnotpretendtogobackintimetorepairbroken

narrativesorsuggestcontinuities,butinsteadsheshouldseekouttherupturesand

fissuresintraditionalhistories,documentingthetransmissionofdiscontinuousand

piecemealfragmentsofhistory.Sheseeksthedisparitiesthatundergirdtraditional

histories,thatis,historieswithaunifiedattitudeandaim,dueoftentotheuseofasingle

overarchingnarrative.

Foucaultconceivesofcriticalgenealogyasactiveandliving.WhenFoucaultsays

thatgenealogyis“historyintheformofaconcertedcarnival,”hemeansthatgenealogyisa

methodofhistoricalinquirythatisactivateddeliberatelybythehistorianandhercritical

toolsofinvestigation(Foucault161).Thephrasealsoimpliesthathistoriesaremadeor

constructedoutofcompetingnarrativesandbodilyactivities.Thus,agenealogistshould

viewanartifact,event,ormemoryincontextlookingathowitcametooccupyitsplacein

history,seekingouttheoftencontentiousrelationsthatlieinitsmaterialcircumstancesas

regardsbodiesinculture.ForFoucault,thedomainofdescentisthebody.Hewrites,

“Genealogyasananalysisofdescent,isthussituatedwithinthearticulationofthebodyand

history.Itstaskistoexposeabodytotallyimprintedbyhistoryandtheprocessofhistory’s

destructionofthebody”(Foucault148).Insummary,criticalgenealogy,asprofessedby

FoucaultfollowingNietzsche,representsanactivationofhistoricaleventsinsuchaway

thatopposesoriginandcentersonthebody.

30

JosephRoachoutlinesanotherbodycenteredapproachtogenealogyinthe

introductorychapterofhisbook,CitiesoftheDead:CircumAtlanticPerformance.He

writes,“Genealogiesofperformanceattendnotonlyto‘thebody’asFoucaultsuggests,but

alsotobodies–tothereciprocalreflectionstheymakeononeanother’ssurfacesasthey

foregroundtheircapacitiesforinteraction”(Roach25).This“performancegenealogy”is

thusalsointerestedinthebodilyanddiscursivetransmissionofmemoriesacrosstimeand

space(Roach26).ConsideringRoach’sgenealogicalapproach,RuthLaurionBowman

contends,“Bodies‘do’things...theydoalotofthings,differentlyandinexcess.Roach’s

resourcebaseandcorporealsensitivitygirdhistheoreticalproject,whichistolocate

performanceascentraltohistoricalprocesses”(R.Bowman,“DivergingPathsin

PerformanceGenealogies”170).

Inordertocentralizeperformanceinhistory,Roachinvestigatesawidevarietyof

circum‐Atlanticperformancetraditionsdeployingtheterm“orature,”whichresistsa

distinctionbetweenoralityandliteracy.Oraturerecognizesthatvariousformsof

“communicationhaveproducedoneanotherinteractivelyovertimeandthattheirhistoric

operationsmaybeusefullyexaminedundertherubricofperformance”(Roach11‐12).In

soattendingtoorature,inpracticeaswellastheory,RoachattendstoFoucault’snotionof

“‘counter‐memories,’orthedisparitiesbetweenhistoryasitisdiscursivelytransmitted

andmemoryasitisenactedbythebodiesthatbearitsconsequences”(Roach26).

Tobetterunderstandandactivateaperformancegenealogy,Roachprovidesthree

principles:kinestheticimagination,vorticesofbehavior,anddisplacedtransmission.

Kinestheticimaginationisa“facultyofmemory,”whichservesas“impetusandmethodfor

therestorationofbehavior,”i.e.,performanceinRichardSchechner’sterms(Roach27).

31

ForRoach,kinestheticimaginationreferstothewaysinwhichmemoryandimagination

cometogethertoburgeonandmanifestasbodiesdoingthings,restoringthings.

Kinestheticimaginationthenisunderstoodas“virtual”inthesensethatexperienceis

producedthroughsimulation.Here,“truthisthetruthofsimulation”andbodily

experienceisexperience“atoncerememberedandreinvented”(Roach27).

RenamingPierreNora’s“placesofmemory,”Roachusestheterm“vorticesof

behavior”toidentifytechnologicallyorarchitecturallyproducedsitesthatinduce

particulartypesofperformance.Vorticesofbehavior“canalizespecifiedneeds,desires,

andhabitsinordertoreproducethem”(Roach28).Roachlikensvorticesofbehaviorto

RolandBarthes’s“ludicspace”andevokesBakhtin’stheoryofcarnivaltoassertthat“the

vortexisakindofspatiallyinducedcarnival”(Roach28).ThevorticesthatRoachdescribe

mightbestbeunderstoodasmarketplaceswherethe“magneticforcesofcommerceand

pleasure”collide,simultaneouslyproducingandlegitimatingperformancesand

performancecommunitiesinpublicspaces(Roach28).

Displacedtransmissionistheprocessbywhichculturalperformancesarepassedon

andrefunctionedinnewcontexts.Roachtheorizesthatthisprocesshappensthrough

surrogationorthetestingoutandperformingofalternativesinthecaseofaruptureinthe

socialfabric.Thephrase,“Thekingisdead.Longlivetheking”isaclassicexampleof

Roach’ssurrogation,illustratinghowsocietiesusheralternates“intothecavitiescreatedby

loss”inanattempttosustainthestatusquoortradition(Roach2).Inhistheoryof

surrogation,RoachagreeswithSchechnerthatwhiletherestorationofcertainbehavior

mayappearconsistentacrossmanygenerations,therepetitionisneverexact.Itisa

“doomedsearchfororiginals,”animperfectrepetitionthatforsomespellsfailure(Roach

32

3).Displacedtransmissionthenisaprocessof“adaptation”wherebypeopleattemptto

locateorigins,however(in)effectively,throughthetransmissionofculturalandhistoric

activitiesinnewsituationsandenvironments(Roach28).

Thepresentchapterevokesandinteractswitheachoftheaforementionedtypesof

genealogy,drawingontheprinciplesofcriticalgenealogiesandgenealogiesofperformance

toundertakeanalysesoftwowebsitesthatencouragegeneticandpopulargenealogical

practices.Integraltomyanalysisisanaddressoftherolethebodyplays,aseachtypeof

genealogyarticulatesaparticularbodilyrelationshiptothesearchfororigins,andit

expressesthisrelationshipusingthevocabularyofhome,homeland,andcommunity.

Genealogy(Web)Sites

AidedlargelybypopulartelevisionshowslikeNBC’s“WhoDoYouThinkYouAre?”

andwebsitessuchasAncestry.com,populargenealogicalpracticeshavegainedsignificant

visibilityintheU.S.Asimpleinternetsearchuncoversthevastandmultifacetedlandscape

ofgenealogicaldiscovery.Websitesdevotedtopopulargenealogyfallalongacontinuum

thatstretchesfromDNAtestingsitesatoneendtocommunityresourcesitesontheother.

Informationalsites,trainingandcertificationsites,andsitesthatserveparticularethnicor

regionalpopulationsappearalongthisspectrum.Myresearchledmetotwowebsites

dealingwithAfricanAmericangenealogy.ThefirstiscalledAfriGeneas.com,andthesecond

istitledAfricanAncestry.com.IwouldplaceAfricanAncestry.comclosertotheDNAtesting

endofthecontinuumandAfriGeneas.comclosertothecommunityresourceend.Likemost

genealogysites,thesesitesaredevotedtocollectingorestablishingdocumentationof

humanlineageorpedigree.

33

AfriGeneas.comisnottheeasiestsitetonavigate.ThefirstthingInoticewhenI

openthewebsiteisthatthevisualelementsarearrangedinsuchawaythatmakesit

difficulttoconcentrateononeitem.Saveforthecentralimage,thehomepageiscluttered

andtheitemsseemunrelatedordisorganized.Experiencingtroubleprocessingthesite,I

fixmyattentionontheimageinthecenterofthepage.Itisafadedsepiaportraitofwhat

appearstobeafamily,ablackfamilyofeight.Therearethreestandingadults,oneofthem

holdingababy.Therealsoaretwoolderadults,seated,andtwochildren,onestandingand

theothersittingonthegroundbelow.Itishardtomakeoutthefacialfeaturesofanyofthe

subjects,butitisclearthatnooneissmiling.Thesubjects’attireindicatesthatthepicture

mayhavebeentakeninthelatenineteenthorearlytwentiethcentury.Theedgesofthe

photographareinvisible,andtheimageisframedbywording.Abovethepictureisthe

nameofthewebsite,“AfriGeneas,”withasubheadingjustbelow,“AfricanAncestored

Genealogy,”andbelowtheimagethereisaphrasethatreads,“fromAfricatotheAmericas”

(AfriGeneas.com).Belowtheportraitisabriefdescriptionofthesite.Thewebsiteconsists

ofalargenumberofresourceandresearchtools.Someofthetoolsincludemailinglists,

messageboards,weeklygenealogychatpages,abeginner’sguidetoAfricanAmerican

genealogy,databases,forums,communityeventcalendars,anddirectories.AfriGeneas.com

isdevotedtoAfricanAmericanAncestryintheAmericasinparticular.Thesiteoutlinesits

mission,vision,andgoalsonitswelcomepage:

OURMISSION:AfriGeneasprovidesresources,leadership,promotionandadvocacyforthemutualdevelopmentanduseofasystemofgenealogyforresearchingAfricanrelatedancestry.OURVISION:TofindanddocumentthelastslaveholderandthefirstAfricanineachfamily.OURGOAL:ToencourageandsupportallAfricanancestoredindividualsandfamiliestobeginandcontinueresearchingtheirrootsuntilallpossibleresourcesareexhaustedandtheresultsarepublished.(AfriGeneas.com)

34

Althoughthewebsitehasratherloftygoals,itdoesprovideanarrayoftoolsfor

doinggenealogy.Overthecourseofmyresearch,Ivisitedthesitemanytimes,discovering

newaspectseachtime.Ononeoccasion,Inoticedapronunciationkeyrightthereonthe

homepage.IwonderedhowIhadnotseenitbefore.Itreads,“ThewordAfriGeneasis

derivedfromAfricanAmericanGenealogyBuddies.It'spronounced:A·fri·GEE·nee·as”

(AfriGeneas.com).Alinkthatprovidesanoralpronunciationisthere,soIclickonit.

Hmmm.Soundslike“afri‐genius.”ThatwouldhavebeennicetoknowbeforeIgavea

presentationonthewebsiteattheSouthernStatesCommunicationAssociationconference

inApril2012.Ithoughtitwas“afri‐gen‐nay‐us”orsomethinglikethat.

Totheleftoftheportraitonthehomepageisaneventscalendar,andtheone

activitylistedis“KingtoObama‐DuBoisandBackAgain,”analldayeventattheAuburn

AvenueResearchLibraryonAfricanAmericanCultureandHistoryinAtlanta,Georgia.To

therightoftheportraitisanareaforrecentposts,featuringannouncementsofaddress

changes,bookfestivals,anddirectivesforthoseseekinginformationonparticular

descendants,suchas,ononeday,thedescendantsofRamonNapoleonHarris.Scrolling

downthepagerevealsadvertisementsofallsorts,forcensussearchsites,obituaryrecords

searchsites,DNAtestingsites,andthepopularAncestry.com.Ireturntothetopofthepage

tocheckoutoptionsIhadneglectedpreviously.Clickingoneachtabexposesanenormous

amountofresources.Overwhelmed,Iaccessthesitemaptoseewhatexactlyisonthesite

andhowitisorganized.Here,Icount92linkedpages,outlinedundertheheadings:About

us,networking,people,chatcenter,mailinglist,messageboards,records‐databases,

resources‐tools,calendars,directories,holidaysandobservances,contributingto

AfriGeneas,andaffiliatedsites.

35

Inavigatebacktothehomepage,anditisherethatIdiscoverthatthesitehosts

chats:a“lunchbunch”fromnoonto1:30pm,Monday‐Friday,andaTuesdaynightchatat

9:00pm.Intriguedbytheprospectofinteractingwithotherusersofthesite,Isetmy

sightsonthechatpages.Irealizethatinordertoaccessthem,Ineedtocreateanaccount

completewithausernameandpassword.Myusernamewillbe“generesearcher1,”Idecide

quickly.Thesignupisrelativelyeasy,andIamabletoaccessthechatpageimmediately,

whichappearsasanewwindow.Totherightofanoldchatstrain,InoticethatIamableto

postastatusthatcommentsonmylevelofavailability.Theoptionsareaway,beright

back,phone,food,andboss.Hmmm.Boss?Iconcludethatpeoplemustsneakanddo

genealogieswhileatwork.Iseemtobetheonlyoneonlineasmyusernameistheonlyone

visible.Idecidetohangoutandwaitforthe“lunchbunch”chat.

AsIwaitforthechat,IexploresomeoftheothertoolsavailableonAfriGeneas.com

andamrelievedtofindabeginner’sguidetoAfricanAmericangenealogy,aninteractive

slideshowcreatedbyDeeParmorWoodtor,authorofFindingaPlaceCalledHome.Two

optionsareatopthescreen:exitorbegin.Iclickonbegin.Theslideshowisprefacedby

whatislabeledaWolofproverb,“Knowwhoyouarebeforetheyhavetotellyou.”The

welcomepageoftheguidedisplaysanoutlineofthecontentsoftheslideshow:

WhattheInternetCanDoToHelpYou WhattheInternetCanNotDoToHelpYou TellingtheAfricanAmericanFamily’sStory WhatWillMyGenealogyProjectLookLikeOnceI’mFinished? WhatisGenealogy? GenealogyisaMission:FantasticLivesandStoriestoDiscover YourInteractiveGuide:EssentialStepsforBeginners GenealogyKnotsforBeginners:CallingNamesofOtherPeople’sAncestorsin

Vain TheFutureofAfricanAmericanGenealogyontheInternet Ready,Set,GoOfftheWeb(AfriGeneas.com)

36

Ispendtwohoursnavigatingtheinteractiveslideshow,therebydiscoveringthatI

ambeingrecruitedforajoboraprojectofsorts.Namely,ifIwishtoknow“whoIam

beforesomeelsehastotellme,”Iamgoingtohavetofindoutformyself.Implyingthat

adequaterecordsofAfricanAmericanlineagearenotreadilyavailableandoftennon‐

existent,thesitecompelsthevisitorbyempoweringthem,byarmingindividualswiththe

toolsandsupportsystemtobecomeagenealogist.

Althoughthesiteisdedicatedtothebusinessofgenealogy,itmanagestohavea

senseofreflexivityandhumor.Onatabdevotedtogenealogyhumor,Ifoundthefollowing

poem,“TracingMyTree,”whichaccordingtothewebpagewas“foundonRoots‐LList”and

contributedbyAfriGeneas.comstaff:

Istartedoutcalmly,tracingmytree,TofindifIcouldfindthemakingsofme.AndallthatIhadwasGreat‐grandfather'sname,Notknowinghiswifeorfromwherehecame.Ichasedhimacrossalonglineofstates,Andcameupwithpagesandpagesofdates.Whenallputtogether,itmademeforlorn,ProvedpoorGreat‐grandpahadneverbeenborn.OnedayIwassurethetruthIhadfound,Determinedtoturnthiswholethingupsidedown.IlookeduptherecordofoneUncleJohn,ButthenIfoundtheoldmantobeyoungerthanhisson.Thenwhenmyhopeswerefastgrowingdim,Icameacrossrecordsthatmusthavebeenhim.ThefactsIcollectedmademequitesad,DearoldGreatgrandfatherwasneveraDad.Ithinksomeoneispullingmyleg,IamnotatallsureIwasn'thatchedfromanegg.AfterhundredsofdollarsI'vespentonmytree,Ican'thelpbutwonderifI'mreallyme.(AfriGeneas.com)

IrememberthatIwassupposedtobewaitingforthelunchbunchchatandrevisit

thechatwindow.Scrollingthroughaconversationthathasstartedalready,Iseethat

severalmembershavewelcomedmeandbecomeannoyedwithmylackofresponse.“Hi

37

Generesearcher!”“Welcome,Generesearcher.”“Generesearchermustbemute!”

Immediatelyregrettingmychoiceofusername,Ithink,“Ohgee,Ihadbetteranswer.”I

provideanexcuseaboutbecomingdistractedbythesite’smanyresourcesandtypeitinto

mydialogboxandclicksend.Therearesevenusersonthechatnowandmostofthem

directquestionstowardsmewithoutdelay.“Whatareyoursurnames?”“Whereareyour

folkfrom?”“Whatcountiesareyouresearching?”“Whatcityareyouoperatingoutof?”I

canbarelykeepup.Mynervesproducemisspellings.Ibecomeflustered,andawaveof

guiltwashesoverme.AfterrespondingtoasmanyquestionsasIcan,Idecidetoout

myselfasabeginnerandaresearcheroftheprocessofgenealogyratherthanapractitioner

proper.Abriefmomentpassesbeforethequestionsandcommentsreturninbulk.“That

soundsgreatGeneresearcher!”“Feelfreetoaskusanyquestions;wehavewonderful

researchersinthegroup.”“Areyoudoingasurvey?”IexplainthatIamtakingmoreofan

autoethnographicapproach,andthatIaminterestedintherelationshipbetweendifferent

typesofgenealogy,suchaspopulargenealogyandgeneticgenealogy.Iinformthelunch

bunchthatIamlookingintohowpeopledogenealogyandwhy.

InadditiontoreferringmetoseveraldifferentforumsonAfriGeneas.com,members

ofthelunchbunchgrouprespondwithpersonalanecdotes.Onetellsmehestartedhis

searchwiththeintentoflocatingoneparticularancestorandgot“hooked.”Another

membertakestheopportunitytospeakforthegroupsaying,“Wealllovethesearch.”

Anothermemberstartedinanattempttoverifydetailsofhis105.5yearoldgrandmother’s

oralhistory.Realizingshewas“100%correct”aboutgeographicdetailsandfamilylineage,

theuserbecameintriguedbytheprocessandneverstopped.Anotherusercontinuesthe

conversationbysayingthatovertimeheorshehasbecomelessfocusedonhisorherown

38

familyandmoreinterestedincommunityhistory.Beforelong,aparticularcommentleads

toabriefdiscussionofgeneticgenealogy.TwousersagreethatDNAtestingshouldnotbe

trustedwithoutanaccompanying“papertrail.”Thesametwousersexpressconcernand

suspicionofDNAtestingbecauseittendstolackaccountfor“migrationandcolonization.”

AcoupleofusersadmittousingDNAtesting.Oneusersaysthatitisnota“priority.”After

anhourorso,theusersbidfarewelltothegroup,onebyone.Eachtakesspecialcareto

wishmegoodluckwithmystudies.OnemembergivesmehiswebsiteURLandemail

address,andencouragesmetokeepintouch.Ichuckle,takeadeepbreath,and

enthusiasticallyrelaymychatexperiencetomystudybuddiesatthecoffeeshopwhereall

thistranspired.

Doyouknowwhereyouarefrom?Notthecitywhereyouwereborn,Buttheplacewhereyourancestrybegan…Morethan500yearsago.Finally,withAfricanAncestryyoucan…Uncovertherootsofyourfamilytree.TraceyourDNA.Findyourroots.Doyouknow?AfricanAncestryistheonlycompanythatcantraceyourancestrybacktoanAfricancountryoforigin.(AfricanAncestry.com) ThesecondwebsitethatconcernsmeisAfricanAncestry.com.Incontrastto

AfriGeneas.com,thevisualelementsofthissitearecrispandclear.Themessageisfocused,

andthetoolsofgenealogicalinvestigationarelimitedtoone:DNA.Themissionofthe

websiteisevident,“AfricanAncestry:TraceyourDNA.Findyourroots”

(AfricanAncestry.com).

Itypeintomybrowserslowly,carefully,inmycharacteristichuntandpeckway:

www.AfricanAncestry.com.Soft,melodic,yetdramaticmusicplayswithoutanyprompting

39

onmypart.Thehomepagefeaturesanembeddedvideoscreenplacedoff‐centertotheleft.

Avideoloadswithinseconds.Aflashing,digitalizedmapofcontinentsgreetsme,followed

byacloseuponafamiliargeographicshapeformedbyyellowishsquaresagainstawhite

background:Africa,Irecognize.Thescenechangesquicklytotheshadowyimageofatree

wavinginthebreeze,thesunpiercingthroughitsbrancheswhilebirdsflyacrossthe

screenfromrighttoleft.Justasquickly,thescenechangesagain.Alargedoublehelix

stretchesacrossthewidthofthescreen.Partsofthestructurearehighlighted

momentarilyassectionsareilluminatedinflashesofredandyellow,blueandgreen.Scene

change.Acloseuponavibrantgreenleafsimultaneouswithanisolatedbrownishroot

atopblackfertilesoil.Scene.Arevolvingsemi‐transparentglobe.Scene.Asplitscreen.

Therightsidefeaturesafair‐skinnedchildwithpinklipsandpiercinggreeneyes.The

continentofAfricaismappedontothechild’sface.Thefacemapappearsintonesofgreen,

brown,andyellow.Iimaginetheimagetobetheresultofintricateandremarkablestage

make‐up,thegeographicaldivisionsprotrudingfromtheskinlikeburnedfacialtissueor

scarring.Oppositetheboy’sfacearewordsthatframemyconsumptionofthesite.

“AfricanAncestryistheonlycompanythatcantraceyourancestrybacktoanAfrican

countryoforigin”(AfricanAncestry.com).Thecompany’slogo,anupsidedown“V”witha

doublehelixrunninguptheleftside,appearsjustbelowthesewords.Belowthelogo,are

twoprompts:1)discoveryourmaternalroots;and2)discoveryourpaternalroots.It

seemsIhavetochoose.

Totherightofthevideoscreenisasectiontitled“NewsandUpdates.”Iscrolldown

togetasenseofthesiterelatedinformation.MyfirstdiscoveryisaplugforPBS’sFinding

YourRootstelevisionseries.“CheckoutFindingYourRootsonyourlocalPBSstationand

40

watchasAfricanAncestry.compicksupwheretheshow’sgenealogicalpapertrailendsfor

guestssuchasCondolezaRice,SamuelL.Jackson,andWandaSykes.Findacomplete

schedulehere”(AfricanAncestry.com).ThefurtherIscroll,themorecuriousthenewsand

updates:

|STILLSTANDINGFILMTOUR|

AfricanAncestrypartnerswithTylerNewMediaandBlackAndMarriedWithKids.comtosupportthelaunchofthedocumentary,"StillStanding."CheckoutthedocumentaryscreeningsinDC,Chicago,Houston,Dallas,andATL.Clickhereformoreinfo...

|WINATRIPTOGHANA!|

EntertheKnowYourHeritageSweepstakesatTheAfricaChannel.YoucanwinatriptoGhana.ContestendsonMarch2,2012...

|HAPPYANNIVERSARY!|

OnFebruary21st,AfricanAncestrycelebratedNINEyearsinbusiness.Over30,000familiesnowknowtheirroots.Doyouknow?...

|NATIONALASSOCIATIONOFBLACKJOURNALISTS|

The2011NationalAssociationofBlackJournalistsAnnualConventionandCareerFairwillbeinPhillyAug3‐7.Thisisthepremiervenuefordigitaljournalismeducation,careerdevelopment,andthenation’sleadersinmedia,business,arts&entertainmentandtechnology...

|HARLEMWEEK|...

|DCHIP‐HOPTHEATERFESTIVAL|...

|McDONALD'S365BLACK|

AfricanAncestryispartneringwiththeMcDonald's365BlackAwards.The2011honoreeswilllearntheirrootsduringtheceremonyattheEssenceMusicFestival.(AfricanAncestry.com)

Overwhelmed,Ifocusmyattentiononthebannerthatheadsthehomepage.Itfeaturesan

advertisementforgiftcertificatesinincrementsfrom$25to$500.Iwonderhowmuchthe

testscostinthefirstplace.Istudythemenubar,whichconsistsofeightclearlylabeled

tabs.Idecidetonavigateeachone.

41

Tab1‐AAistheAnswer

AsIdirectmycursortohoveroverthistab,twooptionsappear:benefitsand

testimonials.Thetestimonialsectionespeciallyintriguesme.Ispendanexorbitant

amountoftimewatchingyou‐tubevideosandreadingcommentsfromsatisfied“AA”

customersfromallwalksoflife.Includedinthearrayoftestimonialsarestatementsfrom

recognizableblackcelebrities,suchasSpikeLee,BlairUnderwood,andKimberlyElise.The

testimonialfromactressKimberlyElisereads:

Learningmymateriallineagehasbeenprofoundlyenlightening.Notonlytomyselfbuttomydaughters,mother,auntsandsoforth.TheinformationAfricanAncestryprovidedtomehasgivenmeananchortomypast,thusmakingmypresentallthemorevaluableandprecioustome.Andthatselfknowledgegivesmepower.IknowmylineageandthehistoryofMYPEOPLE.IcomefromtheSonghaipeopleandthroughmyresearchIlearnedmyancestorsareknowntobegreatartisans,royaltyandwarriorsofgreatstrengthandskill.KnowingthesetraitsarethenucleicompositionofmyDNAputsallthepiecesofwhoIaminstinctuallyintoplaceandgivesmethefortitudetocontinuelivingasIalwayshave‐frommyheartandfrommygutturalinstinctsasImovethroughlife.IcannowpassthisontomychildrenandtheycanremindthemselvesasIdo."IambornofSonghai‐queen,artist,warrior,andwise."ILOVEthat!Ilovethat.(AfricanAncestry.com;emphasisinoriginal)

InadditiontocelebritiesandAfricanAmericanswithnotabletitles,Inoticeseveralentries

thatarelabeledvaguely,“AfricanAncestryfamilymember.”Onesuchtestimonialreads,in

part:

HowdidIfeelandhowdoIfeel?Euphoric,delighted,humbled,andhonored.Euphoricwiththeexcitementofjustknowing–delightedtoknowthatIhadgenetictiestoYorubas,apeopleIknowwell,asmyhusbandisYorubafromNigeria.Humbled,becauseIknowthattherewasaYorubawomanfromwhomalineofwomendescenddowntome,anditisherstrengththatbroughtmehere,andIfelthonoredthatIhavebeensoprivilegedtohavelivedtoatimewhensuchthingsarepossible.

Ihaveresearchedthislineformorethan20years,beginninginArkansas,backtoMississippi,toTennesseeandtoVirginia.ThisDNAtestwithAfricanAncestryhasgivenmetheopportunitytolookthroughtheMiddlePassage,andtonowknowthisonepieceofmyhistoryandunderstandthatInowhaveatietoplace

42

thatIcancallhome.Itisnotjustthelandandhomeofmyhusband'sfamily–itisalsoaplacethatIcancallhome.(AfricanAncestry.com)

AsIscrollupanddownthepage,IdiscoverthatonAfricanAncestry.comtheabove‐quoted

excerptsrepresentthetestimonialnorm.RereadingthetestimonialfromKimberlyElise,I

noticewhatseemstobeatypo.Itreads,“Learningmymateriallineagehasbeen

profoundlyenlightening.Notonlytomyselfbuttomydaughters,mother,auntsandso

forth.”Hmmm.GiventhatElisereferencesherfemalefamilymembersinthenext

sentence,shemustmeanmaternalnotmaterial,Iconclude.Ipausetothinkaboutthe

slippageandthematerialconsequencesofsuchtestimonials.Findingmyselfcaught

betweencuriosityandcynicism,Iwonderwhatmyowntestimonialmightsoundlike.On

theonehand,Idelightintheexultationsofthefolksonthetestimonialpage.Ienvythe

expressionsofempowermentderivedfrom“knowing”fromwhenceonecomes.Onthe

otherhand,Igrowtiredandcriticalofthethematicrepetitions:triumphovercolonialism,

reclamationofhome,talesofreturn.Imovetothenexttab.

Tab2‐TraceyourDNA

TheoptionsherearegearedtowardsimpleexplanationsofDNAtestingasavehicle

forestablishingfamilialconnections.Under“UnderstandingLineages,”theprocessofDNA

testingisexplainedbytellingtheuserhowitwillcontributetotheirancestralknowledge:

“Ourtestsaredesignedtodeterminetheancestryofadirectmaternallineageand/ora

directpaternallineage,oneatatime”(AfricanAncestry.com).Aninteractivechartis

displayedonthescreen.Thedirectionsread,“Yourgreatgrandparentsrepresenteight

lineagesthatyoucantracewiththehelpofotherfamilymembers.Clickonthelineageyou

wanttotracetofindoutwhocanprovidetheDNA”(AfricanAncestry.com).

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Tab3‐FindYourRoots

Iclickontab3.Inchoosingeachoptionavailable,Ilearnaboutthematernaland

paternallineagetests.Thematernaltestiscalledthe“MatriClanTestKit,”andthepaternal

testiscalledthe“PatriClanTestKit.”Notmuchscientificdetailisprovided.ItisherethatI

amtoldIcantakethematernaltestonly,asIdonothavetheYchromosomenecessaryfor

thepaternaltest.Iwouldhavetohaveamalefrommyfather’ssidetakethetestforme.I

imaginesolicitingatestfrommydad.Hisresponseislessthanreceptive.

Thesitedescribesasimpleprocesswherebyuserspurchaseancestrytestsonlineor

byphoneandreceivethetestkitinthemailwithin7‐10days.UponreceiptoftheDNA

testingkit,theusermustswabhisorhermouth,providingaDNAsample.Then,theuser

mustputthesampleinanenvelope,seal,andreturnittothetestingfacilityviamail.Six

weeksafterthesampleissubmitted,usersreceivea“resultspackage”thatconsistsofa

resultsletter(includingDNAsequence),acertificateofancestry,aguidetounderstanding

andsharingtheresults,postcardstoshareyourresultswithfriendsandfamily,and

membershiptotheAfricanAncestryOnlineCommunity.Ichuckleattheinclusionofthe

postcardsandimaginewhattheymustlooklike.IthinkIwouldrathercreatemyown.

Tab4‐BuyNow

MatriClan™TestKit...299.00...PatriClan™TestKit...299.00...PersonalizedCertificateofAncestry…Agreatgiftidea!...15.00...LimitedEditionWEAREAFRICAT‐shirt...$15.00...AfricanAncestryLogoBaseballCap...$18.00...(AfricanAncestry.com)

Muchlikebuyingapairofshoesonline,inordertomakeapurchase,onemustplaceher

wanteditemsintotheelectronicshoppingcart,createanaccount,andcheckoutwithan

acceptedcreditcard.

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Tab5‐Onceyouknow

Asitscaptionsuggests,tabfiveisoflittleuseifyoudonotknow(i.e.,whoyouare).

ItprovideslinksforinformationaboutAfricancountries.Therealsoisanoptioncalled

“AskLyndra.”WhoisLyndra?Iwonder.ThesiteclaimsthatLyndraisaprofessional

genealogistwithoverfortyyearsofexperience.WhatIassumeisherlikenessappearsin

cartoonformaboveaquestionandanswercolumn.Andthenthereistheonline

communitylink,but“Membershiptothisgroupisexclusive!Onlypeoplewhohavetaken

anAfricanAncestrytestandhavereceivedtheirresultshaveaccesstotheonlineforum”

(AfricanAncestry.com).

Tab6‐AboutAA

Tab7‐FAQ

Tab8‐Blog

ConvincedthatIhaveascertainedanunderstandingofthesite,Imovethroughtabs

6through8relativelyquickly.Thesetabsprovideinformationaboutthecompany,its

history,anditsmanagementteam.Onetabaddressesfrequentlyaskedquestionsand

anotherfeaturesablog,whichseemstorunindependentlyofthesite,chroniclingAfrican

AmericanengagementswithAfricanrelatedpoliticsandprojects.

IreturntothehomepageandspotanitemIhadnotnoticedbefore.Thereisa“Wall

ofReturn”sectionatthebottomrightofthescreen.Iclickonit.The“WallofReturn”is

discursivelyandvisuallyjuxtaposedtothe“DoorofNoReturn.”The“DoorofNoReturn”

referencesthedoorthroughwhichAfricancaptivespassedastheydepartedslavecastles

onWestAfricancoaststoboardslaveships.Thedescriptionofthissectionexplainsthat

throughDNAtesting,AfricanAncestry.comcan“returnustoourrootsandreconnectusto

45

ourancestries”(AfricanAncestry.com).Belowthedescription,thecaption,“Ourlistof

notablesthathavefoundtheirroots,”appearsinwhiteagainstasalmoncoloredmarble

backdrop.UnderthecaptionisalonglistofwellknownAfricanAmericans,theirnames

followedbytheirdiscoveredcountryoforigin,andbelowthis,apictureofthe“DoorofNo

Return,”presumablytakenataslavecastle.Onequestionhangsabovethearched

passagewayleadingtothe“DoorofNoReturn”:“Doyouknow?”

AfricanDiasporicgeneticgenealogycentersoncreatingabiologicallinkbetween

thedispersedblackDiasporaandspecificlocations,tribes,andrelativesinaperceived

homelandofAfrica.CorporationsandinstitutionslikeAfricanAncestry.comfacilitate

geneticgenealogyandappealtothosewhoareinterestedinestablishingablood

connectiontoAfricanpeoples,foraprice.UnlikeAfriGeneas.com,whichasksusersto

createtheirowngenealogies,AfricanAncestry.comsolicitsyourDNA.Therhetoricofthe

siteleadsmetoconcludethatDNAtestingisthebestandonlywaytoanswerthequestions

thesiteconstructsasimportanttogainingasenseofselfandcommunity.Thesiteisclear,

direct,anduserfriendly.Asidefromthecurious“newsandupdates”section,thesiterarely

providesmoreinformationthanneeded.Itneverasksquestionsforwhichitdoesnot

provideanswers.Itissuccessfulincultivatinginmeacuriositythatwinsoutovermy

cynicism.Iwanttoknow“theplacewhere[my]ancestrybegan”(AfricanAncestry.com).I

wanttoknow.

IrevisitAfricanAncestry.comseveraltimesbeforeImakethedecisiontotakethe

DNAtest,comingquiteclosetocompletingtheonlineorderformseveraltimes.When

promptedtotypeinmycreditcardinformation,Ishutdown,optinginsteadtocloseoutthe

webpage.Thepriceitselfandtheideaofpayingformypastaredeterrents.Thepricewith

46

taxis$309.00.Curiously,myfinalattemptatpurchaseisinterruptedbyaphonecallfrom

mymother.Shereportsthatsheandmyfatherwanttopayformyplanetickethometo

SouthCarolina.Afterthisconversation,IopenanotherwindowonmyMacBookinorderto

researchflightprices.Idiscoveranon‐stopflightfor$310.10includingtaxesandfees.

Thismustbeasign.Realizingthecosttogohometomyfamily(paidforbymomanddad)

andthecosttopurchasemypastessentiallycanceleachotherout,Ireturntothecheckout

pageofAfricanAncestry.com.Afterashortmoment,Itypeinmycreditcardinformation

andselecttheoptiontosubmitpayment.Painless.Kindof.

Aweeklater,Ifishthetestingkitoutofmymailbox.Ihadthoughtthepackage

wouldbebigger,moresubstantial.Oratleastcrisperandcleaner.Theblackenvelope

seemstohavesufferedsomedamageduringdelivery.SixdayspassbeforeIcanbring

myselftoopentheenvelope.OnMonday,Iretrievethepackagefromthepileofmail,give

itaonceoverandthensetitaside.OnTuesday,Ichunkitinmybackpackwiththerestof

myresearchmaterials,andittravelsaroundwithmefromcoffeeshoptolibraryandback.

OnWednesday,IpullitoutatthecoffeeshopwhereIstudy,butamtooembarrassedto

openit.WhatamIgoingtodo,obtainmyDNAsamplerighthereinthecoffeeshopamidst

aroomfullofstrangers?Ipromptlyreturnittomybackpack,whereitlivesuntilIoptto

showthestillunopenedpackagetomyadvisorduringadissertationmeeting.OnSaturday

evening,Iconvincemyselftoattendtothetestingkit.Okay.Iamhome,amongmyown

things.Iwilldothis.Howbadcoulditbe?Ilookaroundmyapartment,surveying,

searchingforthesouvenirsIboughtwhilevisitingGhana.Hey,IwonderifIamGhanaian?

IhavebeentoldthatIresembletheSenegaleseonmorethanoneoccasion.Masks.

Paintings.Anakedwirewomanholdingtwopots.Atapestry.Woodenfigures.Ajewelry

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box.Theblackenvelope.Onthebackoftheenvelope,justbeneaththeopeningflap,it

reads,“Discovertherootsofyourfamilytreeandtransformthewayyoudefineyourself

withAfricanAncestry,thepioneerofgeneticancestrytracingforpeopleofAfricandescent.

Testingmaterialsenclosed.”IcheckmycellphoneforthetimeasIopentheenvelopeand

spreaditscontentsacrossmydesk.Startlingme,thephonerings.HOMEinallcapsand

illuminated.Itismymom.Bytheendofourconversation,Ihadtorushouttomeet

friendsforsushi,leavingthetestingkitonmydesk.Ireturnat9:26pm.Fearing,the

samplemightbecompromisedbymysakeconsumption,Idecidetogotobed.

Imanagetoavoidthetestforafewmoredays.Ononeoccasion,Iwakeup,

commencewithmymorningroutineinanticipationofcompletingthetest,onlytorealize

thatthedirectionsstipulatethattoothpaste,caffeine,tobacco,andalcoholshouldnotbe

usedforatleastthreehourspriortotakingthetest.IamsomewhatpleasedIwasright

aboutthesakeand,havingjustbrushedmyteethandcravingmymorningcoffee,this

attemptfailstoo.

ThefinalattempttocompleteandsubmitmyDNAtestisshort,simple,and

successful.Ontheparticularmorning,Iremembernottobrushmyteeth.Ispreadoutthe

contentsofthetestingpacketonthecarpetofthelivingroom.Isitcross‐legged,leaning

myupperbodyoverthematerials.Iscantheenclosedpamphlet,“thereisnoblood,no

pain,andnohassle,”ittellsme.Basedonmyexperiencesthusfar,Ibegtodiffer.Ifillout

theinformationformtoincludewiththesample.Idecidetotakeafewpicturesofthe

contents.Therearethreeswabsinaplasticpouch.Iremovethemoneatatime.Iinsert

theswabintomymouthandquicklyrunthecottonagainsttheinsideofeachcheek,twenty

timespercheek.Perthedirections,Idothisforeachswab,andthenplacethemintoa

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providedenvelope.Sixtycheekrollsinall.Mymouthissorebytheendoftheprocedure.I

pursemylipsandfillmymouthwithairsoastostretchoutmycheeks.Theinstructions

adviseathirtyminutedryingtimeforthesample,soIboilacoupleofeggsandpackmy

researchmaterialstopassthetime.Afterthetimeisup,Icarefullyplacetheinformation

sheetandthesampleintoapre‐stampedenvelopeandsealitshut.Onmywayoutforthe

day,Istopbythemailbox.Theenvelopebarelyfitsthroughtheoutgoingmailslot,soI

benditabitandforceitthrough.Isighandreturntomycarasmyprocrastination

convertsintowaiting.

NostalgiaandHome

AsnotedinChapterOne,in“OnPracticalNostalgia:Self‐ProspectingAmongUrban

Trobrianders,”DebboraBattagliaoffersacogentargumentthatnostalgiaisperformedby

peopleengagedinparticularacts.Her“embodiednostalgia”isanostalgiathatiscreatedby

andforcorporealbodieslaboringtocreateaffectiveknowledgesystemsandpracticesof

home.Battagliawrites:

Nostalgiamaybeinfactavehicleofknowledge,ratherthanonlyayearningforsomethinglost.Itmaybepracticedindiverseways,wheretheissuesforusersbecome,ontheonehand,theattachmentofappropriatefeelingstowardtheirownhistories,products,andcapabilities,andontheotherhand,theirdetachmentfrom–andactiveresistanceto–disempoweringconditionsofpostcoloniallife.(Battaglia77;emphasisinoriginal)

Battagliatheorizesatensivenotionofnostalgia,stressingtheimportanceofretainingits

affectiveattachmentsanditsproductive(thatis,producing)tiestohome,homeland,and

community.ThetwowebsitesIvisitedcreatenostalgiccommunities.Bymeansofcertain

actions,userscreatecommunitiesactinguponandthroughalongingforpastandhome,

oftenarticulatingcounterstotheirpostcolonialenvironments.Thesenostalgic

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communitiesareinterestedinareturnhome,onethroughtheperformingofpopular

genealogyandtheotherthroughgeneticgenealogy.

Asascholarinterestedinusingcriticalgenealogytolookatthewaysinwhicha

longingforhome,homeland,andglobalcommunityisperformedinAfricanAmerican

communities,Iamconfrontedwiththequestionofwhattypeofreturnhomeiscreatedat

thesesites.ToactivatethiscentralquestionIbuildonBattaglia’sconceptofpractical

nostalgia,whichretainstheimportanceofandtheneedforhome,byreadingnostalgiaas

constitutedequallybyperformancesofpastandhome.Suchperformancesofnostalgia

createpastandmakehome.InhisanalysisofDanielleVignes’s“HangitOuttoDry,”David

Terryuses“home”asaverbtodescribetheperformativeprocessbywhichonemakesor

constructsa(senseof)home.Hedescribes“homing”asaperformancethatnegotiates

tensionslikethoseBattagliaexpresses(Terry366).Terryarguesthatinherperformance

ofresidentsreturning(andnot)toChalmette,Louisiana,afterHurricaneKatrinahitin

2005,Vignesengagesinmultiplehomingsthroughheractionsonstage.Hewrites,“the

beautyofherperformanceisthatVignesdoesnotreconcilethetensionbetweenthese

‘homings’butpreciselyworks...atfindingahomeforherselfinandamongthetensions

themselves”(Terry366).AsTerrywouldhaveit,performersofnostalgiaenacthoming

usingpersonalandculturalmemoriesascreativetoolstodoso.And,followingBattaglia,I

wouldaddthatperformersofnostalgianavigatethetensionsbetweenattachmentand

detachmentaswellasthosethatarisebetweenpastandhome.

AfricaforSale

AfriGeneas.comandAfricanAncestry.comare,inRoach’sterms,marketplacevortices.

Asmarketplaces,thewebsitessell“Africa”anddosoindistinctways.Eachpresents

50

“histories,products,andcapabilities”thatconstructnetworksofbodiesconnectedbyblood

andcommondescentandpredicatedongeographicandfamilialperceptionsofhome

(Battaglia77).Inthefollowingsection,Ianalyzethemarketplacevorticesandthe

networksofbodiestheyconstruct.First,Idemarcatethetwotypesofmarketplaces

representedbyAfricanAncestry.comandAfriGeneas.com,the“store”andthe“mall”

respectively,andIreflectontheirstructuralelements.Next,IcontinuetodrawonRoach’s

principlesofperformancegenealogy,kinestheticimaginationandsurrogationespecially,in

ordertomakesenseoftheperformancesandmarketingstrategiesemployedwithinthe

storeandthemall.Andfinally,Ifurtherdevelopmytheoryofcriticalnostalgiausing

articulationsof“origin”and“roots,”whichIextractfrombehaviorswithinthetwo

marketplacevortices.

DrawingonNora’s“placesofmemory,”Roacharguesthatvorticesofbehaviorare

craftedbytechnologicalinvention,specificallyarchitecture,andsocialorganization(Roach

28).Examplesofsuchplacesincludethegrandboulevard,thesquare,andthemarketplace

(Roach28).IapplythemarketplacevortextoAfriGeneas.comandAfricanAncestry.comasa

metaphorforthehomingexperiencespromptedbythewebsites.Attheriskofover‐

alliteration,thestructureofeachwebsitecreatesaspaceforcompetingandcomplimentary

commerces,whereculturalmerchandiseissoldandthelawofsupplyanddemandisinfull

effect.

Themarketplaceiswheredesiresarecreatedthroughinstillinglackinthe

consumer,afterwhichthedesiresaresatisfiedandaffirmedthroughproductsorproduct

imagery.Thatis,inadditiontoservingasacenterofsocialization,themainoperationof

themarketplaceisthecultivationandreproductionofoftenheavilycrafteddesires.

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AfriGeneas.comandAfricanAncestry.comeachfunctionasamarketplacevortex,utilizing

different“gravitationalforces”tocreateandinspireperformancesofdesire(Roach28).

SociologistArthurFranktheorizesthebodyinperformancebyinquiringaroundfour

dimensions:self‐relatedness,other‐relatedness,control,anddesire(Frank51‐52).With

regardstodesire,Frankwrites,“thequestionhereiswhetherthebodyislackingor

producing?”Realizingthatbodiescanbeinthebusinessofinstillingandproducing

desires,lackingandconsumingthem,Frankobserves“consumerculturemakesthe

problem[s]ofdesireacute”(Frank51).Theproblemsofdesireareinoperationat

AfriGeneas.comandAfricanAncestry.com.Amongotherthings,themarketplacemust

organizeculturalmaterialinsuchawayastocreategapstobefilledbyperformersand

performances.

Architecturalandorganizationalstructuresplayanimportantroleintheproduction

oflackanddesire.AfriGeneas.comandAfricanAncestry.comarestructuredinmarkedly

differentways.WhileAfriGeneas.comisdifficulttonavigatewithitsmurkymergerofmany

options,AfricanAncestry.comisclearinorganization,itsoptionslabeledinadirect,

straightforwardmanner.WhereasIexperienceAfriGeneas.combyclickingoneachlink

withoutknowledgeofwhatitholds,myexperienceofAfricanAncestry.comisdetermined

andsomewhatpredictable.Ialwayshaveagoodideaofwhatliesbehindeachtab.So,

whilebothsitesproposetoputmeintouchwithmyroots,atAfriGeneas.com,Iamaskedto

discoverhowtoaccomplishthistaskonmyown,whichIlearninvolvesignoringmanyof

thevisualelementsandfocusingononeitematatime,choosingwhatisrelevant.For

example,thewebsiteprovidesavastarrayofservices,butitshomepageisclutteredwith

advertisementsforothersites.Imustchoosetostayandnotvisitanothersite.Navigating

52

AfricanAncestry.comdoesnottemptmewithsuchchoices,astheelements,namelythetabs

Idescribedabove,implywhatIshoulddo.Thebanner‐likearrangementoftabsacrossthe

homepageencouragesmetoclickoneachtab,inorderfromlefttoright.Asthechoice

appearsuser‐friendlyandefficient,Idonotthinktogoanyplaceelse.Structurally,thelack

createdbyAfriGeneas.comisoneofplaceandplacement,whichmustberedressedbya

skillfulnavigator.ThelackcreatedbyAfricanAncestry.comisoneofguideandguidance,

redressedbyfollowingapredeterminedrouteratherthanleadingtheway.

Bothwebsitesfunctionasmarketplaces,butmyexperienceofthe

AfricanAncestry.commarketplaceislikethatofbeinginasinglestore,itscontentandbrand

clearlydisplayed,itsmerchandisereadilyaccessible,anditssignageorganizedandvisually

appealing.MyexperienceoftheAfriGeneas.commarketplace,ontheotherhand,ismore

likeamall.Here,multiplestoresonmultiplelevelscompeteformyattention.Justasa

newcomertoalargemallperusesthemapofretailerslocatedattheentrance,Iaccessthe

sitemapinordertolocatewhereIamandwhereImightgo.Further,iftheprincipal

capitalexchangedatAfricanAncestry.comisDNAandmoney,thecurrencyat

AfriGeneas.comistimeandenergy.Asmyexperiencesinthelunchbunchchatroom

illustrate,Iamcompelledtoperformthespecificactionsrequiredforthatlocale.Inthe

chatroom,Imustspendtimechattingwithothers.WhereasatAfricanAncestry.comthe

notablesserveasinstrumentsinthesellingofAfrica,themembersofthelunchbunchserve

asdoorgreeters,recruiters,salesstaff,andcustomersofAfriGeneas.com.Membersofthe

lunchbunchinquireastowhatIneedandsuggestresourcesavailableelsewhereonthe

site.TheAfriGeneas.comsiteencouragesinterpersonalinteraction,featuringpeoplewho

serveandrequireservice,greetandaregreeted,arewelcomedandarewelcoming,chat

53

andarechattedabout.Ofcourse,thissameinteractionmakesroomfor“familial”

disagreement,dysfunction,andthepotentialtofeeloutofplace.Indeed,ifvisitorsfeel“at

home”inamallorastore,itisbecausepeopleperforminsuchawayastoenactasenseof

home.

CertainenactmentsofhomeatbothwebsitesfacilitatethesellingofAfrica.

Specifically,thewebsitesusemarketingstrategiestocultivatelackanddesireforhome,for

roots,forAfrica.Asmarketingstrategiesgo,AfricanAncestry.comisdrivenbytestimonial.

Specifically,itisinvestedinnamedropping,toutingtheparticipationof“notables”who

“havefoundtheirroots.”AstheWallofReturnandthetestimonialprovidedbyKimberly

Elisedemonstrate,thewebsitecreatesinterestinDNAtestingundertheclaimthat“these

famousfolkdidit,andsoshouldyou.”Iseethreeimplicationsherewithregardtolackand

desire.First,theWallofReturnandthetestimonialsrefunctionDNAtestingasakindof

fashionorcraftedtaste,amechanismforandperpetuationof“keepingupwiththeJones’s.”

Second,themarketingstrategyhighlightsandreinforcesclassdivisionswithintheAfrican

Americancommunity.Ahaveandhavenotrhetoricisusedthatspecifiesthequotidian

classstruggletothosewhocanaffordknowledgeoftheirpastandthosewhocannot.

Third,thenotablesworkasmarketingtoolsbecausetheyrepresentsomelevelof

identificationformanyAfricanAmericans.Inthesethreeways,thenotablessellAfricato

visitorsofthewebsite.Indeed,IwasstruckbyallthenamesontheWallandspenthours

uponhoursperusingtestimonials.

Onthetestimonialpage,Idiscoveredathemeof“triumphinthefaceofcolonialism”

thatstrikesmeaspeculiarbecauseofitsdouble‐edgedquality.Itismarkedlyuncritical

andaffirmingatthesametime.SeveralusersprofessthatDNAtesting(via

54

AfricanAncestry.com)isabletomendconnectionswithAfricaandAfricansdespitethe

historicalruptureofthetransatlanticslavetrade.Thismaybetrue.But,duetotheuseof

toolsof(late)capitalism,itselfacolonizingagency,thereconnectionsimultaneously

evincesdis‐ormisconnection.AsAudreLorde’soft‐quotedphrasesuggests,thetoolsof

themasterwillnevertrulydismantlethemaster’shouse(Lorde110).Intheepilogueto

EmbodyingBlackExperience,HarveyYoungtakesaninventoryofthewaysinwhichcertain

racialassumptionscontinuetomanifestintheeverydaylivesofAfricanAmericans.He

pausestoreflectontheconnectionbetweenracismandDNAtesting:

Althoughitistemptingtoplacethe“problemofthecolorline”squarelywithinthetwentiethcenturyandtolookforward,withblinders,andassertthatpastracismsnolongerstructuretheexperienceofblackfolk,suchanactnotonlywouldoverlookthedailyexperiencesofblackpeoplebutalsoignorethemanywaysinwhichtwenty‐firstcenturythinkingresemblesnineteenthandtwenty‐firstcenturyraciallogic.Atthecurrentmoment,thestudyofgenetics,specificallyDNAtracing,hasoffered“new”evidenceofthebiologicaldifferencesbetweenblacksandwhites...Inaddition,for‐profitcompaniesareperforminggenetictestsforpayingcustomersandofferingthemanopportunitytodocumenttheirancestraloriginontheAfricancontinentand,forafewdollarsmore,toobtainacertificateofracialauthenticity.(HarveyYoung210‐211)

Young’sreflectionarticulatesthedouble‐sidednessofDNAtesting,whichdocuments

connectionstoparticularplacesinAfrica,ontheonehand,anddocumentsbiological

differencesofrace,ontheother.Youngplacessaidtestinganddocumentationinalong

lineofcontinuedmethodsfortheoppressionofAfricanAmericansintheU.S.Yet,some

usersfindDNAtobeausefultoolofempowerment.Asoneusermaintains,“Ifsomeone

elsedefinesyoutheytendtodefineyouintermsthatpositionthemselvesforpowerand

youforsubjugation”(AfricanAncestry.com).

ThetestimonialssectionofAfricanAncestry.comoffersboth“AfricanAncestryfamily

members”and“notables”thespacetodefinetheirexperiencesofDNAtesting.Kimberly

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Eliseusesthewords,“instinctually,”“frommyheart,”and“gutturalinstincts”toperform

herconnectiontohernewlydiscoveredlineage(AfricanAncestry.com).Thedouble‐edged

qualityofDNAtestingfiguresinherwordsaswell.Justassheseekstocommunicateher

affectivetiestoAfricaashomeland,shereifiesessentializingnotionsofblacknessas“all

desire,”“allbody,”or“allinstinct,”asopposedtofullycontextualizedthinkingandfeeling

humanbeings.10Additionally,whileElise’snostalgiccommentsestablishappropriate

attachmentstoherperceivedhomeland,herwordshighlightconceptionsofnostalgiaas

uncritical,romantic,ornaïve.Howevertwo‐sided,thetestimonialsectionof

AfricanAncestry.comservesprimarilyasanadvertisement,agravitationalforcethatinstills

andredresseslackbypromisingitsconsumersmembershipandparticipationina

communitywho“know”theiroriginsorroots.

Thestructuralelementsandthemarketingstrategiesofthesitesindicatehow

bodiesarecompelledtoperform,andRoach’sprinciplesofperformancegenealogyassistin

specifyingtheseperformancesintermsofhowtheyinteractwithideasabouthome.

Below,IuseRoach’stoolstodelineateselectrelations,discussinghowkinesthetic

imaginationisevidentinthediscourseregardingasingularhome,andhowhomelandis

constructedwithinthemarketplacevorticesbyattachingideasofhometoaphysicalplace.

Ialsoanalyzehowdisplacedtransmissionsareenactedthroughsurrogacy,as“community”

isbuiltbyuserstryingoutalternatepersons(andmethods)intheirgenealogical

performances.

10 Joseph Arthur Comte de Gobineau, French aristocrat and author of An Essay on the Inequality of the Human Races (1853–1855), is credited for supplying modern racist structures by dividing humans into racial categories. In the noted book, Gobineau describes “the negro” as an inferior race due to his inability to control desire.

56

Roach,inhisassessmentofthefunctionofMardiGrasIndians,arguesthatthepoint

oftheirperformancesis“publiclytoimagineaspace,acontinent”constructedintheirown

terms;specifically,theyperform“theimaginativere‐creationandrepossessionofAfrica”

(Roach207;emphasismine).IfindasimilaraiminoperationatAfriGeneas.comand

AfricanAncestry.com,theperformers’actionsrevealingadesiretoperformAfricanotas

culturallyandgeographicallydiverse,notasplural,butasasingularcontinent“imaginedas

apotentiallymythicspaceofmeaningthat[can]embodyafullnessabsentinthepresent”

(Ebronix).

Kinestheticimagination,thatplacewherememoryandimaginationmeetand

coalesceinbodilyaction,isdeployedtoactivatetheideaandidealofhome.Further,when

constructedinthesingular,homeactivatesthe“truthof...fantasy,orofdaydreams,”andits

“materialconsequences”playoutinperformance(Roach27).Forexample,at

AfriGeneas.com,thebeginner’sguideencouragestheusertosearchfor“aplacecalled

home,”asearchthatinonecaptionturnswhimsical:“GenealogyisaMission:Fantastic

LivesandStoriestoDiscover”(AfriGeneas.com).Thecaptionsuggeststhatdeliberate

actionisrequiredinordertodiscoverone’sfantasticlifeandstory,one’s“truthoffantasy.”

This“truth”isspecifiedinthewelcomeandhomepagesofAfriGeneas.com,wherethestated

aimistorealizeafutureinwhich“allAfricanancestoredindividualsandfamilies...research

theirrootsuntilallpossibleresourcesareexhausted”andthatsearchranges“fromAfrica

totheAmericas,”implyingthatinthesearchforroots,Africaistheobjective,thelife,story,

andhomewesearchfor(AfriGeneas.com).

AfricanAncestry.comforegroundsanotherwayinwhichthefantasyofgenealogy

performsafantasyofhome.Specifically,thewebsite“inhabitstherealmofthevirtual”or

57

thatof“simulation,”creatingasimulatedexperienceofhome(Roach27).InSimulacraand

Simulation,JeanBaudrillardarguesthattheeraofsimulation,ofapproximatingtruth

throughrepresentation,hasgivenwaytoaneraofsimulacrainwhichtheerasureoftruth

isaccomplishedthoughtheeliminationofallreferences(Baudrillard,Simulacraand

Simulation2).Simulacra,then,referstothehyperreal,whichis“shelteredfromthe

imaginary,andfromanydistinctionbetweentherealandtheimaginary”(Baudrillard,

SimulacraandSimulation2‐3).BaudrillardoffersupDisneylandasaprimeexampleof

simulacra.Hecontends,“Disneylandistheperfectmodelofalltheentangledordersof

simulacra.Itisfirstofallaplayofillusionsandphantasms...Thisimaginaryworldis

supposedtoensurethesuccessoftheoperation”(Baudrillard,SimulacraandSimulation

12).Disneylandisimaginedforthinsuchawaythatitconcealstheexistenceofareal

world(andrealworldreferences)outsideitself,implyingthatthe“childishness”produced

withinitsgatesisactuallyeverywhere(Baudrillard,SimulacraandSimulation12).

Forme,AfricanAncestry.comistheDisneylandofpopulargenealogy.Itsready‐made

easy‐to‐accessproductsarechanneledthroughcarefullycraftedmessagesandfunctionto

perpetuatetheirownexistence.“Doyouknow?”thesiterepeatedlyasks.“African

Ancestryistheanswer,”itreplies(AfricanAncestry.com).JustasthesmilesofDisney’s

princessesareslightlytoowideandtheworkersabittoochipper,thetestimonialsof

AfricanAncestry.comarealittletooneatandasmidgetoojubilant.And,justasvisitorspay

aheftyadmissiontoentertheworldofDisney,visitorstoAfricanAncestry.compayasizable

sumtolearnaboutthemselves,therebygainingentrancetoacommunityofotherinformed

members.ThehiddenprocessesofAfricanAncestry.comincludesaidcommunity,theill‐

explainedtestingprocess,andthetestimonialsfromunnamedyetgreatlysatisfied“African

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Ancestryfamilymembers.”Indeed,thewebsitemasksthe“reality”ofunstableoriginsand

shiftingidentities,supplyingeasyanswerstotidyquestions.

However,withinthethickallureof“knowing”createdinthesimulacraofhome,

roomforacounterimaginaryexists,co‐existsactually,inthesamehiddenprocessesI

mentionedabove.Thelessthantransparenttestingprocesscreatestheconditionsin

whichIimaginemyselftobeGhanaianorSenegaleseasIawaitmytestresults.Itiswithin

theframeof“easytesting”thatIopposemystoryofcarryingaroundthetestingpacketfor

eightdays,asifitwereaburdenorobligationofsomekind.Withinthesameframe,I

conjureafantastictaleoflaboratoryelvesinventingmyplaceoforiginoutofmagical

ancestraldust.Indeed,itismykinestheticimaginationthatpromptsmycorrectguessthat

sakeandgenetictestingdonotmix.Anditismykinestheticimaginationthatguidesmy

subsequentin/actiongiventhispresumption.WithinthebroadideaofAfricaashome,asa

singularandtherebyuncomplicatedoriginandfinaldestination,Imovethroughthe

websitesaffected,andIcraftmymovementsthrough,upon,andagainsttheidea.

TheperformativecreationofAfricaas“homeland”iscloselyrelatedtotheideaof

Africaconstructedas“home.”Appending“land”tohomeemphasizeshomeinrelationto

geography,tophysicality,andtoplace.Africaashomelandimportsconceptsofhomeas

singularandyetalsomakesroomforuserstolocalizeAfrica.Onthewebsites,producers

andconsumersenactthenoteddynamicsbyreferringtoAfricaasasingular“motherland”

andbyassociatingitwiththespecificgeographicregionsalongthewestcoast.Thevalueof

affixinglandorplacetohomeisarticulatedinthefollowingtestimonialwrittenbyan

AfricanAncestry.comfamilymember:

ThisDNAtestwithAfricanAncestryhasgivenmetheopportunitytolookthroughtheMiddlePassage,andtonowknowthisonepieceofmyhistoryandunderstand

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thatInowhaveatietoplacethatIcancallhome.Itisnotjustthelandandhomeofmyhusband'sfamily–itisalsoaplacethatIcancallhome.(AfricanAncestry.com;emphasismine)

Enactingasenseofhomealwaysinvolvesenactingasenseofcommunity.EvenasI

sithunchedinfrontofmycomputerinteractingwithgenealogywebsites,Ikinesthetically

imaginemyselfasapartofabroadercommunity.Ibuildmysenseofcommunitythrough

thewebsitesIexplore,andthewebsitesencouragemyparticipationinthecommunities

theyoffer.Whilemembershipisexclusive,AfricanAncestry.comsponsors“TheAfrican

AncestryOnlineCommunity(AAOC),”which“hasbeencreatedtoofferaforumforpeople

totalk,discussissuesandshareperspectives”(AfricanAncestry.com).AfriGeneas.comoffers

overthirtymessageboardsbasedondifferenttopicsandhostsdailyandweeklychats.At

theseplaces,peoplewithsimilarinterestscreatecommunities.

Roachusesthetermdisplacedtransmissiontodescribehowcommunitiessustain

practicesovertime,resituatingtheminnewcontextsandplaces.Throughsurrogation,

communitiesareabletopreserveandpracticememory.Connertonexplainsthatthis

preservationhappensthroughimmediate“bodilyactivity”orincorporatingpractices,and

throughinscribingpracticesorthewayswe“storeandretrieveinformation”(Connerton

72‐73).Largelybecausetheyexistastechnologiesofcomputerscience,theincorporating

andinscribingpracticesonAfricanAncestry.comandAfriGeneas.comaredifficulttoisolate

fromeachother.Forexample,Iexperienceakindofincorporatingco‐presencewiththe

lunchbunch,andourinteractionsaredocumented(inscribedintext)simultaneously.On

AfricanAncestry.com,theillusionofinteractingwiththenotablesismadepossiblebythe

storageandretrievalsystemintegratedintheformofthetestimonialpage.Putanother

way,thewebsiteshavetheabilitytohailperformersandstoretheirperformancesatthe

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sametime.Itisthroughcontemporaneousinscriptionandincorporationthattransmission

bysurrogationoccurs,andtoperformgenealogyatAfricanAncestry.comand

AfriGeneas.comistoparticipateinacommunitycontinuouslyintheprocessofsurrogation.

Genealogyaspracticedatthewebsitesisinthebusinessofsurrogation,testingalternate

peoplesandmethodsindistinctways.Thisideafirstoccurredtomewhen,on

AfriGeneas.com,IstumbledupontheannouncementofthoseseekingtherelativesofRamon

NapoleonHarris.ItseemsthereareholesintheHarrisfamilytreethatmustbefilledwith

suitablecandidates.Inthisway,theannouncementisacallforauditions.

ButtheHarrisfamilyisnotunique,asthewebsiteencouragesallvisitorstoenact

surrogationconsciously,fillingintheblankswithbodiesuntil“allpossibleresourcesare

exhausted”(AfriGeneas.com).OnAfricanAncestry.com,partoftheallureofthenotablesis

thattheyrepresentaprototypeinplaceofwhichusers(surrogates)kinestheticallyimagine

themselves.WithregardtoDNAtesting,behindtheexplicitlogic,“theydidit,soshould

you,”isthemoreimplicit,“ifyoudoit,youareoneofthem.”Thisimaginativebody

transferenceisactivatedalsoattheWallofReturn.ItishereIamcompelledtoliterally

appearbeforetheDoorofNoReturn.Bymeansofclickingonalink,mybodyis

transportedintothesimulatedpositionofcaptivesjustbeforeembarkingonthe

treacherousMiddlePassage.Inbuildinghistheoryof“phenomenalblackness,”Harvey

YoungarguesthatAfricanAmericanssharesimilarexperiencesasaresultofracialized

assumptionsprojectedacrossblackbodies.AsIencountertheimageoftheDoorofNo

Returnlocatedjustbelowthelistofnotables,“anideaoftheblackbody”(HarveyYoung4)

–i.e.,ascaptive–isprojecteduponmybodybythewebsiteengineersandindeedbymy

owninternalizedracialimagery.Additionallyandconcurrently,Icomeface‐to‐facewith

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theliteralprojectedimageoftheDoorofNoReturn.AsIsitbeforemycomputerscreen,

mybodyistransmitted,surrogated.Mybodyisauditionedassubstituteforotherbodies

thatoncestoodbeforethedoor.Mybodyisstandingin,whetherIwantittoornot.

TheDoorofNoReturnisaninstanceinwhichmyblackbodyisofferedupfor

surrogation,buttherealsoarewaysformetoattendtheauditiononmyownaccord.Users

ofbothwebsitesparticipateinthecreatedcommunitiesnotonlybytestingandfinding

candidates,butalsobytryingoutalternatemethodsofperformingsurrogation.These

methodsincludeDNAtesting,messageboards,chatrooms,interactiveguides,questionand

answerforums,allofwhichcanbeutilizedornotfordiversereasons.Forinstance,two

lunchbunchmembersexhibitasuspicionofDNAtestingandanotherviewsitas“nota

priority.”AsRoachnotes,surrogationisneverexactandoftenprecisionisnoteven

desired.Surrogationrunstheriskof“failure.”ThepoemonAfriGeneas.comengagesthe

possibilitiesthatemergethroughfailurewithasenseofhumor:

ThefactsIcollectedmademequitesad,DearoldGreatgrandfatherwasneveraDad.Ithinksomeoneispullingmyleg,IamnotatallsureIwasn'thatchedfromanegg.(AfriGeneas.com)

Conversely,afamilymemberonAfricanAncestry.comappearsunhappyaboutthefailureof

exactsurrogation,writing,“Ihadbeenworriedthatwewereamongthe30%ofAfrican‐

AmericanmenwhoseDNAwouldbelinkedtoEuropeduetowhiteslave‐owners'forced

sexualadvances”(AfricanAncestry.com).Here,the“30%”articulateswhatthewebsiteand

itsuserdeemtobeafailedsurrogation,anunsatisfactoryperformanceofDNA.The

meaningofthenumberbeliespristineancestraldesires,makingthepoliticsofenteringthe

communitymorecomplexthanthewebsite’smoreofficialnarrativewouldhaveitappear.

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Functioningasvorticesofbehaviorthatcultivatedesirethroughcommercialmeans,

AfriGeneas.comandAfricanAncestry.comoccupyvirtualplaceswherekinesthetic

imaginationisthemainprocessbywhichusersengagethewebsitesandperformthe

processofsurrogation.Oneachwebsite,acertainamountofbothdistanceanddistillation

isrealizedbythebodieslocatedinfrontofthescreenandthosecreatedthroughthesite’s

activities.MybodilyexperienceofAfriGeneas.comandAfricanAncestry.comismediated

throughtheposturesandpainsofmycorporealbodyasInavigatethesetwoplacesof

memory.Whatevermydelightsandannoyanceswiththewebsites,Iamfreetodisengage

fromordifferentlyengagetheappealsofhome,homeland,andcommunitybysimply

closingmyMacBook,exitingachatpage,ornotopeningmyDNAtestingkit.Toaddtothe

complexityofbodiesinhabitingthesewebsites,Imustaskwhosebodiesareimplicated

here.DespitethepowerfulgravitationalallureofAfriGeneas.comandAfricanAncestry.com,

botharelocatedontheperipheryofmainstreamculture.Thewebsitescreate,service,and

legitimatenotjustanybodies(asdoesAncestry.com,forinstance),butblackbodies.Thus,

thecommunitiesbuiltthroughthesewebsitesareinfluencedbymultiplehistories,

oppressiveandresistingforces,strategiesandtacticsuniquetoAfricanDiasporicbodies.

Theseforcesandcounterforcesexistwithin,upon,andagainstthebehavioralvortices

describedabove.

Itisthroughthekinestheticimaginationofpopulargenealogy,largelyoneof

nostalgia,thatAfricanDiasporicbodiesinterrogateandordertheirhistoriesandcreatively

reclaimAfricaashome.Populargenealogyisasmuchaboutaddressingtheneedsand

desiresofitspractitionersasitisaboutthemechanicsoffillingoutafamilytree.Ibelieve

thattheseneedsanddesiresarenostalgic.Thatis,theyareindicativeofanaffective

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orientationtowardpastandhome.Performingtransatlanticnostalgiathroughkinesthetic

imagination,usersengageinthetransmissionofideasandperformancesofAfrica.

FromCriticalGenealogytoCriticalNostalgia

AfriGeneas.comandAfricanAncestry.comserveastwostagesonwhichperformers

practiceAfricaashome,homeland,andcommunitythroughthecontinuousactionoffitting

suitablealternatesandwithinagroupofpeopleconnectedbydesiresfororiginandroots.

Likewise,criticalnostalgia,itselfakindoftransmission,entailsaninclinationtoward

return(inthiscaseindicatedbyperpetualsurrogation)andcommunity.Indeed,the

transmissionofperformancefromonetimeandplacetoanotherrequiresthreeactions:1)

areturntothatwhichwasexecutedorinhabitedpreviously;2)a(re)performanceofthat

whichwasandnowisexecutedorinhabited;and3)acommunalexchangebetweenbodies,

whichareconnectedinsomeway.

TakingmycuefromAfriGeneas.comandAfricanAncestry.com,IextendRoach’s

transmissionmodelofsurrogationandspecifycriticalnostalgiabyofferinganethicof“care

andrepair.”Surrogationoccurswhentherehasbeenaruptureinthesocialfabricand

alternativesaresoughtandfittedinordertofostertheillusionofhistoricalcontinuity.For

Roach,thejobofthegenealogististorevealratherthanupholdtheillusion,askingwho

gainsfromtheseamlesstale,howandwhy.Giventhecircumstances,however,wealso

mightperceivethebreakasaninjuryinneedofrepair,andtheefforttogetsurrogation

“right”ismotivatedbyadesiretomakethewoundfeelbetter.Thejobofcriticalnostalgia,

then,istotakecaretoanalyzeorcritiquethenatureoftheinjuryandtoenactrestorative

methods.Onemaycoverawoundwithawhisper,adance,akiss,oraband‐aid,eachone

moreorlesseffectiveandcomforting.

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Criticalnostalgiaalsoasksthatweattendtoandinquireaboutourdesiretomake

thewoundfeelbetter,lookingattheaffectiveregistersofreturningtoapastandcreatinga

home,orhoming.AfriGeneas.comandAfricanAncestry.comattempttohealhistorical

woundsbyfosteringandvalidatingdesiresfororiginandforroots,oftenusingthewords

interchangeably.Thepitchbelowisaclearexampleoftheobscurerelationshipbetween

originandroots:

Doyouknowwhereyouarefrom?Whereyouarereallyfrom?…Theplacewhereyourbloodlineoriginatedandtherootsofyourfamilytreetrulybegan.ManyofusknowwecomefromAfrica,butcouldnotclaimaspecificancestralhomeland.Thatis,untilnow!AfricanAncestryistheONLYcompanythatcantraceyourmaternaland/orpaternalancestrybacktoaspecificpresent‐dayAfricancountryoforigin.(AfricanAncestry.com;emphasismine)

Overthecourseofmyresearch,Idiscoveredthatwhenwebsitesseektocultivate

connectionsbetweenbodies,theyoftenusetheterm“roots,”butwhenthegoalistolocate

asingularplace,“origin”isfrequentlyused.

Thenuancesoforiginandrootsareconstructiveintheefforttobetterunderstand

theethicsofcriticalnostalgia.11Genesis,theGreekwordmeaningorigin,alsothefirstbook

oftheBible,denotesthebeginningofhumanity.Likemanyoriginmyths,thebookof

Genesisoutlinesthehistoricalbeginningofadevelopingworld,constructedasagodly

creationandfollowedbyalongsuccessionofhumansbegettingotherhumansuntilthe

worldispopulated.Genesisillustratestheassociationoforiginwithtruthinthatitclaims

thatsomethingcame“first.”Thatis,itpromotestheideathatthereisapointthathistory

cannotcross,wherereturnisnolongerpossible.Tobefirstistoexistastheoriginal,the

model,theprototypetowhichsubsequentcopiesarecompared.AsPlatoonceclaimed,the

11 This discussion of origin and roots is not mine alone. Just as the lunch bunch at AfriGeneas.com create their genealogies together through the sharing of resources, my study buddies and colleagues, Annemarie Galeucia and Emily Graves helped me greatly, taking time away from their own projects to talk through and question my ideas about origin and roots.

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firstformisassociatedwiththepurestformjustas,inmorecontemporaryterms,“Origins,”

askincareline,claimsthe“purity”ofitsproducts.

Roots,ontheotherhand,connoteconnectedness.Anundergroundoperation,roots

simultaneouslyconnectandanchor.Theslippagebetweenrootandrouteforegroundsthe

wayinwhichrootsforgepathwaysforconnection.Colloquialuseofthewordroots

emphasizesalocationwhereonehaslaboredtoconnectwithotherpeopleandplaces.The

poplarU.S.mini‐seriesRoots,basedonAlexHailey’snovel,Roots:TheSagaofanAmerican

Family,chroniclesthefamilyofKuntaKinte,acaptiveofGambiaturnedchattelslave,over

severalgenerations.Theenduringpopularityofthe1970sminiserieshighlightsboththe

continuedfascinationwithfamilytreestoriesandthediscursiveconnectionsbetween

rootsandgenealogy.Rootsalsosignifyanotherconnectiontotheprocessofpopular

genealogy.Arootwordisawordthatholdsthepossibilitiesforotherwords,which

consequentlyremainlinguisticallyrelated.Alongthesamelines,agenealogicalchartor

familytreenotonlyholdspossibilitiesformultiplicationsandpermutationsofthebody,

butrecordstheconnectionsbetweenbodies.

TheintroductoryvideoonthehomepageofAfricanAncestry.comfeaturesacloseup

oftherootsofanunidentifiedplantaccompaniedbylanguagethatimploresthevisitorto

uncoverher“roots”too.Inthesamevideo,theimageofachildwiththecontinentofAfrica

mappedacrosshisfaceisalignedwithtextthatusestheword“origin.”Whiletheword

“roots”hasafamiliarvisualreferent,aniconactually,theword“origin”doesnotand

makingthelinkbetweenwordandimageisdifficult.Themetaphorofrootsisviablethen

largelybecauseofitsvisualandfunctionalqualities,anetworkofsupportgrowing

downwardandoutward,absorbingnutrientsforuseinthelifeoftheorganism.

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Againstthepervadingorganizationalformationoftheroot‐treesystem,Gilles

DeleuzeandFélixGuattaricraftarhizomaticapproachtotheoryandresearch.InA

ThousandPlateaus,theyproffertheterm“rhizome,”anundergroundstemthatsendsout

rootsinalldirections,asananti/structurethatcountershierarchical,binary,and

chronologic,syllogisticstructuresandnorms.Rhizomatictheoryiswithoutgenesisand

withoutending,anditprivilegesconnection,heterogeneity,andmultiplicity.Deleuzeand

Guattariarguethattherhizomeisamapasopposedtoatracing,andthatthis“mapisopen

andconnectableinallofitsdimensions;itisdetachable,reversible,susceptibletoconstant

modification”(DeleuzeandGuattari13).Withregardtotherelationshipbetweenroots

andrhizome,DeleuzeandGuattariwrite,“Thereexisttreeorrootstructuresinrhizomes;

conversely,atreebranchorrootdivisionmaybegintoburgeonintoarhizome”(Deleuze

andGuattari17).InthehandsofDeleuzeandGuattari,then,therhizomeisaprocessof

engagementcharacterizedby“ceaselesslyestablishedconnectionsbetweensemiotic

chains,organizationsofpower,andcircumstancesrelativetoarts,sciences,andsocial

struggles”(DeleuzeandGuattari8).

ThemapthatDeleuzeandGuattariimagineremindsmeofthesitemapat

AfriGeneas.com,anoverviewofthevastarrayofresourcesavailableonthewebsite.

However,whileoverwhelmedbythemanyoptionsandbombardedwithdifferent

questions,tasks,andprovocations,IdonotbelieveAfriGeneas.comoperatesasarhizomatic

anti/structure.Thelunchbunchchatinparticularillustratestheimportanceofkeepingthe

rootsmetaphorintact.ItalsounderscorestheethicofcareandrepairthatIassociatewith

criticalnostalgia.Whilebuildingtheirhistoriestogether,membersofthelunchbunch

enactcareforoneanother,jokingandofferingtheirstories,resources,advice,andwell

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wishes.“Welcome,Generesearcher.”“Whatareyoursurnames?”“Whereareyourfolk

from?”“Whatcountiesareyouresearching?”“Whatcityareyouoperatingoutof?”The

ethicofcareandrepairisinquisitive;itisinterestedintheneedsanddesiresofmemory

makersastheynavigatetheaffectiveregistersofpastandhome.Careandrepairrequirea

curiousattitudeaboutpast‐homes,investigatingoriginandrootwhilereadingthe

positionalityofthebody.Onemustasktwoquestionsconcerningbodiesinorderto

practicecriticalnostalgiaasamethodforengagingthewaysinwhichpeopleperformpast

andhome.Thefirstisaboutbodieswithrespecttoorigin:“fromwhencedoyoucome?”

Thesecondquestionisaboutbodieswithrespecttoroots:“towhatareyouconnected?”

Performancesofnostalgialiveinthecruxofthesequestions.Thisiswhy

AfricanAncestry.comissuccessfulinproducingandvalidatingmydesireto“know,”by

askingthequestion,“doyouknow?”Itiswhythequestionsfromthelunchbunchinspire

metooutmyselfasaresearcherofgenealogicalprocessesandtoparticipateactivelyinthe

conversation.AnditiswhyIcontinuetoengagedifferentlyinflectedquestionsposedbya

probingCzechrestaurantworker.

Criticalgenealogyandperformancegenealogy,intheirattempttoforegroundthe

bodyandcountertheseductiveallureoforigins,areusefultoolsofhistoricalinvestigation.

However,asIseeitandasthepresentcasereveals,criticalgenealogywoulddowellto

emphasizeandinvestigateitsownrootsandorigins.Thatis,torecognize,returnto,and

utilizethepotentialofitsorigin,itsetymologicalprototype:populargenealogy.Anditalso

shouldrememberitsroots,thattowhichitisconnected.Namely,criticalgenealogyshould

remaingermanetoitsusageineverydaylifeasapopularformofresearch.Whilefeaturing

etymologywasnotagoalofthischapter,thevariousdefinitionsanddiscursivejourneysof

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genealogy,origin,roots,andrhizomemakeetymologyamajorfeaturenonetheless.This

featurepointstothetensionthatlivesbetweengenealogies.Ifwecannotusecriticaland

performancegenealogiestostudytheperformanceofgenealogicalpracticesineveryday

life,weshouldinquireaboutthelimitsofwhatwecanlearnandstudythroughthemethod.

Whereasacriticalgenealogistavoidsthesearchforhistoricalcontinuityandstable

identity,theself‐madeAfricanAmericangenealogistusesAfriGeneas.comtocreateand

trackdownanorigin,toreturnhomethroughtheactiveprocessofchartingahistory.

Indeed,assomeperformancesatthewebsitesillustrate,thepracticeofchartingmaybe

activewithoutnecessarilybeingreflexive.And,whilecriticalgenealogywouldrequirea

descentintoabodyperceivedasunstableandshifting,AfricanAncestry.com,professingto

pickupwherethepapertraildiesoff,seekstocreateabodyorderedandfixedthroughthe

scientificpracticeofDNAcoding.Becauseofthistension,Iampromptedtowonderifa

performancegenealogyinformedbynostalgicthoughtisneeded.

Criticalnostalgiaisindebtedtocriticalgenealogyandperformancegenealogy

becausetheyattendtotheaffectiveandtheperformativedimensionsofhistories.Infact,

criticalnostalgiamightbethoughtofasanextensionofgenealogiesofperformance,which

stressestheinvestigationoforiginandroots,thegoalbeingtocontinuouslyrevisitand

refunctionthemasinteractingtoolsforactivatinghistories.Criticalnostalgiaandcritical

genealogybothpossessahistoricalconsciousnessandanattitudetowardthepast.The

distinctionIwishtodrawhereisaboutthequalityandethicofthisattitudetowardthe

past.Acriticalgenealogistseekstouncrowntheimportanceoforigin.Foucaultargues,

“Whatisfoundatthehistoricalbeginningofthingsisnottheinviolableidentityoftheir

origin;itisthedissensionofotherthings”(Foucault142).Iagree,addingonlythat“other

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things”includeenactmentsofdifferingorientationstowardorigin.Inadescriptionof

Foucault’streatmentoforigin,RuthBowmanobservesthat“theinterpretivespinonthe

originmaychange”(R.Bowman,“DivergingPathsinPerformanceGenealogies”167‐168).

Whatcriticalnostalgiaoffersisaninterpretivespinonoriginthatincludesaconsideration

ofroots.Giventhattherelationshipbetweenorigin,roots,andidentityarepreciselywhat

criticalnostalgiaseekstoinvestigate,IshareFoucault’saspirationtoanalyzethedynamics

oforiginforitspowerstructures,whilealsoconsideringitsroots.

Approachingnostalgiainacriticalmannerasksustolocatethedesirefororiginand

inquirearounditsculturalandcommunalimportance.AtAfriGeneas.comand

AfricanAncestry.com,thecontinentofAfricaoftenfiguresastheoriginsought.Thus,we

analyzetheappealandtheaffectiverelationsinvolvedinthistransatlanticyearningand

theperformancesitproduces.Atbothwebsites,Africaasoriginandashomefunctionto

reproducethedesiresofracializedcommerceontheonehand,but,ontheotherhand,the

websitesperformwhatbellhookscalls“homeplace,”or“safeplace[s]whereblackpeople

[can]affirmoneanotherandbydoingsohealmanyofthewoundsinflictedbyracist

domination”(hooks42).IarguethatthebodycreatedintheperformativespaceofAfrican

Americanpopularandgeneticgenealogyisanostalgicbody,onethatmustnavigateand

reconcilehomeandpast,belongingandlonging,globalcommunityandcorporeality,

performativelyengagingthequestion,“whereareyoufrom?”

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ChapterThree

MyNervousBody:PerformingNostalgiaatElminaSlaveCastle

OneofthemostpopularAsantesymbolsinthenowindependentnationofGhana,

oncetheEuropeanGoldCoast,takestheimageofalong‐neckedbirdreachingupand

behindwithitsheadtoremoveaneggfromitsback.Sankofarepresentsthemythicbirdof

Akanandsignifiestheefforttoreachbackintothepasttoreclaimknowledge.Thesymbol

canbeinterpretedas“returnandtakeit,”ameaningbothinstructionalandvalueladen

thathighlightstwotenets:oneshouldnotfearreturnandreturnisnecessary.Embedded

withinSankofaisastrugglecenteredontheinterrelationsofpast,present,andfuture.

WhilevisitingamarketinGhana,IoncehadavendorattempttosellmeapairofSankofa

earringsbytellingmethesymbolmeant“gobacktoyourroots,”amodificationofthe

traditionalproverbdesignedpresumablytoappealtomynostalgicsensibilitiesasan

AfricanAmericantourist‐pilgrimtomy“homeland”ofAfrica.12Ididbuytheearrings.But,

uponconsideringtheimplicationsofthispleasurablepurchasejuxtaposedtothesobering

experiencesIhadoverthecourseofmyjourney,particularlymyexperiencesintheslave

castleatElmina,Irealizedmyfeelingsdidnotconstituteatypicalnostalgia.ThenostalgiaI

feltwasnotdrivenbyayearningtoescapethepresentandrevelinanidealisticversionof

thepast.Instead,itwasarealizationoftheAsanteproverbrepresentedintheSankofa

bird,anostalgiabornoutofadesiretoreclaimandbetterunderstandthememoriesofthe

pastandtheknowledgetheymighthold.

1 In her study of the castle at Elmina, Sandra Richards selects the term “tourist” to identify herself, arguing that “our collective inability to escape a mediatized cultural economy” is a key part of the discourse of travel (Richards 619). I use the term “tourist-pilgrim” to represent myself as both a tourist in Richards’ terms and as a pilgrim on a spiritual sojourn to Ghana.

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In“WhatistoBeRemembered?:TourismtoGhana’sSlaveCastle‐Dungeons,”Sandra

RichardsrelatesthesymbolismofSankofatotheprecariouspositionofvisitorstoGhana’s

most(in)famousattraction.Shewrites:

Presumably,thebirdlooksatanynumberofresourcesavailabletohimandchoosestheonebestsuitedforhistrip.Injourneyingtotheseslavesites,travelersneedtoask:Whoarewe?Howare“we”constitutedsuchthatweshareanidentitywith“them,”orconversely,haveadversarialinterests?Whatmorsel(s)ofwisdomfromthepastarewetocollectfromthesesitesofmemory?Towardwhatfuture(s)[andpast(s)]arewe–andthey–poisedforflight?(Richards637)

Inthischapter,Icontinuemypracticeofcriticalnostalgiabyrespondingto

Richards’provocationsconcerningtheconstitutionofidentityandthespatialandtemporal

dynamicsofmemoryandhistoryastheyrelatetobodilyexperience.Drawingonmy

experiencesvisitingElminaanditscastle,thoseofscholarswhovisitedthecastletoo,anda

troublingDVDtourofthesamecastle,IextendRichards’bodymetaphorofthebird

“poised”forflightbyplacingthetensionsofSankofaandthetourist‐pilgrimsquarely

withinthefullysensatebody(Richards637).Thepresentchapterthenconnectswith

ChapterTwoby,inFoucault’sterms,descendingfurtherintothebodyandbodiesthat

concernme,anecessarymovementforthepracticeofcriticalandperformance

genealogies.Inwritingthishistory,Ialsoascendtothepagesofthisdocumenttoexpress

myanalysisasa“stage[orstaging]offorces”(Foucault148‐149).Inthiscase,theforces

aretheironiesandoppositionsoftheslavecastle.Thenotionofcriticalemergence

throughascentisexercisedaswellinmyconcludingdiscussionregardinganaestheticof

return,whichisarticulatedbybodiesthataresubjecttoandofthenostalgicperformances

withintheslavecastlevortex.

WhenIspeakofdescentintothebodyandbodiesthatconcernme,Iincludeinmy

purviewthebehavioralvortexthatistheslavecastleofElmina.ElminaCastleinscribesthe

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bodiesthatenteritswalls,hailingperformerstoengageinbehaviorsthatareframedand

mediatedbyeffortstomaketheslavecastlemorefamiliartoitsforeigntourist‐pilgrims.In

thischapter,Idescendintothisvortexanddescribeperformancesoffamiliarizationand

defamiliarization(i.e.,makingthecastlestrange)usingthevocabularyofspaceandplace.

SpacetheoristHenriLefebvreconceivesofsocialspaceintermssimilartothoseof

Roach’svortex.Heargues:

[Socialspace]subsumesthingsproduced,andencompassestheirrelationshipsintheircoexistenceandsimultaneity‐their(relative)orderand/or(relative)disorder…Itselftheoutcomeofpastactions,socialspaceiswhatpermitsfreshactionstooccur,whilesuggestingothersandprohibitingyetothers.Amongtheseactions,someserveproduction,othersconsumption.(Lefebvre73)

LikeRoach’svortex,socialspaceis“acenterofculturalinventionthroughtherestorationof

behavior”forpurposesofproductionandconsumption(Roach28).InLefebvre’sterms,

thesocialspaceoftheslavecastlehousesandholdsthepotentialforanarrayofpossible

performances.Place,ontheotherhand,referstoparticularperformancesthatserveto

situateorlocate.Articulatingmaterialdifferencesbetweenspaceandplace,Michelde

Certeaucontends,“Aplaceis…aninstantaneousconfigurationofpositions.Itimpliesan

indicationofstability”(deCerteau117).MyanalysisofElminaCastledrawsonideasof

spaceandplaceinordertocomprehendthewaysinwhichthebodyperforms

(consumptionandproduction)atthesite.

PerformersatElminaCastleconsumeandproduceinformedbytheironiesthe

castleengendersandtherhetoricofoppositionexpressedinthenarrativesusedto

promotethesite.In“TourisminGhana:TheRepresentationofSlaveryandtheReturnof

theBlackDiaspora,”anthropologistEdwardBrunerdescribesfourironiesevidentatthe

slavecastle,whichalsounfoldinthischapter:1)ancestralsadnessandpride;2)feelingsof

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foreignnessandfamiliarity;3)differingsensesoffamilyandhome;and4)theambiguityof

return.WhileBruner’sironiesdescribethepositionalityoftourist‐pilgrimstoElmina,an

oppositionalrhetoricisfeaturedintheofficialnarrativeofElminaCastleastoldbytour

guides.Idefineoppositionsasdiscursiveconstructionsthathighlightstarkdifferences

betweentwothings,suchashighandloworblackandwhite.Inthischapter,Iarguethat

thetensioncreatedwithinandbetweentheironiesandoppositionsofthesiteproducean

oscillatingfieldofplaceandspace.Mybody,thebodyofananticipatingtourist‐pilgrim,

anxiouslynavigatesthisoscillation.

Thechapteralsohighlightsthetensionsofnostalgia,betweenreturnandhome

especially.Inthiscase,toreturnhomemeanstorevisitanunpleasantpast.Mybody

engagesanatypicalnostalgiaforthispast‐homeasIrecollectmymemoriesofElmina

Castle,whichservesasbothapilgrimagedestinationformanymembersoftheblack

Diasporaandasahistoricalsiteoftrauma.Inquiringastotheextenttowhichnostalgia

operatesasatypeofperformance,Iexplorethewaysinwhichnostalgiainteractswith

trauma.InWritingHistory,WritingTrauma,DominickLaCaprawrites,“Traumaisa

disruptiveexperiencethatdisarticulatestheselfandcreatesholesinexistence”(LaCapra

41).Inthischapter,IadaptLaCapra’sdefinition,identifyingtraumaasaninjury,historical,

personal,orotherwise.And,asIdowithnostalgia,Iexploretraumaasafunctionofthe

bodyandasacriticaltoolofinvestigation.Iclosethechapterwithadiscussionofthe

affectiveandaestheticimplicationsofthisperformativeinteraction,groundingthese

implicationsintheexperiencesofmybodyatElminaCastle.

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ACastleonaCoast

Inthesummerof2007,Iparticipatedinastudyabroadperformanceprogramheld

byNewYorkUniversity.TheprogramcenteredonWestAfricandramatictraditionsand

culture.Iwasoneofnineortenperformancestudentsinterestedprimarilyinplaywriting

andacting.Asapartofthecurriculum,weweretakentoElminaandCapeCoast,inGhana,

tovisitthecastlesthere.

ThecastleofElminasitsunapologeticallyonthecoast.Itseemsunawareofthetime

andspaceitoccupies,sharingtheshorelinewithpossibledescendantsofthevery

inhabitantsitusedtoholdinsideitsimpenetrablewalls.Atthesametime,itsharesitself

withthefloodoftouristsandpilgrimsthatflowinandoutofitonadailybasis.Declareda

UNESCOWorldHeritageMonument,thecastleismarketedonthewebintermsofits

historicalsignificance.Ofparticularstressaretheshiftsinownershipandtherolethe

castleplayedintheslavetrade.13Reasonsforvisitingthecastleabound.History.Tourism.

Pilgrimage.AlthoughmostofthevisitorstothecastleareGhanaiansandEuropeans,

accordingtoBruner,aconsiderableportionisAfricanAmerican.Brunerwrites,“Someare

upscaletouristsinorganizedtourgroups,othersareindependenttravelers.Somemake

thejourneyonabudget,andstillothersprefertostayinAfricanhomesandtoeatlocal

food,foramoreintimateAfricanexperience”(Bruner290).Ivisitinreluctantanticipation

ofidentifyingakeypartofmyhistoryand,indoingso,amexposedtoahauntingsideof

humanity.

ElminaCastleistheoldestofitskind.In1482,afterhavingnegotiatedwiththe

nativesoftheformerGoldCoast,thePortuguesebuiltacastleasapermanentstructure

13 For in-depth analyses of the history, ownership, and tourism politics of Elmina Castle, see Richards and Bruner.

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meantfortradeingold,ivory,andspices.Later,withthediscoveryofthenewworldand

thedevelopmentofthetransatlanticslavetrade,thecastlewasusedforaverydifferent

enterprise.ItwasaholdingplaceforcapturedAfricansfromnearbyareasastheyawaited

shipmentacrosstheAtlantic.Asmanyas600captiveswereheldatElminaCastleatany

onetime.TheAfricanswereheldunderdeplorableconditions.Manyofthemdiedbefore

theshipsevenarrived.Thecastleincludesmaleandfemaledungeonswheretheslaves

werekept,livingquartersfortheEuropeanGovernorandhissoldiers,amesshall,a

church,amagazinewhereweaponsandartillerywereheld,andacourtyard.

In1637,afterseveralattacks,theDutchweresuccessfulinseizingcontrolofElmina

Castle,whereupontheycontinuedtradinginfleshandexpandingthecastle’sphysical

structureforover230years.TheBritishthengainedcontrolofthecastlein1871,usingit

asanofficertrainingfacilityuntil1957,whentheGoldCoastregaineditsindependence,

andthenationofGhanawasformedofficially.TheGhanaiangovernmentisnowtheowner

ofthecastle.Ithasbeenrestored,renovated,andismarketedasatouristsiteprimarilyin

termsofitshistoricroleintheslavetrade.

OftenthecastleismentionedasatouristattractioninliteratureonPanafest,a

culturalfestivalheldinGhanaeverytwoyears.AnadvertisementonthewebsiteBlack

Africa,forexample,reads,“PANAFESTactivitiesincludeperformancesandworkshopsin

theatre,drama,music,cinema,poetry,colloquiaandlectures.Attendeescanalsowitness

thecolorfultraditionaldurbarofchiefsandexperiencethepopularexcursionsforany

GhanaTour–theslavecastlesofElmina”(BlackAfrica;emphasisinoriginal).This

descriptionofwhatthefestivalhastoofferatouristhighlightshowGhanaiantourism

exerciseswhatBrunerdescribesasancestralsadnessandpride.Thereturnoftheblack

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Diasporatothecastlerequiresthemanagementofconflictingemotions.Ontheonehand,

theymayfeel“athome”inGhana,aplaceofperceivedoriginandasourceofpride.Onthe

otherhand,theyareconfrontedwiththesoberingweightoftheatrocitiestheirancestors

faced.Brunercharacterizesthecontrastingsentimentsevidentatthecastle.Hewrites,

simplyandcorrectly,“thesituationisfullofironies”(Bruner295).

ToEnter

Ihaveanervousbody.14Myheartbeatstoofast.Mystomachclenchesup.The

clenchkeepsmycoreintactsothatIdonotburstintomanydirectionsallatonce.Ienter

thecastleatatourguide’srequest.Iamapartofagroup,butIfeelaloneandisolated.I

enterthecastlegrounds,Ienterthespacemarkedastheentranceofthecastle,Ienterthe

femaledungeon,Ienterthemaledungeon,Ienterachurch,Ienteramuseumofsorts.

Thereareseveralentrancestothecastleandseveralexits.AndtherearepartsIsimplydo

notremember.Idonotremembertheshapeoftheperson’sfacewhoworkedatthegift

shoponthecastlegrounds.Iimaginehimasaheandthathehadawarmsmileanda

carefulglance.IdonotmeethimuntilafterItourthecastle.HesoldmeaDVD.Itistitled,

TheElminaCastleandTheSlaveTrade.

Thevideoopenswithfestivemusic,anupbeattempowithhorns,drums,and

clappingasthecreditsroll.Amaletourguideappears.IassumeheisnativeGhanaian

becauseofhisaccentandcomportment.Hehasaroundpleasantfacewithadistinctly

neutralexpressionandaclearanddirecttoneofvoice.Heisclothedinablackbutton‐up

shirtwithgoldmarkingsonit.Headdressesusinasobertenor:

14 Iusethewordnervoustohighlightassociationsbetweenthecorporealbodyandnostalgia.Nervousconnotesthebody’snervoussystemandthetendencyfornostalgiatoreflectnervousnessaboutthepresent.Formoreonnostalgiainrelationtothepresent,seeCashman;Smith;andTannock.ThewordnervouscomesfromtheLatin“sinew,”whichinitsfirstdefinitiondenotesathingthatholdsmuscletoboneand,inthesecond,athingthatgivesstrengthorbindsitemstogether.Imeantocomparethewaymynervousbody,inthepresentcontext,bindstogetherthephysicalandmetaphysicalcomponentsofnostalgiaandtrauma.

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Thankyoumydearviewersfortakingthetimeouttowatchthis.Iknowsomeofyouhaveseenthisbuildingbefore,beenthroughitbefore.Sonowit’stimetositbackandreflectonthetouryouhad.Forothersalsothiswillbethefirsttimeofhavingalookatthis.Ifthatisthecase,youneedtounderstandthatthisstoryissopainful;it’ssosadanddepressing.Howeverthemotivationfordoingthisisnottomakeyousad,bitter,orangry,buttohelpeachandeveryoneofuslearnfromthesehorriblemistakesofthepast.[Unclear,possibly“Tryout”]morewaystocorrectthesemistakesbywayoftakinginformedandhumanedecisionssocollectivelywecanstopthisfromrehappeninginanyforminthefuture.Andthat’sallthisisabout.(ElminaCastle)

TheguideinvitestheviewertotourthetownofElminabeforeenteringthecastle.Asthe

musicplays,Isuspectlearningaboutthepastinordertosecurethefutureisnot“allthisis

about.”

TheballadIhearisbothrobustandharrowing,featuringmalevoicesthatmoan

melodiously.Thesingersaredisembodied,nevershown.Theirvoicesseemtoechofrom

abovethescenes,asifalignedwiththecameraeyethatsooftenlooksdownfromabove.

Theroundedsoundsofthesongcontinuethroughthecourseofthepictorialtourwetake

ofthecity.Thelyricsofthesongevinceapeculiarnostalgiathatinformstheremainderof

thevideo,thetourofthecastleitself,andmyexperientialunderstandingofit.

You’vebeengone,it’sanemptyhome.Comeonbackwhereyoureallybelong.Youarealwayswelcomehome,Welcomehome.You’vebeenkeptdownformuchtoolong.StanduppleaseandsayIamfree.Don’tforgetyouarewelcomehome,Welcomehome.ComewithmeonthishappytripbacktothePromisedLand.Allwillbehappyandgay.(ElminaCastle)

Asthemusicplays,thevideooffersassortedviewsofElmina,firstshowingthetown’s

inhabitantsandthenfocusingextensivelyonhistoricbuildingsandsites:

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You’vebeengone,it’sanemptyhome.

Acrowdeddockwithmurkywater;townsmenbusilyworking.

Comeonbackwhereyoureallybelong.

Acloseuponamanpreparinghisfishingnetwhileperchedsecurelyinhisboat.Helooksoverhisshoulderasthoughhesuspectssomeoneiseyeinghim.

Youarealwayswelcomehome.

Threemensailunderalowhangingbridgeinasmallangularboatwithoutsails.

Welcomehome.

Icannotisolateanywomeninthescene.

You’vebeenkeptdownformuchtoolong.

Awideshotofboatsonthemoveinthewater.

StanduppleaseandsayIamfree.

Aseriesoflandmarkscaptionedinfaintwhitelettering.

Don’tforgetyouarewelcomehome.

Militaryshrineswithprolongedviewsoffigurinesandothericonsatopbuildings.

Welcomehome.

ComewithmeonthishappytripbacktothePromisedLand.

TheoldestCatholicChurchviewedfromseveralangles.

Allwillbehappyandgay.

TheoldestCatholicparishhallviewedfromthestreet.

ElminaNewTown,viewedfromaboveandbehindawhitestonearch.

TheDutchcemeteryjuxtaposedtotherepeatinglyric,welcomehome.

ComewithmeonthishappytripbacktothePromisedLand.

Allwillbehappyandgay.

You’vebeengone;it’sanemptyhome.

Comeonbackwhereyoureallybelong.

Youarealwayswelcomehome.Welcomehome.(ElminaCastle)

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OurtourguideappearsattheentranceofElminaCastle.“Youarewelcomeback.Nowwe

moveoninsidethecastletoseewhatthecastlereallyhastooffer”(ElminaCastle).Our

guideturns,andthecamerafollowshimashewalksslowlyanddeliberatelyovera

suspendedbridge.Heentersthecastle,asdoI.

Ihaveanervousbody.Myheartbeatstoofast.Mystomachclenchesup.Theclench

keepsmycoreintactsothatIdonotburstintomanydirectionsallatonce.Ienterthe

castleatatourguide’srequest.Iamapartofagroup,butIfeelaloneandisolated.Ienter

thecastlegrounds,Ienterthespacemarkedastheentranceofthecastle,Ienterthefemale

dungeon,Ienterthemaledungeon,Ienterachurch,Ienteramuseumofsorts.Thereare

severalentrancestothecastleandseveralexits.AndtherearepartsIsimplydonot

remember.

RecallingElminaCastlereturnsmetoanexperienceIamgladtohavehad,evenasit

exposesmetoaninjurioushistory.IexperienceanostalgiasimilartotheoneIfeltwhenI

purchasedtheSankofaearrings.Itisamixtureofpleasureandpainbestdescribedas

bittersweet.InNostalgia:SanctuaryofMeaning,JanelleWilson,followingMarieMillsand

PeterColeman,describesnostalgiaasatypeofmemorythatischaracterizedby

bittersweetrecollection(Wilson23).Dictionary.comdefines“bittersweet”as“both

pleasantandpainfulorregretful,”providingthephrase,“abittersweetmemory,”asan

example(“Bittersweet,”def.2).Describingthediscursivelifeofnostalgia,Wilsonwrites,

“Myanalysis(andexperience)ofnostalgiaissuchthatIfindthistobeatermthatembodies

ambiguityandcontradiction”(Wilson23).Shecontinues,“[Its]bittersweetnessmakes

nostalgiaanunwieldyconcept”(Wilson23).Theunwieldycharacterofbittersweet

nostalgiamightbeunderstoodbyapplyingBruner’sironies,themselvesspecificationsof

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“ambiguityandcontradiction.”Asyou’llrecall,Bruner’sironiesconsistof:1)ancestral

sadnessandpride;2)feelingsofforeignnessandfamiliarity;3)differingsensesoffamily

andhome;and4)theambiguityofreturn.Theseironiesoftenariseconcurrentlyandare

neithermutuallyexclusivenordescriptivelyexhaustive.Althoughboththevideoguideand

actualtourguideuseoppositionsaspartoftheirrhetoricalstrategies,therearewaysin

whichthevideoalsoperformsironies.

Intheintroductiontothevideo,ancestralsadnessandpridearehighlightedthrough

themusicandnarrative.Theopeningcreditsareaccompaniedbythejubilantsoundsof

horns,drumming,andhandclapping.However,upontheappearanceofthetourguide,the

attitudeofthevideoshiftsfromrejoicingtoapensivetemperamentasthetourguide

warns,“thisstoryissopainful;it’ssosadanddepressing”(ElminaCastle).The

juxtapositionofthejoyousmusicwiththewordsofcautionsuggeststomethatIam

welcome,butwithcertainreservations.Theundertoneimplies,“youmayenterthehouse

ofyourancestorswithpride,butyoumustremoveyourshoesfirstandthenenterquietly,

withsolemnityandsadness.”

Feelingsofforeignnessandfamiliarityemergeatthesametimeasancestralsadness

andpride.Frequently,thecamerapositionstheviewerlookingdownatthecityfrom

above.Thisperspectivefosterstheviewer’ssenseofambiguityasbothtouristandpilgrim

bycreatingtwodifferentviewingpositions.Thefirstappealstosightanddistancesthe

viewer.Asnoted,thecameraoftenplacesthevieweraboveratherthaninthestreetsofthe

cityamidstthepeoplewholivethere.Further,inapanopticmoveofsurveillance,the

cameraenliststheaudiencetostealviewsofpeople(un)awareofthecameraeye,asisthe

casewiththemanbusyatworkonhisfishingnet.Icanseetheman,buthecannotseeme

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orthecamera.Wearespatiallyandtemporallydistancedfromeachother.Second,thefilm

presumesandinstillsapositionoflongingforimmediacyandintimacy.Thedistance

createdbytheaforementionedcameratechniqueisconfirmedandcounteredbythe

curioussonglyrics:Theline,“you’vebeengone,”substantiatesdistancewhiletheline,

“comeonbackwhereyoureallybelong,”promisesfutureintimacy.GastonBachelard

writes,“Ifwereturntotheoldhomeasto[anempty]nest…itisbecausethehomeofother

dayshasbecomeagreatimageoflostintimacy”(Bachelard100).InBachelard’sterms,the

videoconstructsElminaasa“greatimage,”lostandforeign(i.e.remote)andyetalso

immediateandintimate(i.e.familiar),thenostalgiaprovidingarelativelysafewayto

experiencethepainofthepast.

Thepoliticsofhomearearticulatedthroughthekindofhome(andfamily)thevideo

constructs.Thelyricsinvitetheaudienceto“Comewithmeonthishappytripbacktothe

PromisedLand”where“Allwillbehappyandgay.”Itisclearthatthevideoappealsto

sentimental,evenutopian,notionsofElmina‐Ghana‐Africaasapast‐home.Althoughitisa

homethatisconstructedasspatiallyremovedandtemporallydistanced,itisbilledasa

goodhome,asimplehome,ahomeworthrevisiting.

Theinvitationtotheviewerisinstructivehere.ThevideomaybeaboutElmina,but

itisnotcraftedforthecitizensofElmina.Thepeopleinthevideoarebusyatwork

performingeverydayactivities.Noonepicturedissmiling.Itseemsnoonehasinformed

themoftheircastingasinhabitantsofa“PromisedLand”ortoldthemtheyshouldbe

“happyandgay.”ThevideorefunctionsElminaanditscastlesoastocatertoblack

Diasporareturners.Forexample,thelyricsofthesongwelcomehomeonlythosewho

havedeparted,andthetourofthecity,whichdisplayseverydayactivitiesandarchitectural

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features,isoflittleusetothefolkwholivethere.Thelyricsalsodeclarethattheabsenceof

Diasporapeopleshavecreatedan“emptyhome,”whichthenimpliesthatthecurrent

residentshavefailedtofillsaidhomesufficiently.

Theambiguityofhomeisrelatedtotheambiguityofreturn.Liketheproverbof

Sankofa,thevideoencourages,indeedinstructstheviewertoreturnhomeandreclaimthe

knowledgeofthepast,tocastoneselfsimultaneouslyasprodigalchildandhistorian.The

tourguideframesthereturnasariteofpassageofsortsbycharacterizingthe

remembranceofthepainassociatedwiththecastleasnecessarytoguidepresentand

futuremoralaction.Inthisway,theproperreturnoftheblackDiasporatoElminaCastle

entailsthecrossingofathresholdofhistoricalunderstanding,whichismarkedbypainand

suffering.Presumably,ontheothersideofthethresholdawaitsabetterwaytobeinthe

worldwithothers.Asourguidesays,“themotivationfordoingthisisnottomakeyousad,

bitterorangry,buttohelpeachandeveryoneofuslearnfromthesehorriblemistakesof

thepast”(ElminaCastle).

Asasymbolofboththetransatlanticslavetradeandperceivedethnichome,Elmina

Castleistautwithcontradiction.Althoughthelyricsespouseawelcometothishome,one

shouldnotexpectawarm‐bodiedembraceuponentrancehere.ElminaCastle,atonce

homeanddungeon,shouldgiveanyonepause.Thenarratorseemsunawareofthe

contradiction.Asthetourguideheisdevotedtothematerialityofthecastle,andheisa

carefulstewardofthestorieshetells.Ifeeltheincongruitiesofthecastledeeplyand

acutely.Thisvideomakesmenervous.

ThefourironiesofElminahelpmetoparseoutandexplainmyambiguous

relationshiptonotonlythevideotour,butalsothephysicaltourItookofthecastle.Dueto

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theirsimilarities(theoneavideotapingoftheother),thetwotoursareconflatedinmy

mindandmemory,andfromhereon,Iwillrefertobothasone.

ToNavigate

Ourguideappears.Thistimeheisinsidethecastlewalls,hisbodyframedbyan

entrancearchway.Afteralengthydescriptionaboutthechangesinownershipandvarious

usesofElminacastle,theguidemovestoexplainthedynamicintertribalrelationsthat

resultedinthepracticeofsomeAfricanssellingotherAfricansintoslavery:

Ihavebeenhereforsometime,andIdohearpeopletalkingaboutAfricansgivingoutbrothersandsisters.Infact,iftheyseeitfromtheanglethatallAfricansareonepeopleandthereforegivingoutbrothersandsisters,that’scorrect.Butthen,ifwecomethinkofitthattheymeantheliteralsenseofbrothersandsisters,theyarewrong.Inthosedays,peoplewerelimitedtotheirtribesandkingdoms,andonetribeneversawthenexttribetobesame,letalonebrothersandsisters.Sothatincaseofwarsandkidnappings,theyweregivingoutenemies,nowherenearbrothersandsisters.Inotherwords,thoseofthesametribenevergavethemselvesupbut,rather,thoseofothertribes,andtheyneversawthemselvestobebrothersandsisters.(ElminaCastle)

TheguidereturnstoamoreneutralaccountofthewarinwhichtheDutch,withthehelpof

localAfricans,overthrewthePortuguesewhothentookcontrolofthecastle,butcontinued

totradeslaves.Hemovesquicklythroughtheremainderofthecastle’shistory,ending

withtheindependenceofGhanathatledtotheownershipofElminaCastlebytheGhanaian

government.Theguidegesturestowardtheentrancethathasbeenlurkingbehindhim.

“Nowwecanmoveontoseethevariousplaces”insidethecastle(ElminaCastle).

Thefirstspaceisthefemaledungeon.Theguidedescribesthehorrendoushealth

conditionsofthecastleandjuxtaposesthemtoagenderednarrativeofdesireand

aggression,observingthatthewhitemenneverbroughttheirwiveswiththem.Asaresult,

thewhitemaleauthoritiesofthecastle“keptonrapingthewomeninthedungeons”

(ElminaCastle).Theguidedetails:

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Whateverthegovernorwanted,becauseofhispositionthestorysays,uponthebalconyhestood…Womenwerethenbroughtoutfromthedungeonsallaroundtothecourtyardsothenhejustlookedthroughandthenmadehischoice.Thewomanchosencouldhavebeeninthedungeonforawholemonth,allthetimeinthereshenevercleanedher[unclear].Shenevertookabathorbathed,gonethroughthemenstrualsometimes,andstillthegovernorwasinterested.(ElminaCastle)

Theguideproceedstodescribetheprocessbywhichtheselectedwomanwascleaned.

Then,astheguidemovesoutoftheframe,thecamerafocusesonastaircaseleadingupto

thegovernor’squarters.Theguide’svoicerelaysthesexualabuseofthewomanandthe

variousconsequencesoftherape,whichpotentiallyincludedfreedomifthewomanwas

foundpregnant.Astheguidetalks,thecamera’seyemovesupthestairsandintothe

governor’sbedroom,placingtheviewerinthepositionoftherapedcaptivewoman,or

perhapsthepositionofthegovernor.Astheascendancyoccurs,theguidespeaksofthe

“almostinsignificant”numberofwomenwhobecamemistressesofcastleauthorities.

Houseswerebuiltforthemandtheirchildrenintownbecausetheauthoritieswantedthem

closeathand.







remember.

IdorememberwalkingmoresoftlythanItypicallydo.Iremembermyjawgetting

tightfromgrindingmyteethandbeingsilentforsolong.Irememberthesoundofgasps

andsighsatalmosteverydescriptionofevents.Questionsarerarelyasked.Peopleare

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bothcuriousandanxious.Theylistenintently,hangingoneverywordthetourguide

utters,andtheyarequiet,asifsilencemightwardofftheghostsofinjusticehousedinthe

place.Theyalsoarehyper‐aware,lookingateachotherforaclueastohowtocomport

themselves.Ididnotknowwhattodowithmybody,soIwasoftenstill.Pensive.Affected.

Iattemptedtoappearstill,pensive,affected.Atonepoint,Iremembermywhitecolleagues

seemedunabletolookatmeandtheotherAfricanAmericansonthetour.Intruth,Ihad

difficultycontrollingtheactivityofmyowneyes.Itriedtocry.Iwatchedothersmanage

theact.Iclosedmyeyesatmanypointshavingtiredfromseeingtoomuchofnothing.

Emptyrooms,emptywalls,echoingfootsteps.

Richardsdescribestheprocessofrecollectingmemoriesintheemptinessofthe

castle.Shewrites,“Partofthepainofwalkingthroughthelowerlevelsofthiscastle‐

dungeon,ofimaginingthelifethattranspiredhere,relatestoabsence.IcansmellwhatI

imagineisthestenchofsuffering,butnomaterialscrapremainsinsidethedungeons”

(Richards92).ForRichards,thelackofphysicalevidencehighlightstheabsenceorlossof

thoseheldwithinthewalls.However,theenduringmaterialityofthosesamewallsseems

totellarelatedtale.Standingwithinthem,onecannotescapefromtheimmensesizeofthe

rooms.Theyenvelopthebody,catchingandtrappingoneinahistorythatisevidentbyits

materialremains,butunbelievableinthescopeandscaleofthecrueltyattachedtoit.Like

Richards,Ilooked,felt,andgraspedformeaning.ItriedtojustifywhyIwantedtoknow

aboutthishistory.Whywasitsoimportantformetotakeinthisinformation?WhydoI,to

thisveryday,feelattachedto,almostinlovewiththismemoryofcrueltyandinjusticethat

Ineverexperiencedandwouldneverwantto?Thisisnotypicalnostalgia.Thetruthis

thatthereisnotmuchtodoherebuttryandlistenforyourplace.

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AtElminaCastlethereisnotatightlyconstructedsenseofdutyorjustice,butrather

memoriesofpastviolenceroamingfree.Theofficialnarrativeofthecastleattemptsto

tamethesewanderingmemoriesthroughthelanguageofhistoricalfact,whichisexpressed

througharhetoricofoppositions.Thetourguideiscarefultodescribeinmeticulousdetail

thepainandsufferingthatoccurredinthecastle,recallingtheinjuriesthroughimplicitand

explicitoppositions:governor/captive,black/white,holy/evil,dirty/clean,men/women.

Forexample,theguideiscarefultobalanceandopposetalkoftheslavetraderswithtalkof

theenslavedAfricans.Duringthetourofthegovernor’ssleepingquarters,theguide

mentionsthattheslaveswerehousedjustbelowthefloorboards.Atonepointinthetour

ofthechurchspace,hecontraststhebeautyofthearchitecturewiththecrudenessofthe

dungeons.Whentouringthedungeons,thedifferentconditionsinwhichthefemaleand

maleslaveswereheldandthedifferencesintheirgenderedexperiencesarehighlighted.

Theguideconstructsanoppositionofdirty/cleaninhisdescriptionofthewomenwho

weretransformedfromsoiledtosanitaryinpreparationforimpendingrape.Indeed,the

tourguidespendsagooddealoftimedescribingthesexualviolenceperpetratedagainst

theAfricanwomenwhiletheywereheldcaptiveinElminaCastle,deployingstrategiesthat

minimizetheintroductionofnuanceintotheofficialnarrative.However,assymbolsof

miscegenationandbearersofraciallymixedchildren,therapedandimpregnatedwomen

poseathreattotheblack/whiteoppositionestablishedinthenarrative.Theguide

managestheambiguitybydeemingthenumberofthesewomenas“almostinsignificant”

andexplainingtheywereremovedfromthecastleandkeptnearby,therebydislocating

themfromhisnarrativepurview.

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Theguideappearstouseoppositionalrhetoricinordertofacilitateunambiguous

stories,whicharedesignedostensiblyforeasierconsumptionandmaximumdramatic

effect.Theoppositionsalsoservethepracticalpurposeofconcision.Afterall,boththe

physicalandvideotoursoperateundertimeconstrictionsandcannotgoonforever.

Whateverthepurposeofthecontradictorystructureoftheofficialnarrative,such

oppositionsdonotprovideanswerstothequestionsElminaCastleraises.

Theoppositionsinsteadinteractwiththeironiesthecastleengenders.Theironyof

foreignnessandfamiliarityisnodoubtenactedandsustainedbythewaysinwhichthe

castlefamiliarizesanddefamiliarizesitself.DrawingfromChineseacting,BertoltBrecht

describesalienationasturningthefamiliarintosomethingunfamiliar,whichthen

necessitatesknowledgeofthetargetaudienceorcultureandwhatisfamiliartothem.

Spokenbythetourguide,thenarrativeofElminaCastleappealstoDiasporanostalgiafor

Africaashomelandinordertoestablishthecastleasafamiliarsite.Thetourguide’s

discussionofintertribaldisconnectionsandhisdetaileddescriptionsofthevarying

sectionsofthecastlefunctionnotonlyasinformation,butasfamiliarizingtechniques,

communicatedthroughthelanguageofhistoricalfact.Thewordsheusescreateand

animatetheareasofthecastlehedescribes,establishingtheconditionsforempathyand

reconnectionwithone’sancestors.Concurrently,theuseandslippageofoppositional

rhetoricoperatetomakethesesame“incidents...appearstrange”(Brecht91).Asneither

visitorstothesitenorviewersofthevideoareabletofullyinhabiteithersideofthe

opposition(governororcaptiveforinstance),theyaredistancedfromtheaccountand

forcedtoestablishtheirownrelationshiptothestoriesthroughkinestheticimagination.

Theoppositionstipofftheaudiencetothefactthattheproductioniscrafted,andforthem

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especially.Inthisway,asBrechtwouldhaveit,theaudienceis“hinderedfromsimply

identifyingitselfwiththecharacters”establishedinthenarrative(Brecht91).Insteadthey

areforcedtoengagethestrangeness,thuscreatingacriticallyactiveaudience.

Thevisitors’enactmentofkinestheticimaginationoperatestobothfillandquestion

thegapscreatedbytheuseofoppositionsinthenarrative.AsRichardsnotes,“Imust

acknowledgethateveniftheguidesweretosupplyadditionaldata,thatwouldnotfully

assuageasenseofloss;whetherIknewthenthatrepresentationisboundtofailbeforethe

enormityofhistoricalviolence,Idonotremember”(Richards91).Whileoneisaffectedby

thefamiliarizingmethodsofthenarrative,onealsoleavesthecastlewithaprimary

questionofdefamiliarization,“howcouldsomethinglikethishappen?”

Thetensionbetweenfeelingsofforeignnessandfamiliarity,forcesof

defamiliarizationandfamiliarizationismanifestedalsointermsofspaceandplace.Iam

particularlyinterestedinhowbodiesperforminthespaceorvortexoftheslavecastlein

lightofsaidforces.Inanefforttointerpretspaceinbodilyterms,JudithHamerainvokes

deCerteau’sunderstandingofthedifferencesbetweenspaceandplace.Sheexplains,

“spaceismultivocal,characterizedbyperpetualpossibilitiesfortransformation.Placeis

univocal,stable,proper”(Hamera65).Hameraobserves,“theconstructionand

reproductionofplacefromspacecanbeexploredinperformativeterms”(Hamera65).In

otherwords,individualsperformactionsthatturnspaceintoplace,anditwouldseemthe

reverseisalsotrue.InlightoftheofficialnarrativeofElminaCastle,visitorsareplacedand

placethemselvesasreturnerstoa“PromiseLand,”ascaptivesinthecastledungeon,as

cleanratherthandirty,orperhapsitisthereverse?Ontheotherhand,then,assuming

theseveryroles(ofpleasureandpain,cleananddirty)destabilizesone’ssenseofplace.

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Thefamiliarizingaimsofhistoricalfactandeasyoppositionsaredisplacedbythe

experienceofbittersweetirony,returningthevisitorsandthecastletootoashiftingspace

ofdifficultquestionsandfewanswers.

Inthetitletoheressayonslavecastletourism,Richardsposesoneofthesedifficult

questionswhensheasks,“WhatistobeRemembered?”Toaskwhatistoberemembered

atElminaCastleistoinquireaboutwhatwemustdoinordertomakesenseofafractured

anddisturbinghistory.Whatdowedoinlightoftheironiesandoppositions?Howdowe

enactthatwhichisbittersweet?ToanswerRichard’squestion,IwouldsaythatI

rememberthepleasuresandpainsofmybodyinconnectiontotheeventsthattranspired

inthecastlenotbecausetheyaregood,butbecausetheyaremine.Bywalkingthroughthe

castleandengagingthestoriestold,myrememberedspaceofAfricaashomeisturnedinto

amorepersonalplace,envelopingthevariousambiguitiesofthecastleinrelationtomy

ailingbody.Conversely,asIseekconnectionwiththeailingbodiesofancestorsIimagine,

thisveryactionhighlightsthewaysthatAfricasimplyexceedsmyexperienceand

understanding.

JournalEntry:July31,2007

Ishouldhavecried.AllthatIexperienced,allthatIsawandheard.Ishouldhave

cried.Atonepointduringthetourofthecastle,Iremembermakingaconsciouseffortto

cry.IthoughtthatifIcouldjustcrankoutsometearsthenIwouldn’tfeelsuchaloss.

Oddlyenough,mysenseoflosswasnotforalostpeople,butforalossofemotion.I

wantedtofeelsadformyancestorsandforhumanity,butIwasnotsurehowtochannel

thesadness.Ievenappreciatedtheironyofthebeautifulwhitecastlesharingtheshoreline

withthedarkskinnednativesofthetown,whilethewhisperingofhistoryrevealed

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another,morebrutaltruthaboutthismonumentalsymbolofoppression.ThefeelingIfelt

wassimilartowatchingnewscoverageofsomedevastatingeventlikeHurricaneKatrinaor

thegenocideatDarfur.Damnthat’ssad,butnotquitepersonalenoughformytearductsto

fill,nothome‐hittingenoughforonesalinedroptofall.15

Afterweleftthecastle,Iwenttositalonebythebeach.Irememberthinkinghow

calmingitwas.Ayoungmancameandsatbesideme,andIthought,“Ifhetriestosellme

something,I’mgoingtoscream.”Asitturnsout,allhewantedwasconversation.The

youngmaniseighteenyearsold,andhehasaname.Hehasonesisterwhoisnotyet

married,andhegoestoalocalschoolwhereheistryingtobeabetterstudent.Wetalked

easily,abouttrivialthings,untilhetoldmethathisdesireistoliveintheU.S.Iaskedhim

why,andhereplied,“ThereisrealhappinessinAmerica.Weneverhavemoneyhere,so

thereisnotmuchhappiness.”Irecallsomebullshitresponseofmine,abouthowreal

happinessisbeingwiththepeopleyoulove.Theyoungmanwasnotmoved.Lookingover

atthebeach,Iaskedhimifhelikedtoswim.Hethentoldmeofhowtwoweeksearlierhe

andhisfriendswentswimmingatnightandhisclassmatewassuckedintotheoceanand

drowned.Hisclassmate’snamewasTooSweet,andhissisterwasmarriedthesameday

thathedrowned.Whenthebodywasfound,ithadnoeyes.Ishookmyheadandsaid,

“Wow,thatissosad.”WhatamI?Whatiswrongwithme?Ishouldhavecried.

ToReturn

Iamnervoustellingthisstoryinsuchapublicway.ItellthestorybecauseIthinkit

isimportantforpeopletoknowthatwoundingandlongingflowinmanydirectionsacross

15 The noted experience might be thought of in terms similar to those Baudrillard articulates in his 1995 book, The Gulf War Did Not Take Place. While Baudrillard acknowledges that for some the war did occur in physical terms, his argument is that for most of us it occurred as a mediatized event, crafted and functioning in terms of simulation and the hyper-real.

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theAtlantic.Myexperienceonthebeachforcesmetoconfronttheexcessescreatedbythe

slippagebetweenmyownbodilyexperiencesandthebodiesofthepeoplewholiveinthe

placeIlongfor.Ifeelmynostalgiaasalongingforconnectiontomyoriginsandrootsin

myhomelandofAfrica,whiletheyoungmanexpresseshisyearningasadesirefor

happinessintheU.S.

Inhopesoffindingtheirroots,tourist‐pilgrimswhocometoGhanatovisitElmina

Castleruntheriskofisolatingtheirtaleofreturninsuchawaythatitrendersthe

sensibilitiesofthecurrentGhanaiansirrelevant.Theharrowingsongthatintroducesthe

DVDconstructsElminaasan“emptyhome,”butthosewhoconstructsuchaframearenot

theonlyculpritsinthecrafting.Intheguiseofamundaneconversation,thisyoungman

toldmeastoryoflifeanddeath,creatinghisownsetofoppositions.Thejuxtapositionof

matrimonyandmortality,happinessandsadnessstrikesmeandfrustratesmyeffortsto

placemybodyastourist‐pilgriminthespaceoftheconversation.Ididnotpayforthissad

narrative;Ididnotintendtoenterthisvortex.

Still,theforcesofhisoppositionsmaketheironiesofElminaactiveandcomplex.

Myancestralsadnessandprideistroubledbymyexperiencesoftheyoungman’ssadness

andbyhavingrootsinbothAfricaandtheU.S.Myfeelingsofforeignnessandfamiliarity

arecompoundedbythestrangedynamicsofthisintimateconversationwithapractical

stranger.MysenseoffamilyandhomearethemeansbywhichIempathizewithwhatI

imaginetobethefeelingsofTooSweet’sfamilyuponnewsofhisdeath.Thestoryactivates

myexperienceoftheambiguityofreturnasitsignalstomethattherearemanytalesof

returntobetold,thatthesestoriesflowinmultipledirections,andarenotallmine.

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ItiscertainthatTooSweethasahistory,apersonality,andastoryofhisown.He

cametomeinanarrativecraftedformyaudiencingandattheheightofmyreflexivity

whileonmy“return”toAfrica.ItisforthesereasonsthatIcannothelpbutrelate

TooSweet’sdeadbody,absentofthosehighlysubjectivesymbolswecalleyes,tomyown

returnspecificallyandtotheriskyreturnoftheAfricanDiasporamoregenerally.TryasI

mighttoresist,therearewaysinwhichIexperiencemycorporealbodyasanembodiment

oftraumaspast,fishedoutoftheoceaninneedofmourningandcare,abarelyrecognizable

returnerwantingtobereclaimed.Inlightofthisexperience,thestoryrendersmesilent,

reflexive,guilty.

Theyoungman’sstoryalsorepresentsthewaysinwhichGhanaiansasserttheir

ownperformativesubjectivitywith,upon,andagainstmyownandothers.Brunerdetails

howordinancesareusedtokeepthecitizensofElminaawayfromthecastle,andhowin

turninhabitantscountersuchstrategies.Forone,theyrefusetopaytoenterthecastleon

thegroundsthat,ascitizensofElmina,itbelongstothem.Richardsaskstouriststothe

slavecastletoconsider“whoarewe?Howare‘we’constitutedsuchthatwesharean

identitywith‘them’[thecitizensofElmina]orconversely,haveadversarialinterests?”

(Richards637).Richards’questionsinspiremetothinkaboutthewaysthatweare

touristsinthestreets,butreturningpilgrimswithinthenowsafehavenofthecastle,free

fromtheeyesoftheinhabitantsofElmina,Ghana,Africa.

NoReturn

OftheironiesBrunerhighlights,suchasancestralsadnessandpride,feelingsof

foreignnessandfamiliarity,anddifferingsensesoffamilyandhome,theambiguityof

returnmakesmeespeciallynervous.Ourguideappearsagain.Heexplainsthehorrorsof

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theMiddlePassage,statingthatthecaptives’lives“onlygotworse”(ElminaCastle).The

guideispicturedintheshadowsofastonepassageway.Anarrowshaftoflightbrightens

justonesideofhisfaceandbody.Ashegesturestowardstheopening,hetellstheviewer

thatthisisthedoorthatledtotheshipsthatdispersedAfricanstoplacesfarandaway,the

DoorofNoReturn.

TheguidethendescribesawelcomingceremonyheldduringPanafest,inwhich

thosewhohavetraveledtothefestivalarewelcomedandhomageispaidtothosewhodied

intheslavecastle.Giftsintheformofwreathsarepresented,“onefromthechiefs,one

fromthegovernment,andonefromallAfricansintheDiaspora”(ElminaCastle).

Weneedtounderstand,andIbelievethateveryonewhohasbeentothecastleandwouldcometothecastlewillbearinmindthatthosewhodiedintheprocessneverdiedinvainandwillbelievethat–aswegothroughthedungeonsleavingusatthepointofnoreturnwherewe’remarchingtheAfricansinchainsgoingoutofthecastle.Itshouldreflectonusthatwehavearesponsibility.Andnow,togetyourselfacquaintedwiththatresponsibility,overherewekeepaminuteofsilenceinmemoryofallthosewhodied.Andwevowinustodowhateverittakestomakesurethatwhenwesayneveragain,meansneveragain.(ElminaCastle)

MyReturn







remember.

IapproachtheDoorofNoReturn.Iamamazedbyhowsmallthedooris,andthe

guideexplainsthatpeopleweresmallerbackthen.MyminddriftsbacktowhenIvisiteda

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silvermineintheCzechRepublic,andthetourguidetoldmethesamething.Inthepresent

case,theguideaddsthatpoornutrition,brutality,andterriblelivingconditionscontributed

tothediminishedsizeofthecaptivesbythetimetheypassedthroughtheDoorofNo

Return.Icringeatthis.Mystomachistetheredtoitselffromalloftheclenching.Yousee,I

tendtocompresswhenIamnervous.Thewallsofmybellybecomesensitive.Allfeelings

seemtooriginateinmythroatandthendivedownthroughmyheartonlytobecaughtby

theintersectingtightropesthataremytightenedcore.Thistriggersbackache.Iimagine

bodiesbending,tiedtooneanother.Ithinkofallthepeoplewhomoveinandoutofthis

roomonadailybasis.In.Out.In.Out.Theymustduckdown,bendover,andorienttheir

differentlysizedbodiestothisuncomfortablespace.Ithinkaboutthecountlessreturnsof

thetourguidesandcastleworkers,returningoverandoveragaintotellthetale.Isuppose

tourismisallaboutreturn.Perhapssomeoneshouldrenamethisroom,thisdoor.16Ihave

returned.Manyhavenot.Thedoorwayisbarred.Thelightpiercesthroughthebars

illuminatingthedarkroomandforcingeyestoadjustandbodiestoreact.Isquint.I

negotiatethetensionbetweenmyfaceandmycore.Mybackhurts.Iattempttofeelsome

emotionalpaincongruentwithmynervousbody.IimagineascenarioIcannotnowrecall.

Timepasses.Igrowtiredoftryingtofeelthings.Igrowtiredofforcingconnections

throughthepitofmystomach.Iwanttogohome.

Manifestationsofnostalgiaanditspromisesofreturnarenotlimitedtothe

experiencesoftheblackDiaspora.AsIhopetodemonstrateabove,thenostalgiaIfeel

oftenreflectsahighlyself‐centeredandevenAmericentricflowofmemories.Mynostalgia

16 At the Cape Coast slave castle, there is a sign affixed to the Door of No Return that is visible from the outside only, upon reentry. The sign reads, “Door of Return,” and it was placed as a gesture of welcome for members of the black Diaspora.

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affirmsthepoliticsofnostalgiaasIpracticeelectiverememberingandselectiveforgetting.

Brunerremindsus,“AfricanAmericaninterestinslaveryandthedungeonsfocusesonone

eventandonetimerangeinthepast,asopposedtoareturntoalltheexpressivecultural

aspectsofcontemporaryAfricanculture”(Bruner296).Aconsiderableperformanceof

nostalgiainitsownright,festivalslikePanafest,ofwhichtourstoElminaCastleareapart,

stressacomplexactivationofpleasurableandpainfulmemories.TheslavecastleatElmina

thenisavortexwithinavortex–althoughwhileinsidethecastleitiseasytoforgetwhatis

happeningoutside.ItisforthisreasonthatIabstainedfromvisitingasecondcastleonthe

samedaywevisitedElminaCastle,optinginsteadtoroamthebeachandreflectonmyvisit

tothesite.

PerformingNostalgiaandTrauma

Ihavearguedabovethatbodiesinthevortexoftheslavecastlearesuchthatthey

createandnavigateafieldofoscillatingforces,suchastheoppositionsandironiesofthe

castle.Theoppositionsarepresentedthroughthelanguageofhistoricalfactinaneffortto

encourageeasyconsumptionofthesite,producingperformerswhoalignthemselveswith

oneoftheopposingsides.TheironiesofElminaaddcomplexitytothefieldofoscillation

bytroublinganddestabilizingtheoppositionsthroughdefamilarization,whichprompts

theperformerstodistancethemselvesfromandquestiontheoppositions.Asanoscillating

fanmovesbackandforth,propellingandorganizingtheairofaroom,theforceswithinthe

castlemovetoandfro,shapingthespaceandthebodiesthatoccupyandcreateit.An

oscillatingfandoesnotstayinonepositionforlong.Asthefanmovesawayfromagiven

areaofconcentration,airmoleculesreorganizethemselves:theyfalloutofplaceorplace

themselvesdifferentlyinaroom.BodiesatElminalikewiserepositionandrefashionhow

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theyoccupythespaceoftheslavecastleandhowtheydirectthecourseofoscillation

throughtheiractions.

Butinquiringabouttheoppositionaldiscourseandembeddedironiesofthecastleis

nottheonlywaytogetatthebitterandthesweetofthissite.Performersalsonavigate

betweentheaffectsofnostalgiaandtheaffectsoftrauma,feelingsoflongingandfeelingsof

wounding.RecollectingmyexperiencesatElminaCastlehasitspleasuresandpains.The

feelingsthatemergeconstituteastrangenostalgia,anostalgiaexperiencedinthefaceof

historicaltrauma.Withinthistensionlietwotheoreticalconcepts.Thefirstisnostalgia,

andthesecondistrauma,orwhatStephanieHoustonGreydefinesas“theimpactofevents

thatproducesevererupturesinsocialcohesionandthreatenthestabilityofthesecultural

narratives”(Grey175).

Trauma,Greekfor“wound,”sharesasimilardiscursivejourneytothatofnostalgia.

Onceusedinthemedicalcommunityasasynonymforhomesicknessinthediagnosesof

soldiers,nostalgiaisusedmostcommonlytodayasawayofdealingwiththepast.

AccordingtoCathyCaruth,traumaoncereferredtothephysicalwoundingofthebody,and

itwasnotuntilthenineteenthcentury,aidedbyFreud,thatitcametomeanaviolent

psychologicalwound(Caruth3).Overtime,then,bothnostalgiaandtraumahavebeen

transformedfromreferringlargelytophysicalexperiencestothoseofametaphysical

character.Thepresentprojectreturnsbothnostalgiaandtraumatoafullycontextualized

notionofbody,tobodiesthatresisttheCartesianmind/bodyopposition.

Feltintheconfluenceofmind‐body,ElminaCastleinspiresacuriouscombinationof

woundingandlonging.AtthestartoftheDVD,thetourguidecharacterizestheeventsof

thecastleas“horriblemistakesofthepast”towhichwemustattendinordertoprevent

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themfrom“rehappening”(ElminaCastle).Thisframingnarrativeidentifiesthecastleasa

siteofhistoricaltraumaandcautionsitsrecurrenceinthepresentandfuture.Thetour

guidefearswhatHershiniBhanaYoungcallsan“inheritanceofinjury,”thetraumaticre‐

memoryofpainfulevents(H.B.Young118).Beforetheviewerentersthevortexofthe

slavecastle,sheisattunedtothetraumaassociatedwithit,andoncesheenters,thehighly

descriptivetalesofsufferingservetofurtherarticulateandactivatethetraumaframe.The

activationoftraumacombinedwiththenostalgiaatplayinwelcomingtheblackDiaspora

createsandsubstantiatesbodiesofwoundingandbodiesoflonging.Thetourguide,for

instance,providesalistofatrocitiescraftedforthevisitors’consumptionoftrauma,such

asthekidnappingandtradingofAfricansbyotherAfricansandEuropeans,thedreadful

conditionsofthedungeons,therapingofAfricanwomen,themovementthroughtheDoor

ofNoReturn,andthehorrorsoftheMiddlePassage.

Intheremainderofthechapter,IexploreimplicationsIseeemergingfromthe

interactionbetweentraumaandnostalgiaatElminaCastle.First,Iexaminethenoted

interactionintermsoftheproblemofin/authenticity.Second,Iarticulatehowbodies

performconsumptionandproductionofElminaanditscastlethroughanaestheticof

return.

Performancesofbothnostalgiaandtraumainspirescholarlydiscussionof

in/authenticity.Centraltoin/authentictraumaisaninterrogationofthepoliticsof

questioningaperson’soraculture’straumaticexperience.Inthepresentcase,aquestion

ofauthenticitymightbe:arethefeelingsofancestralconnectionthatAfricanAmericans

experienceintheslavecastle“authentic”or“real?”Inhisanalysisofthedifferent

representationsofGhanaiansandAfricanAmericanswithrespecttotheslavecastlesof

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Ghana,Brunerfinds,“fromaGhanaianperspective,they[AfricanAmericans]become‘too

emotional,’whichsuggesttheGhanaiansdonotunderstandthefeelingsofDiasporablacks”

(Bruner293).Partofthismisunderstandingcanbeexplainedintermsoftherelationship

betweenidentityandtrauma.Althoughtraumaisdefinedasadestabilizingrupture,this

rupturemaybedeeplyconnectedtotheidentityofapersonorculture.LaCapratermsthis

intenseidentification“foundingtrauma”anddescribestheoccurrenceas“howsomething

traumatic,disruptive,disorientinginthelifeofapeoplecanbecomethebasisofidentity

formation”(LaCapra161).Asaresultofthepersonalalignment,questioningtherealityof

traumaistaboo,andsomesubjectsevengainadegreeofculturalcapital.AsGreyexplains,

“traumatizedsubjectscansometimesachieveanelevatedstatusinourculture,”their

distressingexperiencebeingasourceof“legitimacyandinstitutionalauthority”(Grey186).

InthecaseofElminaCastle,feelingsofancestralattachmentarelegitimateddiscursively,

andasanidentitybuildingagent,traumabecomeshyperauthentic,expressingan

authenticitythatisinextricablefromaperson’soragroup’slivedexperience.

Centraltothequestionofin/authenticnostalgiaiswhethernostalgiaservesa

positiveornegativefunction.SusanStewartcharacterizesnostalgiaasdistinctlynegative,

asanarrativethatlacksauthenticity.17IquoteStewartatlengthinordertograspherfull

assessment:

Nostalgiaisasadnesswithoutanobject,asadnesswhichcreatesalongingthatofnecessityisinauthenticbecauseitdoesnottakepartinlivedexperience.Rather,itremainsbehindandbeforethatexperience.Nostalgia,likeanyformofnarrative,isalwaysideological:thepastitseekshasneverexistedexceptasnarrative,andhence,alwaysabsent,thatpastcontinuallythreatenstoreproduceitselfasafeltlack.Hostiletohistoryanditsinvisibleorigins,andyetlongingforanimpossibly

17Parry‐GilesandParry‐Gileslikewisecharacterizenostalgiaasinauthentic,framingitastoolaspeakercanusetodistortthepast(Parry‐GilesandParry‐Giles421‐427).

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purecontextoflivedexperienceataplaceoforigin,nostalgiawearsadistinctlyutopianface,afacethatturnstowardafuture‐past,apastwhichonlyhasideologicalreality.(Stewart23)

Stewartarguesnostalgiaisbadbecauseitisnotreal,andbecauseitdoesnotconstitute

embodiedexperience.

Understandingthatnostalgiahasbeenlinkedwithinauthenticexperience,Lucy

Lippardrecoversnostalgiaasa“seamlessandpositivepartoflife,”counteringStewart’s

assumptionsabouttheseparationbetweenrealexperienceandnostalgiclonging(Lippard

164).Lippardwrites,“nostalgiaispartoflivedexperience...adesireunremovedfromthe

senses,”and“alongingthatmayneverbefulfilledbutfunctionspositivelyforthatreason”

(Lippard164).LikeLippard,Itoobelievethatnostalgiamayserveproductiveends,and

thatnostalgiaisanimportantactivitynotthoroughlyinvestigatedusingthebinaryofgood

orbad.Lippardwritesabouthereffortstorecovernostalgiaandsaveitfromthegoodor

badreferendum:

TryasImaytode‐constructtheobviousartificesnegativelyattributedtonostalgia,ithasnothelpedmekickthehabitofponderingplacesandwaysoflifethatareoutofreachofmyownmemory.Nostalgiainthebroadsense,asthewordisusedtoday,suggestsapoignancythatneedbeneithergloomynorreactionary.Inheritedlayersofclass,race,andgenderattitudes...canbeexcavatedfromitsdepths...thecomplexityofsuchmusingsislostwhentheyaredividedintogoodandbad.(Lippard154)

MichaelBowmanoffersawayoutofthegood/badbinaryandanalternativetothe

questionofauthenticityinhisanalysisoftourismsitesassociatedwithMaryQueenof

Scots.Hecontendsthatcriticismbasedonauthenticityismisplaced:

[It]betraysanessentialismthatassumes“authenticity”isastable,pure,prediscursivequalityorstateratherthananemerging,shifting,differentiallyconstructedone.Moreoveritoftenbegsthequestionofwhether“authenticity”iswhataheritagesiteshouldstrivefor,orwhetheritisinfactwhatvisitorsandtouristsactuallyseekfromheritagesites.(M.Bowman,“TracingMaryQueenofScots”208)

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BowmanproceedstoarguethatJacquesDerrida’sconceptofhauntology,whichrefersto

theincomprehensiblewaysinwhichthepastintrudesuponthepresent,providesamore

compellingandusefulanalyticframewithwhichtoviewtourismsites.Hauntologyasks,

“howthesiterecruitsandmobilizesbodiestoperformactsofremembrance”ratherthan

evaluatingthesitebasedonayeahornayreferendumofauthenticity,whichfinallyisa

whollysubjectiveexperience(M.Bowman,“TracingMaryQueenofScots”208).Bowman

contends“hauntologyoffersusafarmoregenerouswayofunderstandingvisitors’

expressionsoffondnessforandinterestinhistoryandheritagethandismissingtheir

remarksasmerenostalgia”(M.Bowman,“TracingMaryQueenofScots”209).

AsBowmanargues,thevideoillustrates,andmyrecollectionsofthephysicaltour

reveal,experiencesatElminaCastledonotrepresent“merenostalgia.”Instead,the

performancescreatenostalgiasthatmoveandencouragemovement,nostalgiasthatwork

andareworkedonthroughtheperformanceofmemory.AnnetteKuhnusestheterm

“memorywork”torefertoactsofremembrance,emphasizingthementalandphysical

laborinvolvedinremembering.InFamilySecrets:ActsofMemoryandImagination,Kuhn

identifiesmemoryworkasaconsciousandactiverecollectionofmemoriesthatadoptsan

inquiringattitudetowardthepastanditsrepresentation.Kuhnnotesthatmemory

structuresourinnerworldsandactivelycreatesmeaning.Sheshowshowmemorytexts

havetheirownsetofconventionsthatactivatetheculturalimaginationandinspire

communityandideasofnationhood.Kuhn’smemoryworkisnotconcernedwithtruth,

anditviewswhatisrememberedasmaterialforinterpretation.Partofthememorywork

ofcriticalnostalgiaistocounterthe“stable,pure,[and]prediscursive”notionsof

authenticitytowhichBowmanresponds.Aswithconstructsandusesoftheword“origin,”

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authenticityassumesauniquetruththatcriticalandperformancegenealogiesquery.At

ElminaCastle,nostalgiafunctionsnotonlyasarecruitingtoolforsolicitingcertaintypesof

memorywork,butasacriticalandcreativemethodonecanusetoprocesshistorical

trauma.

LikeKuhn’smemorywork,criticalnostalgianecessitatesaworkingrelationship

withmemories.Itinvokesanattitudetowardthepast,itsmake‐up,andthewayitis

represented.WhereasKuhnasksherreadertoadoptaninquiringattitudetowardthepast,

criticalnostalgiarequiresacriticalattitude.Thisattitudeshouldbeindicativeofboth

inquiryandevaluation,remainingalivetothevariousproblemsandpossibilitiesofpast

andhome.TheSankofaproverbisafigurativeexampleofhowcriticalnostalgia

encouragesmemoryworkthroughthequestionoforigin.Whenapersonasksthe

colloquial“chickenoregg”question,sheisaskingaquestionoforigin,ofgenesis,of“which

camefirst?”Whilethechickenandeggscenarioquerieswhatcamefirst,theproverbofthe

Sankofabirdqueriesandinstructsusastowhattodowiththatwhichcamefirst.Indeed,

clearinstructionsaregiven:“gobackandtakeit.”

TheSankofabirdisfrozenintheactofremovinganeggfromitsback,caughtinthe

actofrecoveringitssymbolofthepast.Theimagebegsquestionscrucialtotheproverb

andtocriticalnostalgia.Whatinspiresthebirdtoinhabitsuchanawkwardposition?Does

theeggbeckonthebird,callingherforth,andunderwhatpretenseorallure?Howdidthe

eggcometooccupythespaceonthebird’sbackinthefirstplace?Istheeggheavy,a

burden?Whatshallthebirddowiththeeggonceitisretrieved?

AtElminaCastle,performersareinspiredtooccupytheuncomfortablespaceofthe

slavecastlebecausetheyseekknowledgeaboutthetraumaitrepresentsandbecausethey

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areaffectivelytiedtoitasasymboloftheirpast‐home.Thecastlecallsorhailsperformers

throughtheambivalentalluresembeddedinrhetoricaloppositionsandexperiential

ironies.Theofficialnarrativeofthecastlesituatesthetraumaticpastuponthebacksofits

visitorsbyframingtheexperienceasariteofpassage,somethingthatmustbedonein

ordertotakeone’sproperplaceamongone’speople.Aplaqueplacedatthedoorofa

dungeonforrebelliouscaptivescondemnedtodeatharticulatesthenotedchallenge.The

inscriptionreads:“Ineverlastingmemoryoftheanguishofourancestors.Maythosewho

diedrestinpeace.Maythosewhoreturnfindtheirroots.Mayhumanityneveragain

perpetratesuchinjusticeagainsthumanity.We,theliving,vowtoupholdthis”(Elmina

Castle).Theplaque,liketheElminatourvideo,isbittersweet.Itasksvisitorsto“findtheir

roots”withinthesamewallssaidtohousethe“memoryoftheanguishoftheirancestors.”

Nostalgiais,afterall,abouthowwerememberandenactourpast‐homes.Similartothe

proverbofSankofa,theplaquearticulatesboththenecessaryburdenofremembranceand

instructionsastowhattodo.Theinstructions?Returntoyourpastandfindyourroots,

yourconnections.

Theinstructionscallforactivebodilyinvention,forkinestheticimagination,

employedtowardrealizinganaestheticofreturn.Iusethewordaesthetictohighlightthe

characteristicsoftheperformancesrevealedthroughmyanalysisofElminaCastleandto

querytheirimplicationsforcriticalnostalgia.

Toenterandnavigatethecomplexintersectionsofnostalgiaandtraumaembedded

inElminaCastleinvolvesreturningtoapasthomeandtoaninjuriousevent.Thereturn

evokesasimultaneouswoundingandlonging.AtElminaCastle,theaestheticofreturnthat

undergirdstheperformanceslooksdifferentlyuponthepast.Withregardstotrauma,

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performerslooktothepastinordertostoptroublingeventsfromoccurringagain.With

regardstonostalgia,performerslooktothepastinordertogarnerakeenunderstanding

andrelationshipwithit.Bothorientationssuggestthatreturnisanimportantand

productiveactivity.Indeed,theimportanceofreturnissignifiedbythenameofthe

doorwaythatledAfricancaptivestoslaveshipsontheAtlantic.Itisnotcalledthedoorof

departure,butrathertheDoorofNoReturn.Thisnamemarksapointatwhichthe

desirableactofreturnispresumablynolongerpossible.ThereturnoftheblackDiaspora

toElmina,then,isbothanegationandrevisionoftheDoorofNoReturn.Inthisway,the

castleisabletooperateundertheexplicitthemeof“neveragain,”allthewhilewhispering,

“welcomehome”(ElminaCastle).

Theaestheticofreturnisdependentonthemovementofbodies.Inorderto“go

backandtakeit,”onemustengagetheprojectofgoing“backtoAfrica,”andinthiscase,

goingbacktoGhanaandbacktoElmina.Letusnotforgetthebodiesofthetourguidesthat

occupyElminaonadailybasis,theirjobsdependentontheirreturntothesamenarratives

oftrauma,tothesamestoriesoftheirancestors.Letusthinkalsoofthetollthisreturn

musttakeontheirbodies.Theaestheticofreturn,markedbytraumaandnostalgia,makes

possibleanoscillatingfieldofaffectcaughtbetweencontradictoryassociations.Thatis,

home,homeland,andcommunityontheonehandandviolence,death,andwoundingon

theother.Mynervousbodystraddlesandnavigatesthisline.

Torecallinthisspaceislessaboutexcavatingthecrevicesofmymindforchanging

anduncertainmemoriesandmoreaboutminingandperformingmyownbodilyhistories.

Itisalsoaboutrecognizingtheexcess,thatwhichescapesmymemoryanddeniesmy

attemptsatplacement.Iseeknotonlyhistory,butalsothetexturesofaffective

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attachmentsinextricablylinkedtothehistoriesandherstoriesrootedincontradictory

sensesofhome,past,andtrauma.Althoughvisitingthesefeelingsmaybeperceivedasa

threattohealingortoprogress,Iviewthisactivityasproductive.Byperformingreturn,I

bringmybodyintoconversationwithculturalmemoriesthatroamthecastlewalls.

Experiencingone’sbodyinElminaCastlemeanswalkingintothecrossfireofironicand

oppositionalforces.Narrativestakepainstoplacebodies,andpain‐riddledbodiesfree

narrativesintospace.ElminaCastlepresentsacrisisofmemory,aninterrogationofthe

pastononehandandaninterrogationoftheselfinrelationtotheworldandtohomeon

theother.Weareboundtoourbodiesindifferentwaysthanweareboundtonarrative

text.Anaestheticofreturnputsusintouchwithourancestorsnotthroughconventional

knowledge,butthroughanactivephysicalengagementwiththetraumasofthepast.

InTheAtlanticSound,CarylPhillipsenters,navigates,andreturnstoissuesof

transatlanticidentity.Ultimately,heconcludes,“itisfutiletowalkintothefaceofhistory,”

describingremnantsofthepastas“shardsofmemory”thatmay“drawblood”(Phillips

275).Heisright.Theymay.Andheisrighttobenervousaboutnostalgiaforatraumatic

past.Itismycontentionhoweverthatnervousnessisnoreasontodiscountoravoidour

feelingsaboutthepast.Thiscaseofnervesissymptomaticofnostalgiamovingusthrough

memoriesinwaysthatencourageandfeedourattachmentstohistoricalmoments,heeding

Bowman’scallto“[discover]truthscontainedinouraffectiverelationstothepast”(M.

Bowman,“TracingMaryQueenofScots”211).Nostalgiahelpsustocontextualizetrauma

inawaythatcentersonemotional,bodilyexperienceandencouragesustoengageboththe

problemsandthepotentialitiesofthepast.Whilewemaynevertrulygohome,nostalgia

offersawaytoreturn,awaytoconnect,andawaytopracticethepleasuresandpainsof

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memory,privilegingtheexpressivebodyasconduit.Thisisnotypicalnostalgia.Insteadit

isanostalgiathatencouragesacriticalstancetowardthepast,andindeed,itisonethat

asksustoreturn(n)everagain.

Postscript

Thereisamomentinmyadolescencethatreturnstomeagainandagain.The

consistencyoftherecallisdueIsuspecttotheeventbeingthefirsttimeIdealtwithdeath;

thefirsttimeIrealizedpeoplediedespitehowmuchIlovethem.

Iwasatmyfavoriteaunt’sfuneralservice.Itwasawarmday,andwehadfallen

intoamomentofsilencewhenmycousinscreamedoutinuttertorment,“Wakeup,Mama!

Wakeup!”Hervoicewasintensewithsorrow,gutturalandthickandmeaty,asif

summonedfromtheentrailsofherbody.“Wakeup,Mama!Wakeup!”Herkeeningwas

bothanassumption,thathermotherwasonlysleeping,andacommand,thathermother

returntothefamilywhereshebelonged.Myaunt’snamewasMalvolia.Wecalledher

AuntMal.Afterthefuneral,IwroteapoemsoIwouldnotforgether.Ituckedthepoemin

adiary,outofsight.

Inhighschool,Iservedaseditor‐in‐chiefoftheschool’sliterarymagazine.Inoneof

theissuesIcontributedashortstory,whichItitled,“ItUsedtoSing,”orsomethinglike

that.Inthestory,IrelatedthedeathofmyAuntMaltoarotatingmusicalporcelainclown

thatmyauntusedtoown.IcovetedthemusicalclownbecauseIloveditssoftcoloringand

themelodyitproduced.Eventually,AuntMalgiftedtheclowntome.Butovertime,and

overuse,itstoppedworking,turning,andsinging.Isharedtheshortstorywithmyfamily.

Theyweretouched.Thereweretears,andproclamationsthatonedayIwouldbeawriter.

106

Muchlater,IproducedaperformanceintheHopKinsBlackBoxatLouisianaState

Universitycalled“HomeBodies.”Theshowwasacollaborativeprojectfeaturinga

collectionofpersonalnarrativesandethnographicperformancescenteredontheideaof

homeasenactedthroughtheexpressivebodiesofstudentsfromBatonRougeCommunity

College,LouisianaStateUniversity,andXavierUniversity.Whenoneofmystudents,Alicia,

washavingtroublecomingupwithaconceptforherpiece,Iencouragedhertowriteabout

aneventthatreturnstoheragainandagain.Asanexample,Iforwardedheraversionof

“ItUsedtoSing.”TogetherAliciaandIinterwovethestoriesofmyaunt’spassingandthe

birthofAlicia’slittlegirl.Thistimeasdirector,Istagedmycousin’syellsthroughthebody

ofAlicia.Withherheadturnedoverherleftshoulder,herleftlegslightlybent,andher

handscuffedaroundhermouthasifcallingacrossafield,Aliciawhispers,“Wakeup

Mama!”Itisawhisperedscream,drawnout,enunciatingeverysyllable,“WakeupMama!

Wakeup!”Now,thiswhisperrevisits,carryingthememoryofvisceralscreams,gentle

songs,astoryofbirth,apoeminawellhiddendiary,sharedwordsonapage.Abodywith

noeyes,aclownwithnosong.Threatening,comforting,wounding,healing,themoment

returns.

107

ChapterFour

StagingNostalgia:TimeandSpaceinCopiousNotes:ANostalgiaTale

Threehumanfiguresrevolveontheflatsurfaceofastage.Theyareembodied,

rhythmiclandscapesofthreedistinctsetsofspaceandtimerelations.Asthebodiesshift

slowlyandcarefullyinacircularpattern,theycatchglimpsesofeachother,oftenat

difficultangles,andareaffectedintheirrotation,creatingconstantlyengagingagentsof

symbolic,emotional,andbodilymelodies.

ThemovementIdescribeabovederivesfromoneofatrilogyofpiecesIdeveloped

andstagedasadoctoralstudentinthePerformanceStudiesprogramoftheDepartmentof

CommunicationStudiesatLouisianaStateUniversitybetween2008and2012.Thetrilogy

includesBlackBodyBusiness,CopiousNotes:ANostalgiaTale,andHomeBodies:A

CollaborativePerformanceProject.

FollowingGeorgeWolfe’splay,TheColoredMuseum,BlackBodyBusinessisan

ensemblepiecethatinterrogatestheconsequencesofrememberingandperforming

blacknessintheU.S.bylookingatthediscursiveandcorporealterrainofblacknessand

presentingthisinterrogationasaseriesofinterrelatedepisodes.BlackBodyBusinesswas

performedfirstintheHopKinsBlackBoxatLouisianaStateUniversityinFebruary2010,

andlaterperformedatBatonRougeCommunityCollege’sArtsFest2010.

CopiousNotes:ANostalgiaTalefocusesonnostalgiaasaestheticandcritique,andit

explicitlydramatizestherelationsbetweenperformance,nostalgia,time,andspace.

CopiousNoteswasperformedintheHopKinsBlackBoxinSeptember2010,andatthePetit

JeanPerformanceFestivalinOctober2010,theNationalAssociationofAfricanAmerican

StudiesinFebruary2011,andBatonRougeCommunityCollegeinApril2011.

108

HomeBodies:ACollaborativePerformanceProjectistheresultofaseriesof

workshopsinwhichstudentperformersfromBatonRougeCommunityCollege,Louisiana

StateUniversity,andXavierUniversityinvestigatedtheideaofhomethroughoralhistory,

personalnarrative,stylisticmovement,andperformanceofliterature.Bringingtogether

studentsfromacommunitycollege,alargeresearchuniversity,andahistoricallyblack

institution,HomeBodiesdebutedinNovember2011,appearingattheHopKinsBlackBox,

BatonRougeCommunityCollege,andXavierUniversity.InApril2012,itwaspresentedat

thePetitJeanPerformanceFestivalinMorrilton,Arkansas.

Eachoftheaforementionedperformancescontributestothedevelopmentofmy

theoryofcriticalnostalgia,andtheyrepresentthemeansbywhichIconceive,test,and

enactmyideas.DuringtheproductionofBlackBodyBusiness,Idiscoveredthecreative

potentialinarticulatingtheexperiencesofblackbodiesinrelationtonotionsofmemory,

past,andhome.ThecollaborativeHomeBodiesprojectprovidedaspaceformetoexplore

meaningsofhomeandcommunityalongsidecolleaguesandstudentsfromdiverse

institutions.AndCopiousNotesallowedmetheopportunitytosharemyownnostalgic

story,presentmyresearchonnostalgia,andbuildanaestheticforcriticalnostalgia.

Inthischapter,IrevisitandanalyzeCopiousNotes:ANostalgiaTale.Theplay

followsAmbi,anambidextrousgraduatestudentconductingresearchinGhana,West

Africa,asshenegotiatesherambiguousstatusasAfrican/American,tourist/pilgrim,and

ethnographer/nostalgic.Theplayisautobiographicalinpart,channelingmyexperiences

inGhanathroughacollageofdramaticscenes,projectednotes,andmovementsequences.

Inthecontextofthisstudy,theplayandthechapterpickupwherethepriorchapterleft

off,emergingfromadescentintothebodyandbodiesoftheslavecastleofElmina,Ghana

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(broadly,adescentintoAfricanAmericannostalgiaandtrauma),toquiteliterallystagethe

forcesatworkinthatdescent.Todoso,theplayactivatesatheoryofcriticalnostalgiato

showthetheoryinpractice,asastagingtool,andalsotoqueryitsethicsandperformative

possibilitiesandlimitations.Intheascenttothestage,andpagehere,Iaminterestednot

onlyinhowtheforcesofnostalgiaoperateinAmbi’sstorybutalsointhetheoryand

practiceofcriticalnostalgia.

Followingthisintroduction,IprovideaguideforreadingthescriptofCopiousNotes,

aDirector’sNote,andthescriptitself.Then,Iturntoanalyzethescriptandstaging

drawingonMikhailBakhtin’stheoryofthechronotope.Inmyanalysis,Iforegroundthree

chronotopes,thedramaticchronotope,theprojectionchronotope,andthemovement

chronotope.Broadly,Iarguethattheinteractionofthesechronotopesgivesrisetoa

grotesqueperformanceofcriticalnostalgia.

MikhailBakhtindescribesthechronotopeastheprocessbywhichtime“takeson

flesh,becomesartisticallyvisible;likewise,spacebecomeschargedandresponsivetothe

movementoftime,plotandhistory”(Bakhtin,DialogicImagination84).MichaelBowman

focusesthisdefinitionusinglanguagethatissimilartothelanguageRoachusestodescribe

vorticesofbehavior.Bowmanwrites,“OfspecialinteresttoBakhtinarethewaysthat

chronotopes‘imagine’–enableandconstrain–action,agency,historicaltime,and‘social’

and‘individual’space’”(M.Bowman,“NovelizingtheStage”12).Bothchronotopesand

vorticesimagineaction,agency,etc.through“thegravitationalpullofsocialnecessity,”

meaningthe“magneticforces”ofculturalexchangepromptcertainexperiencesandusages

ofthebodyinspaceandtime(Roach28).Roach’snotionofthevortexthenisrelatedtothe

chronotope,concernedasitiswithhowbodiesareenabledandconstrainedbytheforces

110

oftimeandspace,theinteractionresultinginathematicthathelpsusbetterunderstand

thetextorculture(s)understudy.Thechronotopeandvortexdifferinthatthechronotope

embracestheendlessrangeofbody,space,andtimedynamics,notjustthoseofcommerce

andpleasureorthemarketplace.

Notingthepotentialofthebodilyaspectofchronotopesforperformancetheory,

JudithHameraremindsusthat“chronotopesarecorporealaswellastextual.Theyare

enactedbymaterialbodiesthatinvigorateformal,representationalgrammarsand

protocols…and,inturn,manipulatethesegrammarsandprotocolsfortheirownends”

(Hamera73).EncouragedbyHamera,IofferthescriptandanalysisofCopiousNotesasa

waytogroundmydiscussionofcriticalnostalgiainbodiesdoingthings.Iarguethatthe

typesofbodiesthatemergeintheperformanceoperatetoevoketheactionsand

sensibilitiesofvaryingconceptsofhomeandpast,andthatmultiplechronotopes

invigoratethecomplexaestheticsandemotionalregistersofcriticalnostalgiawithand

throughthemovingbodiesonthestage.

InRoach’sterms,andinlightofthehistorythatinformsCopiousNotes,boththe

stageandthepagemightbethoughtofasspatialsurrogates,substitutevenuesinwhichthe

processesofdisplacedtransmissionoccur.Thestagereferencedinthescriptandthescript

providedinthepagesthatfollowimaginealternativespaces(e.g.,toAfricaandGhanato

start)forperformerstotestoutwaystoengagepast‐homesthroughkinesthetic

imagination.

CopiousNotes:ANostalgiaTalewasperformedasastagedreadingandranfortwo

nightsintheHopKinsBlackBoxinSeptember2010.Theonehourproductionfeatured

threeperformers,includingmyself.Toclarifyafewformatchoicesinthescript,allsingle

111

spacedtextinbracketsreferstoactionthatoccursonstageduringtheperformance,butis

notvoicedaloudbytheNarrator.Thatistosay,theNarratordoesvoicemanylinesof

stagedirection,describingcharactersandoftenpromptingthemtoaction.Thethree

performersplayedmultiplecharactersoverthecourseoftheplay.Toindicatetheirfull

embodimentofacharacter,Iusethecharacter’sname.Toindicatetheirpresentationof

themselvesasaperformer,Iusetheirperformername.

Asperformingnostalgiaofteninvolvestechniquesofreturnorrepetition,youwill

findthatthescriptofCopiousNotescontainssomediscoursethatIarticulatedinChapters

One,Two,orThree.Inthisway,thescriptenactsanaestheticofreturnthatrecognizesthe

academicjourneybymeansofwhichIdevelopedtheideaofcriticalnostalgia.Aportionof

theDirector’sNoteIincludedintheprogramforCopiousNotesinstigatesthataesthetic

here:

Inkeepingwiththeetymologyofthetermnostalgia,denotinga“returnhome,”thisstagedreadingrepresentsseveralattemptsatreturn.First,itreflectsonmytimeinGhana,whereIstudiedperformanceandcultureonmyfirsttrip“backtoAfrica.”Second,I’vereturnedtotheoriginalscriptofCopiousNoteswrittenduringthatjourneyin2007,inanefforttoreevaluateitinlightofmycurrentinterests.Andfinally,thisprojectattemptstoreturn“nostalgia”toitsassociationswiththebodybyexploringitsmanifestationsinperformanceasanaestheticandcriticalencounterwithmemory.Enjoy.

COPIOUSNOTES:ANOSTALGIATALE

CHARACTERS

NARRATOR: playedbyMichaelSandersCOMMENTATOR: providescontextfortheeventsastheyunfold,playedbyJadeC.Huell AMBI: anAfricanAmericangraduatestudenteagertolearnaboutlifeand

cultureinGhana,playedbyKimHardyPROFESSORVOICE: theinstructingvoiceofaprofessorthatresoundsinAmbi’shead,

voicedbyMichael

112

MOTHERVOICE: thevoiceofAmbi’smother(oranymother)thatresoundsinAmbi’s

head,voicedbyJadeandKiminunisonBEGGARBOY: astreetboyof7yearswhocan’torchoosesnottousehisvoice,

playedbyMichaelMELODYMANGO: awomanwhosellsfruitbytheroadside,playedbyKimREV.ACHIEFPEACE:ateacher,apoet,agrandmother,apreacher,Nana,playedbyJadeTWISTEDMAN: amanof60yearswhochangeshismoodcapriciously,playedby

MichaelSCHOOLGIRL: acurious,pleasantlookinggirlof10years,playedbyJade ENGLISHMAN: amiddle‐agedtourist,playedbyMichael[Uponenteringthetheatre,theaudiencefindsadisplayofhomeitems,createdbythecastandcrew.Suspendedaboveandtoeithersideofthecollectionaretwolargescrollswithinscriptionsregardinghomeandnostalgia.Belowthecollectionisalargehandmadememoryboardfashionedoutoffabricscrapsandmismatchedribbon.Justbeyondtheinstallationarethreebanksofaudiencerisersfacingtheplayingspace,whichisarrangedinaproscenium.Thereisapaperplateornapkinandapenoneachaudienceseat.Ontheplateornapkinisawrittenpromptthatencouragestheaudiencetothinkaboutdefinitionsandimagesofhome,nostalgia,ormemory.Thestagesetisminimal.Therearethreeblackchairsplacedinahorizontalline,centerstage.DRisalargeblackboxmadeuptolooklikeakitchentable.DLisanoldwoodenrockingchair.SmallblackboxesarepositionedULandUR.AbasketofunfoldedclothessitsnexttotheULbox,whileaclipboardandnotebooksitatoptheboxUR.Thesmallboxesandthechairseachhavepensaffixedtothemincaseanyoneneedstotakenotes.Thereisatechnicalassistantseatedinthesecondrowoftheaudienceriserswhorunstheprojectionsfromasmallprojector.Theprojectionsarecastsuchthattheentireupstagewallisilluminatedbytheprojectedimage.Alltheprojectionsarecomposedtolooklikeapieceoffadedyellownotebookpaper.Whenevertheprojectionsarecast,theperformerssitquietlyinthecentralchairstakingnotes.Asidefromtakingnotesintheshadowsoftheprojections,nothingelseoccursonstage.Atthetopoftheshow,theprojectionreads:

Youhavebeengivenitemsonwhichtotakenotes.Duringthereading,pleasetaketimetorecordanythoughts,images,ornotationsyoumayhaveinresponsetothepromptyouhavereceived.

113

Overthecourseofthepiece,therearetwomainmusicaltracks.TrackOneisalullabyusedtwice,astheaudienceentersandexitsthetheatre.TrackTwotrackbeginswithnon‐rhythmichauntingsounds,changestoadrummingrhythm,whichisoverlaideventuallywithchoralvoices.Thesecondtrackisrepeatedthroughouttheperformance.Whentheaudienceissettled,TrackTwofadesinasthethreeperformersenterthestage,eachholdingascriptcontainedinablackfolder.TheNarratorbeginshisspeechintheaisleandeventuallymakeshiswaytoandsitsinthecenterchair.WhenreferencedbytheNarrator,AmbisitsinthechairtotherightoftheNarrator.TheCommentatorsitsontheboxUL,foldingandunfoldingtheclothesinthelaundrybasket.]

NARRATOR[aloud]

TheactiontakesplaceonacrowdedstreetinAccra.Ambistepsoffofaplane

labeledIndependenceAirways,walksdownafewricketystepsanddirectlyontothestreet

UC,whichisoccupiedbystreetdwellers,taxidrivers,tourists,andvendors,allgoingabout

theirdayasusual.Somepeoplefightoverwhateverpeoplefightover,themenwatchthe

women,thewomenwatchthemen,andthechildrenwatchthemallwatching.Goatsand

chickensminglewiththepeopleastheycommencewithloudchattingandfingersnapping

astheircustomaryhandshakesend.Ambitakesanexaggerateddeepbreath,andthen

suddenly,aloudsoundlikeabusbackfiringechoesacrossthecrowdedstage.Allaction

ceasesmomentarily,andthenitcontinuesjustasbefore.Thesoundringsoutagain,but

louder,andthecrowdslowlyandceremoniouslybacksawayfromcenterstagecreatinga

pathwayforAmbitowalkdownstage.Additionalperformers,oneithersideofthestage,

travelslowlyincircularclockwiseandcounterclockwisedirections.Nocharacterever

leavesthestage.Ambiholdsabrightgreennotebookandhasapocketfullofpensatall

times.Abletowritewitheitherhand,Ambiisalwayswritingandtakingnotes.

AstheplanemovesoffUR,anupstagescreenisrevealedfully.Itdisplaysabusy

Africanstreet,muchliketheonecreatedonstage,filmedfromAmbi’sperspective.Asa

114

result,theaudiencecanseeonlywhereAmbiisheadedandnotwhereAmbihasbeen.

Therearenoactsandnoscenesbutforthesakeofform:ActOne,SceneOne(ofOne).

NARRATOR[introducing,prompting]

Ambi,smilingprofusely.

AMBI

Whatishomebutaplacetorestone’sthoughtsfromtheheavinessoftheday?And

soIcanstretchmylegsandspreadmyarmsandlaydownhereonthissoilthatIhave

neverseenbutstrangelyIcallhome.Whatabittersweetmomentisthis?Amomentwhere

artmeetspoetryandpoetrymeetsmythandmythmeetshistoryandhistorymeetsme.Ah,

hereonthissoil!Ah,thissoil.Sorichanddarkandhappy!

NARRATOR

Noticingapieceoftrashontheground,Ambipicksitupandtossesitaside.

AMBI

Youwillnotpollutemyfantasy!

[TheCommentatorstandsandreadsfromherscript.]

COMMENTATOR

OneofthemostpopularAsantesymbols,commoninandaroundthenow

independentnationofGhana,takestheimageofalong‐neckedbirdreachingoverto

removeaneggfromitsback.Sankofasignifiestheefforttoreachbackintothepastto

reclaimknowledge.“Returnandtakeit.”Inessence,theproverbinsistsontwothings:that

oneshouldnotfearreturnandthatitisnecessarytodoso.Sankofahasembeddedwithin

itanessentialstruggle,atensioncenteredontherelationsofpast,present,andfuture.

115

AlthoughmanyintheAfricanDiasporamaylookuponAfricaasanidealizedplaceoforigin,

italsomustbeconnectedwiththeabusesofthepast.

WhilevisitingamarketinGhana,Ioncehadavendorattempttosellmeapairof

Sankofaearringsbytellingmethesymbolmeant“gobacktoyourroots,”presumablyto

appealtomynostalgicsensibilitiesasanAfricanAmericantourist‐pilgrimtomy

“homeland”ofAfrica.Ididbuytheearrings.Butafterconsideringtheimplicationsofmy

journey“backtoAfrica,”Ibegantowonderifmyfeelingsarticulatedadifferentkindof

nostalgia;oneonlypartlydrivenbyadesiretoescapethepresentandrevelinaglorious

andidealisticpast.ThisnostalgiawasalsoarealizationoftheAsanteproverbrepresented

intheSankofabird,anostalgiabornoutofadesiretoreclaimknowledgeofthepastin

ordertobetterunderstandthepresentandfuture.

[TheCommentatorsits,placesherscriptonthefloor,andcontinuestofoldlaundry.]


ProfessorVoice,emanatingfromabove.

PROFESSORVOICE

Nowremember,themostimportantthingaboutobservingotherculturesistonot

forgetthatyouareanobserver.Youareactuallyaparticipantobserverbecauseyourvery

presenceaffectstheauthenticityofwhatyouseeandhear.Butthenwemustquestion

whatauthenticityisaswell.Isanythingevertrulyauthentic,andwhomeasures

authenticityanyway?Nevertheless,thegoalistocaptureaccuratelyasmuchasyoucan.

Writeaboutanythingandeverything.Writeaboutwhatyousee,whatyouhear,howit

makesyoufeel.Donotbeafraidofbeingbiasedorignorant.Acceptthatyouareinfinitely

116

biasedandinexorablyignorant.Makecopiousnotesandtakelotsofpictures,andyoucan

piecetogetherwhatyouhavelearnedatalatertime.

[TheCommentatorstands,drawsthescripttohernoseandpeersatitclosely.]

COMMENTATOR

Inaconciseessaytitled,“ANoteUpontheMysticWritingPad,”Freudexploreswhat

hefindstobeanaptanalogyofmemory:alayerederasablewaxtablet,whichforFreud

expressestherelationshipbetweenperceptionandmemory.Perceptionsmakecontact

withthebottomlayersofmemory.Thetraceslastforatime,untilthesurfaceiserased.

Above,atransparentlayerprotectstheegofromdamagebyminimizingthepowerof

impressionsfromtheoutside.Andbeneathitall,therememberedinscriptionsremain.

Memoryaswritingisaninterestingprospect.Writingneverfullyerased,makingus

allwritersoftime.Notetakersofcopiousnotesprinteduponourminds.

NARRATOR[prompting]

Ambi,lookingoutintotheaudienceandoutintothestreettocome.

AMBI

Somuchtodoandsomuchtosee.I…I’dbettergetgoing.

NARRATOR[prompting]

Ambitakesoutapenandopensupthenotebook.

ALLTHREEPERFORMERS[alternatinglines]

MyAfrica

AllIknowiswhatIhavenotseen

AllIamiswhatIhavebeen

Myskinmocksaselfthathasneverbeen

117

Iwasbornfrommyfather’stears

Washedinmymother’slaundry

Mixedinwiththemaster’ssmellyunderwear

Whatasoursmellislife

Theformerlaundryofformerslaves

ApairofmismatchedsocksamI

Onestainedinblood

Andtheotherjustblack

Fadedblack

ButhowisitthatIhaverolledontothewrongshore?

AshorethatIwasneversupposedtosee

Sodrenchedinseawater

Ican’tseebeyondthesea.

Ohmother,washme

Andgivemeanewsmell.


MotherVoice,anurturingvoice,seeminglycomingfrombelow.Ambiputsanearto

theground.

MOTHERVOICE

HearmyvoiceandknowwhatIsayistrue.True,damntrue,becauseIsaidso.Be

thankfulforthisexperiencechild.Weareallsoproudofyou.

[TrackTwofadesinandplaysoverthecourseoftheprojections.Asidefromtheperformerstakingnotesintheshadowsoftheprojections,nothingelseoccursonstage.

118

Theprojectionsread:

Nostalgia:In1688,SwissphysicianJohannesHofercoinstheterm“nostalgia,”combiningtheGreeknostos,meaning“returnhome”andalgos,for“pain”orlongingtorefertoafamiliarpathologywemightcallhomesickness.Nowadays,itisgenerallyusedtodescribeasentimentallongingoraffectionforthepast.

Critical:Tolookataphenomenoninacriticalmannermeanstoviewitinsuchwaythatyouareabletoappreciateitsvaluewhileponderingitsproblematics. ACriticalNostalgia?Whataretheimplicationsoftakingacriticalapproachtonostalgia?Howmightsuchaconceptinformperformance?

Note1:Performancesofcriticalnostalgiaimplyanattitudetowardthepastasconstitutedby[a]home.Performancesofcriticalnostalgiadesiretointeractwith[a]homeinsocialandaestheticterms.

TrackTworestartsandplaysoverthecourseofMovementSequenceI.]

MOVEMENTSEQUENCEI

Theperformersplacetheirscriptsfacedownontheseatsofthechairs.Eachstands

inbackofoneofthechairs,facingawall.Eachextendsanarmbackwardstoclaspthe

handsoftheotherperformers.Attachedbyclaspedhands,theperformersextendtheir

bodiesforwardbyleaningintoabentleftknee,leavingtherightlegextendedbehindthem.

Theextensionpullsthebodiesapart.

Theperformerswanderthespaceinvestigatingtheirfaceswithcuriosityuntilthey

situatethemselvesatthreepointsontheedgeofthestage.JadestandsUC,facingthe

audience.KimstandsLC,facingcenterstage.MichaelstandsRC,facingcenterstageand

mirroringKim’srelaxedstance.Alltheperformerslookleft.Right.Up.Andthendown.

Asthemusicsettlesintoasteadyrhythm,theperformersraisetheirfacestofocus

ontherockingchairDLandafewfeetawayfromKim.Theperformersapproachthe

rockingchairslowly.Kimslidesalongthewall,nevermovinghereyesfromthechair.Jade

119

sneaksuponitfrombehind.Michaeladvancesfromtheside.Withfeetrelativelystill,the

performershoveroverthechair,retractingtheirupperbodiesinarhythmicrepetitive

examinationofit.Thentheyallfreeze.

Asthemusicswells,Jadecrossestoaspotinfrontofthereadingchairs.Shepauses

tofacetheaudience.Kimfollows.Michaeldoesthesame.Jadegrabstheairtotheleftof

herbodyandthrowsitacrosstheroomandintothedistance.Simultaneously,Kimpropels

hershoulderbackwardasifherarmhasbeenyankedfromherbodyviolently.Jadefreezes

inathrowingposition.Michaelpullstheairaroundthecenterofhisbodybackwards,as

Kimjerksherlegbackwards,causinghertobalanceononeknee.

Withatornface,KimeyestheaudienceasMichaelandJadepressthethickair

beneaththeirfingersdownward.Kimgraduallydescendstothefloor,herrightearalmost

touchingtheground.MichaelandJadedescendinasimilarfashion.

Michaelraisesanarchedtorsofromthesurfaceofthestagefloorwhilerotatinghis

headandnecktofacetheoppositedirection.KimandJaderepeatthemovement.

Themusiccontinuestoresonatewithdeepdrummingandvocalundercurrents.

Jaderaiseshertorsofromthefloor,thistimerotatingherelbows,forearm,andhands.Jade

alternatesherheadposition,puttingtheothereartotheground.AsJadeslidesherbody

down,KimandthenMichaelrepeatJade’smovement.Then,inunison,theperformerslift

theirchestsfromthefloorandfocusontheaudiencepensively.

Theperformersfacestagerightwiththeirbottomsonthefloor,rightlegbentand

tuckedundertheleftleg.Theirbacksareerect,andtheirhandsareonthegroundtothe

sidesforsupport.Inasinglemotion,theperformersremovetherightlegfromunderthe

leftandprotractitata45‐degreeanglewhileplacingtheleftleginabentpositiontothe

120

sideoftheright.Creatingabodyclock,theperformersrepeatthenotedmovementuntil

theyrotateafull360degrees.

Eachperformerplantsbothfeetbeneaththeirbody,andinprolongedascension,roll

uptheirspinetoastandingposition,facingtheaudience.

Onebyonetheperformersreturntotheirareaoforigin,standingbehindoneofthe

chairswithanarmoutstretchedbehindthem.Jadereturnsfirst,thenKim,thenMichael.

Beforeeachsettlesintoposition,theyinvestigatethebodythatarrivedbeforethem,using

themotiontheyusedattherockingchair.

Attachedagainbyclaspedhands,theperformersextendtheirbodiesforwardby

leaningintoabentleftknee,leavingtherightlegextendedbehindthem.Theextension

pullsthebodiesapart.

Theperformerswanderthespaceinvestigatingtheirfaceswithcuriosity.

Kimtouchestherockingchair.Itrocks.

[Themusicfadesout.KimandMichael,nowasAmbiandtheNarrator,returntotheirchairs.JadeasCommentatorperchesonthesmallboxUR,peninonehandandpadinanother,feigningagrandgestureofwriting.]

NARRATOR[prompting]

Ambi,risingfromthefloorwithanewresolve,triesoutapen,butitnolonger

works,sosheputsitintoabackpocket.

AMBI

SotornamI

Torninthesoultheydidn’tthinkIhad

Torninalovethattreatedmesobad.

121

Oh,ohno,thatrhymepatternisjusttoomuch,anditsoundstooelementary.No

onewouldreadtruthintothat.ButitishowIfeel,sowhatdifferencedoesitmakeifthe

rhymepatternisalittlerudimentary?Soismyheartandmysoulinthisnewplace.

NARRATOR[prompting]

Feelingaticklingofthehand,Ambilooksrightanddiscoversasmallboy.

AMBI

Letgoofmyhandlittleboy.Didn’tyourmomteachyouanymanners?

[AstheNarratortransformsintotheBeggarBoy,theCommentatorfreezesinanawkwardposition,herarmsuspendedintheprolongedgestureofwritingshehasbeenengagedinforsometime.]

NARRATORBECOMINGBEGGARBOY

Dressedinraggedclothing,lookingwithsadeyes,thesmallboyletsgoofAmbi’s

hand,putshisrighthandtohismouth,andrubshistummywithhislefthand.Hemouths

thewords“please,”“hungry,”“food,”and“money”overandover.

[Stillfrozenintheactofwriting,theCommentatorvoicesthehighlightedwordsoftheBeggarBoy.]

BEGGARBOY

AsAmbiwalksfaster,avoidingeyecontact,theboyhastenshispaceandblocks

Ambi’spath.

AMBI

Okay,littleboy,here’ssomemoney!

NARRATOR[prompting]

GivestheboyoneCedi.

AMBI

Nowplease,leavemealone…I…

122

NARRATOR[prompting]

TheBeggarBoydisappearsfromAmbi’ssightbeforeAmbifinishesspeaking.Ambi

looksaround,butcannolongerseetheboy.TheBeggarBoytakesthemoneytohis

motherwhoisamongthecrowdontheroadsidesellingmangosandotherfruitsquite

successfully.Shepullsoutalargewadofmoneyandfoldstheboy’sCediintoit.Aftersome

protesting,themotherimplorestheBeggarBoytopracticehisbeggaract.Sheclapsand

smilesandgiveshimasmallcoin,whichheputsintohispocket.Meanwhile,Ambiistaking

notes.

AMBI

Well,thisisaninterestingnotationtomake.MaybeIshouldn’thavebeensomean

totheBeggarBoyatfirst.Imean.ThisisAfricaafterall,andthepoorchildprobablyhasn’t

hadanythingtoeatinoveraweek.

NARRATOR[prompting]

DRtheBeggarBoyburieshisfaceinoneofhismother’smangos.

AMBI

Ah,allthisactivityinoneday.Cometothinkofit,mystomachisgrowling,andI

haven’thadanythingtoeatallday.ButwhereshouldIgo?Alloftheseplaceslook

extremelysuspect.Dotheyexpectmetoeatfromoneofthoselargetinbowlstheycarry

ontheirheads?Ah,butthoselittlebreadthingiessurelookgood.Noremember,“Washit,

peelit,cookit,orforgetit!”Oratleastthat’showIthinkitgoes.Maybeitwas“Boilit,peel

it,orforgetit!”Anyway,thisisalltooconfusing,andI’mgettingsohungrythatIcan’tsee

straight.

123

NARRATOR[prompting]

LookingtowardthefloorDL,imagining.

AMBI

IwishIwashomerightnow,anditwasSundaydinner.Mymomwouldbeserving

meanicehealthyplateofchicken,riceandgravy,greenbeans,macaroniandcheese,and

cornbread.

NARRATOR[prompting]

DRtheBeggarBoy’smotherserveshimalargeplateoffood.

AMBI

Umm…Umm…Icanjustsmellitnow.Oh,thechickenissojuicy,oh,thegravyisso

brown,andoh,thebeansaresogreen,themacaronisocheesyandthecornbreadso…

NARRATOR[prompting]

Holdinguponefinger.

AMBI

…corny.

NARRATOR[prompting]

Aftereatingthefood,theBeggarBoyrubshisbellyandlickseachfinger.

AMBI

Theyprobablynevereatlikethathere.I…Ishouldbenicertothenatives.Poor

souls.Blesstheirlittlehearts.

NARRATOR[prompting]

TheBeggarBoyrisesandblendsbackintothecrowdasAmbicatchesaglimpseof

theboy’smother.

124

[AstheCommentatorspeaks,KimandMichaelcrosstoeithersideofher.Theyfoldintothemselves,rollingtheirbodiesdownwardandthenslowlybackupagain.]

COMMENTATOR

Nostalgiahas,atitsroot,thenotionofareturnhome.Homeasorigin,homeasa

feeling,asenseofbelonging.“Ifeelathomehere.”Homeasaplace,homeascommunity

andaculturenotnecessarilyattachedtoaplace.GregDickinsonisolatestwoformsof

nostalgia:nostalgiafortheexoticandnostalgiaforhome.SincemostAfricanDiasporic

peopleshavelittleconnectiontothephysicalcontinentofAfricaoutsideofcultural

narratives,nostalgiafortheexoticsurelyplaysasignificantroleintransatlanticnostalgia.

BlacksaroundtheworldarenodoubtexposedtomediatizedrepresentationsofAfricathat

highlightitsexoticandofteneroticfeatures.Sowhatdowehave?Interactingideasof

origin,desire,andhome.

[TrackTwofadesinfortheprojections.Asidefromtheperformerstakingnotesintheshadowsoftheprojections,nothingelseoccursonstage.

Theprojectionsread:

Note2:InUtopiainPerformance,JillDolanwrites,“writingabouttheaffectiveexperienceoftheatergoingrequiresevokingtheprimary‘stuff’ofamomentofperformance”(Dolan,UtopiainPerformance33).

Performingcriticalnostalgiainvolvesthe“stuff”ofthepastandthe“stuff”ofhome,usingthemasrawmaterialforimaginativeenterprise.

TrackTworestartsforMovementSequenceII.ThesequenceiscenteredaroundthelargeblackboxDR.Theboxisdrapedwitheyeletfabric.Theboxpeeksoutfromunderthecloth’sunfinishededgesandpeersthroughtheholesinthestitching.Atopthetableclotharethreeplacesettings,eachwithaplate,saucer,andteacupstackedatoptheother.Thepiecesaremismatched,invaryingshapesandpatternsofwhite,yellow,green,andblue.Eachsettingispositionednearacorneredgeofthetable.Inthefourthcornerisawhiteporcelainteapotwithahandpaintedpinkfloweronitsroundedbellyandgreenedgingarounditslidandbase.Inthecenterofthetablesitsapairofceramicsaltandpeppershakers.]

125

MOVEMENTSEQUENCEII

Michaelstandsandthenplaceshisscriptfacedownontheseatofhischair.He

crossestothetableDR.Whileseatedintheirchairs,KimandJadeleanfromtheirwaists

towardMichael.Michaellooksleft,right,above,andthenasthemusicchangestoaquick,

rhythmicpattern,hecarefullypicksupacupandplacesittotheside.Heremovesasaucer

andplacesitonthemouthofacup.Hetakesthecupandsaucerandplacesthemonan

emptyplate.Herepeats.Andrepeatsagainuntileachsettingisdisrupted.Michaelsinks

behindtheboxuntilhiseyesarelevelwithhiscreation.

KimandJadeapproachthetableoneithersideofMichael.Theperformerscarefully

returntheitemstothepositionstheywereinatthestartofthescene.Aplateatopatable,

asauceratopaplate,ateacupatopasaucer.Allaremismatched,invaryingshapesand

patterns,white,yellow,green,andblue.Eachperformerthenliftsaplacesettingand

exchangesitwithanotherperformer.Theperformerslowerthetablewareandstraighten

itoncemore.Eyesonthetable,MichaelandJadecrossbacktositinthecentralchairs,

leaningtheirtorsostowardKim.

Kimhasawarmfacialexpressionandwelcomingcomportment.Sheeyesthe

teapot,picksitupandkissesit,andthencradlestheteapotagainstherbreastwhileshe

movesaroundthecoveredbox,attendingtoeachdish.Sheconsolesateacup.Scoldsa

saucer.Pushesallthedishestogetherforaportrait.Putsthesaltandpeppershakersto

bed.Shelooksatthemproudlyandlongingly.

MichaelandJadecrosstothetable.Theperformerscarefullyreturntheitemstothe

positionstheywereinatthestartofthescene.Aplateatopatable,asauceratopaplate,a

teacupatopasaucer.Allaremismatched,invaryingshapesandpatterns,white,yellow,

126

green,andblue.Eachperformerthenliftsaplacesettingandexchangesitwithanother

performer.Theperformerslowerthetablewareandstraightenitoncemore.Eyesonthe

table,MichaelandKimcrossbacktositinthecentralchairs,leaningtheirtorsostoward

Jade.

Jaderemovesaplacesettingandplacesitcautiouslyonthefloor,onefootaway

fromthetable.Sherepeatsthisactiontwomoretimes.Inasimilarmanner,sheremoves

theteapotandsaltandpeppershakers.Shecaressesthetableclothbrieflyandthen

mountsthebox,placingherfeetunderherbodyandsittingerectatopthetable.Jadebends

overtocollectasmallportionoftheclothanddoublesitovercarefullyandstrategicallyin

herlap,pullingtheexcessfabricupwards.Thefabricclimbstheboxuntilallisgathered

andfolded.WhenJaderunsoutofmaterialtocollect,shepushesthefoldedclothunderher

legsquickly.Ceremoniously,Jadereachesbehindherbodywithonehandandpullsupthe

stretchoffabricleftattherearsideoftheboxandraisesitintheair.Shethentakesthe

clothinherhandsandwringsitaroundherhands,windingitintoaneyeletwhiterope.

JadepushesthisunderherbodyquicklyuntilshesensesKimandMichaeldrawingnear,at

whichpointshejumpsoffofthebox.

AsKimandMichaelunfoldtheclothanddrapeitoverthebox,Jadebendsdownand

liftsaplacesettinggently.Theperformerscarefullyreturnalltheitemstotheposition

theywereinatthestartofthescene.Aplateatopatable,asauceratopaplate,ateacup

atopasaucer.Allaremismatched,invaryingshapesandpatterns,white,yellow,green,

andblue.Eachperformerliftsaplacesettingandexchangesitwithanotherperformer.

Theperformerslowerthetablewareandstraightenitoncemore.

[MichaelandKimreturntotheirreadingchairs.JadeasCommentatorcrossesDLinfrontoftherockingchairandstandsclosetotheaudienceinaspotlight.]

127

COMMENTATOR

Theconceptofnostalgiaisoftennotedforitsmetaphysicalfeatures.Howitfloats

aroundonabreezeoutthere,somewhere,waitingonsomeoneto…catchit.Butthereis,no

doubt,anembeddednostalgia;thatis,theideathatnostalgialieswithinitems;thatachair

oradishisimplantedwithacertainqualitythatmakesitadesirableobjectofthepast.

Andwhatismore,wecanpurchasetheseitems,ownthem,fillourplaceswiththem,

materializingourownpersonalbrandsofnostalgiaandplacethemondisplay.


MelodyMango,inahigh‐pitched,screechingsingsongvoice.

MELODYMANGO

Iseeyourhungryeyesmychild,

Iknowyouhaven’thadfoodinawhile.

Letmegiveyoutherefreshmentyouneed,

IhaveeveryfruitofeveryAfricantree.

Come,mychild,mynameisMelody,

Youcome,Iwantyoutocomeandbuyfromme.

NARRATOR[promptingabruptly]

MelodyMangograbsAmbi’shandforcefullyandpullsAmbitoherfruitstand.

MELODYMANGO

See,Ihaveapplesandoranges,

Don’ttheylookdelicious?

Ihavemangosandpineapples,

Nothingismorenutritious,

128

Theywillgiveyouthestrengthtofinishyourday,

Putdownthatnotepad,

AndhearwhatIsay!

NARRATOR[prompting]

Hesitantly,Ambiplacesthenotebookunderanarmandpicksoutseveralfruits.

MelodyMangochopsthefruitsquicklyandstrategically.

MELODYMANGO

Iwillchopupthesemangosandapplesandsuch,

Andmakeyouafruitsaladthatyourmothercan’ttouch.

Youaremycustomer,Iloveyou,don’tbeinarush,

ThatwillbeFIVEGHANACEDIS,thankyouverymuch!

NARRATOR[prompting]

Ambi,holdingawallet,pausesasiftoquestiontheprice.

MELODYMANGO

What?Youaremyfriend,Iknowyouverywell.

Itisagoodprice…eh…thisishowIsell.

ItisagoodpriceItellyou,

Thebestpriceyoucanpay.

Youaremyfirstandonlycustomer.

Ihavenomoneyandhaven’tsoldathingallday!

[Withasinistersarcasticlaugh,theCommentatorcrossestositinthechairtotheleftoftheNarrator.]

129

NARRATOR[prompting]

MotherVoice,asarcasticvoicecomingfrombelow,Ambiputsaneartotheground

tohearit.

MOTHERVOICE



[TrackTwofadesin.Asidefromtheperformerstakingnotesintheshadowsoftheprojections,nothingelseoccursonstage.

Theprojectionsread:

Note3:Criticalnostalgiaattendstothehistoricalconsciousnessofperformancewithoutprecludingaffect,emotion,oranattitudetowardthepast.

Note4:Criticalnostalgiaprovidesuswithacomplexvocabularyfordiscussingcommunitybymeansofunderstandingthecomplexitiesofhome.]

NARRATOR

AmbijumpsupquicklyfromthefloorandstartstohandMelodyMangothemoney

withthelefthandandthen,atthelastminute,switchestotherighthand.Ambieatsthe

fruitfromablackbagwithatoothpick.Notfindingatrashcan,Ambicrumplesthebagand

putsitinabackpocket,thenchoosesanewpenandtakessomemorenotes.

AMBI

Wheredoesallthetrashgo?

Thereisnowheretoputit,

Theguttersarefulloftrashandstink,

Iwillnotletmyselfaddtoit.

I’lldothiscountrysomegoodyet.

Iwillnotpollutemyownfantasy.

130

Wheredoesallthetrashgo?

Whocleansthegutters?

Whocleansthestink?


Rev.AChiefPeaceopensabibleandselectsaversetoread.Shereflectsonwhatshe

hasreadandproceedstolookforsomeonetopreachto.Shemimestalkingtomembersof

thecrowd.Someturnaway,somelisten,andthenshespotsAmbiandapproaches.

AMBI

Ireallydon’tmeantoberudema’am,butIamactuallyonmywaytosomewhere

reallyimportant.Idon’thavetimetolistentoyourmessage.Maybenexttime,okay?

NARRATOR[prompting]

Rev.AChiefPeacepausesforamoment.ShegivesAMBIadeepstare.Ambifallsto

theground.

MotherVoice,ascornfulvoice,yellingfrombelow.Ambitremblesasthevoice

echoes.Then,Ambilooksaroundandnoticesthediversityofthecrowdonstage.Ambi

nods,smiles,frowns,andacknowledgestheothercharacters.

MOTHERVOICE

HearmyvoiceandknowwhatIsayistrue!True,damntrue,becauseIsaidso.Be

thankfulforthisexperiencechild!Weareallsoproudofyou!

NARRATOR[prompting]

AmbirisesfromthegroundastheReverendspeaksloudlyandfervently.

131

REV.ACHIEFPEACE

AreyourushingthewordofGodmylove?Godtookhistimewhenhemadeyou.He

madeyouperfectjustthewayyouareintheimageofHimself.Perfect,withyourAmerican

smileandyourcaramelskin.Notdarkenoughforme,notwhiteenoughforthem,but

perfectforGod.Blessyoursoulandmayhemakeyouascleanasfreshlaundry.

NARRATOR[prompting,escalatinginvolume]

Ambi,movedbyherwords,relaxes,butthenhearsavoicefromabovethatgets

louderandlouder.

PROFESSORVOICE

Writeaboutanyandeverything.Writeaboutwhatyousee,whatyouhear,howit

makesyoufeel.Donotbeafraidofbeingbiasedorignorant.Acceptthatyouareinfinitely

biasedandinexorablyignorant.Makecopiousnotesandtakelotsofpicturesandyoucan

piecetogetherwhatyouhavelearnedatalatertime.

AMBI

Excusemema’am,butwhereareyoufrom?Whatdoyoudoforaliving?Areyoua

preacher?Doyoupreachhere,onthestreeteveryday?Iwanttoknowalittleaboutyouif

youdon’tmind?

NARRATOR[prompting]

Ambitakesoutapen.Itdoesn’twork.Ambiplacestheoldpeninabackpocketand

getsoutanewone,preparingtotakenotes.

[AsRev.AChiefPeacespeaks,Ambirisesfromherseatandquestionstheaudiencewithhereyes.Ambiwalksaroundherchairsearchingthestagespace.]

132

REV.ACHIEFPEACE

Doyouwriteinthesameplaceyoupray?Canyouwriteyourselfintoheaven?You

surehavealotofpensthereinyourpocket.Arethosemagicpagesyouhavethereinthat

book?Whenwillwhatyouwritecometotruth?Noworlaterornever?Doyouwritein

thesameplaceyoupray?Ihavemagicpagesinmyhand!

NARRATOR[prompting]

HoldingupherBible.

REV.ACHIEFPEACE

Iread,andpray,andcryallinthesameplace!Myhusbandwasn’talwaystwisted,

mydaughterdidnotalwayssetherchildrenoutontwodifferentpaths.WeandIaremany

things,manythingsthatyoucannotpossiblywrite!Canyouwriteyourselfintoheaven,my

child?Willyouwritealetterforme?

[TrackTwofadesin.Asidefromtheperformerstakingnotesintheshadowsoftheprojections,nothingelseoccursonstage.

Theprojectionreads:

Note5:Criticalnostalgiarequiresthenegotiationofindividualmemoryandculturalmemory.]

NARRATOR[prompting]

Ambi,frustratedandconfused.

AMBI

Thankyou.Now,Ireallymustgo.I’msorryma’am.

133

NARRATOR[prompting]

Ambiwalksaway.Rev.AChiefPeacereachesoutforAmbi,holdingherBibletoher

chesttightly,butAmbidoesnotseethegesture.Rev.AChiefPeacedisappearsintothe

crowdshakingherhead,jumpingupanddown,andpraisingGod.Ambiwrites.

Waterandseaandthecleaningofme

Thisisthestoryofmyvisittomypeople

ThisisadestinythatIcouldnothavenamedmyself

IgiveofmyselfallthatIhavetogive

Atouristinmyownhome

AsimpletouristamI

Toobrowntobeblack

Toobrowntobewhite

AsimpletouristamI…asimple…

NARRATOR[prompting]

Ambi,notpayingattentiontothepath,tripsandfallsoveramanlyinginthestreet.

Beforerising,avoiceisheard,asolemnvoicecomingfrombelow.Ambiputsaneartothe

groundtohearit.

MOTHERVOICE



NARRATOR[prompting]

Ambiturnsaroundandfacesthemanontheground.

134

COMMENTATOR

Sankofa:“Returnandtakeit.”Nostalgia:Abittersweetreturnhome.This

transatlanticnostalgia,riddledwithtension,weighteddownbyhistory,isnotalwayseasy.

NARRATOR[prompting,introducing]TwistedMan,mockingandsarcastic.

[Inhischair,theNarratorslowlytransformshisbodyintoacontortedpose.OtherareasofthestagegodimandaspotlightilluminatestheTwistedMan.]

TWISTEDMAN

IfIhadavoiceIwouldtellyouthatyouareascontortedasIam.Youareinmy

countryasanimposterpassingyourselfoffasclean.Youstinkofmaster’spiss,yetyou

holdyournosewhenyoupassoveragutter.Youwonderifthesweetestfruitintheworld

mightmakeyourpatheticstomachsick.Youcomeheretoputusuponapedestalbutat

thesametimeyougivetousonlywhatyoudon’twant.You,mychild,aredrunkwith

ignorance.Youvomitshitandlies.Nowwritethatdownyouheavenwriter.Nowwrite

thatdownandgetoutofmyface.YouareintheonespotthatIcancallmine.Can’tyoulet

mehavethat?IfIhadavoiceIwouldtellyouthatyouareascontortedasIam.Youcursed

soul.Youmaster’sbastardchildwashedinblood,tears,andseawater.Youstinkjustas

badasme.

[ThespotlightfadesastheTwistedManslowlymorphsbackintotheNarrator.TrackTwofadesinsoftlyforMovementSequenceIII.]

MOVEMENTSEQUENCEIII

Theperformersplacetheirscriptsfacedownontheseatoftheirchairs.Onebyone,

theymovecenterstage,closertotheaudience.Jadetensivelygrabstheairtotheleftofher

bodyandthrowsitacrosstheroomintothedistance.Inasimultaneousmovement,Kim

135

propelshershoulderasifherarmhasbeenyankedfromherbodyviolently.Jadefreezesin

athrowingposition.MichaelpullstheairaroundthecenterofhisbodybackwardsasKim

concurrentlyjerksherlegbackwards,causinghertobalanceononeknee.

Withatornface,KimeyestheaudienceasMichaelandJadepressthethickair

beneaththeirfingersdownward.Kimgraduallydescendstothefloor,endingprostrate,

herrightearalmosttouchingtheground.MichaelandJademovedownwardinasimilar

fashion.

Inunison,theperformerslifttheirchestsfromtheprostratepose,pushingoffofthe

floorwithwidelyspreadfingers,pensivefacesfocusedontheaudience.Then,intheirown

cautiousyetidiosyncraticways,theperformerseachplantbothfeetbeneaththeirbodies.

Inprolongedascension,theyrolltheirbodiesup,armshanginglooselybytheirsides,to

findtheaudiencethere,onceagain.

[Allperformerscrosstoandsitinthecenterchairs.]

NARRATOR[prompting,introducing]

Ambilooksuptoseeavendorwithanoutstretchedhand.AsAmbitakestheman’s

hand,asmallschoolgirlbringstheTwistedManalittlebowlofchoppedmangosanda

blanket.Shekissesthemanontheforehead.Heacceptstheitems,butpushesthegirl

away.Ambidoesnotwitnessthisexchange.TheSchoolGirlapproachesAmbisinginga

lullaby.

SchoolGirl,skipping,singing,andsmiling.

SCHOOLGIRL

Lalalala

Jesus

136

Ohohohoh

Savior

Heyheyhey

Takemehome

Laohhey

Ohheyla

Heyohla

Takemehome

Hello.YouareveryniceandIlikeyourskin.Iwaswonderingifyouwouldliketo

contributetomyschooling.Youseenooneinmyfamilyhasmuchmoney,butIhavea

specialtalent.Iliketowrite,andIamactuallyverygoodatit.Iwritepoemsandshort

stories.Iwriteallthetime.Isthatanotebookunderyouarm?Doyouliketowritetoo?

Youknowmyteacheronceaskedmetoshowmyclassmateshowtotakemoreeffective

notes.Myteacheralwayswantsmetoteachtheothers.ButtheproblemisIneedtogotoa

specialschooltodevelopmyskills,butmyfamilyishavingtroublecomingupwiththe

money.

NARRATOR[prompting]

AmbishowstheSchoolGirlanemptywallet.Shepeeksintoitandresponds

quicklybutcheerfully.

SCHOOLGIRL

Oh,it’sokay,youmusthavespentallyourmoneyonthoseteeshirts.Oh,it’sokay,

mymomwillchop,mybrotherwillbeg,mygrandfatherwillfussandcomplain,andmy

Nanawillpray,anditwillbeokay.

137

NARRATOR[prompting]

TheSchoolGirllooksatAmbi’sfrontpocket.

SCHOOLGIRL

Youknow,atmyschool,wehavetroublegettingpensandpencils.

NARRATOR[prompting]

Ambipausesandpatseachpocket.

AMBI

Noproblem,littlegirl.Youkeepwritingnow,youhear?

NARRATOR[prompting]

Ambiputsthenotebookundertheotherarmandthengivesthegirlallthepens

fromabackpocket.Thegirlskipsawaysinginghersong.

Thescreenslowlyturnsgreenandthentheimageofaquietbeachisshown.

ProfessorVoice,emanatingfromabove.

PROFESSORVOICE

Writeaboutwhatyousee,whatyouhear,howitmakesyoufeel.Writeaboutwhat

yousee,whatyouhear,howitmakesyoufeel.Writeaboutwhatyousee,whatyouhear,

howitmakesyoufeel.Acceptthatyouareinfinitelybiasedandinexorablyignorant.Make

copiousnotes.Makecopiousnotes.

AMBI

Ahh,aquietplacewhereIcanrestandreadallthatIhavewrittentoday.

NARRATOR

Ambisitsontheedgeofthestage.

138

AMBI

TheshorelineisalotsmallerthanIimagined.

NARRATOR

Sheopensthenotebookandflipsthepages.

AMBI

Thisisthestoryofalosthome

Ataleofreturn

Wheremythmeetshistoryandhistorymeetsme.

NARRATOR[prompting]

MotherVoice,asobbingvoiceseeminglycomingfrombelow.Ambiputsanearto

theground.

MOTHERVOICE



NARRATOR

Shakenbythevoice,Ambirises,butdropsallthepensonthebeachalongwiththe

greennotebook.AllthecharacterscomeoutfromthecrowdanddiveinfrontofAmbito

retrievethefallenitems.Thecharactersripthenotebookapartanddanceandsingunder

thefallingpagesasAmbistandsmotionlessandconfused.AnEnglishmanwalksupwith

hiscamerainhandandpreparestotakeapictureofwhatheseesasacelebratorynative

event.Ambismilesforthecamera.Thepictureisprojectedonthescreen.Lightsout.

[TrackTwofadesinandplaysduringthecourseoftheprojections.Asidefromtheperformerstakingnotesintheshadowsoftheprojections,nothingelseoccursonstage.

Theprojectionsread:

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Note6:Performingcriticalnostalgiaenhancestheconceptofnostalgiaasametaphysicalstatebyconcretizingitintheactofperformance.

Performingcriticalnostalgiaassumestheexistenceofandutilizesthenostalgicact.

OneMoreNote…

Performingcriticalnostalgiaasks:Ifperformancehastheabilitytoliftusoutofthepresentandintoanotherplace,whycan’tthatplacebeapasthome?Whycan’twerevelorlingerthereforasecond,tinkerwiththings,makethemright?

TrackTworestartsandfadesinandoutforthedurationofMovementSequenceIV.]

MOVEMENTSEQUENCEIV

Sittingintheirchairs,theperformersremovelarge,white,decorativepapernapkins

fromthelastpageoftheirscriptsandplacetheirscriptsfacedownonthefloor.The

napkinslayunfoldedintheirlaps.Inunison,theperformersfoldthenapkinsoverand

over,payingparticularattentiontomakingsureeachcornermeets.Astheycreaseandfold

thenapkins,theybringthemclosertotheirfaces.Asthemusicswells,thenapkinsbecome

toodifficultandtinytofold.Whentherhythmofthemusicchanges,theperformersunfold

thenapkinsabruptlyandthenholdthemsteadilyinfrontoftheirbodies.Theyshakethe

napkinstoreleaseanyremainingcreases.Once.Twice.

Theperformersstandandmovetothesidesoftheirchairs.Theyplacetheir

napkinsdelicatelyacrossthebackofthechairsandstandmotionlessforamoment.

Leadingwithapointedindexfinger,eachperformerpropelstheirrightarmupandaround

inacircularmotionthatendsattheirside.Thesamewiththeleft.Withpointedindex

finger,eachpokesattheairbehindthemforacountofeight.Right,left,right,left,asthey

lookupontheaudiencewithquestioningfaces.Ledbytheirpointedindexfinger,each

movesata45‐degreeangledownwardtowardstageleft.

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Theperformersfindthemselveswiththeirbottomsonthefloor,rightlegtucked

undertheleftleg,whichisbentupward.Backsareerect,andhandsaretothesidesfor

support.Theperformersremovetherightlegfromundertheleftandprotractit,gently

placingtheleftleginthebentpositiontothesideoftheextendedleg.Abodyclock.

Repeat.A360‐degreerotation.Again.Again.Again.Untiltherightlegsurpriseseach

performerbybumpingintoachairleg.Theperformerspauseforamomentandthen

incorporatethechairsintothemovement.Therightlegpushesthechair,bringingitalong

inacircularpattern,causingthechairtoscrapetheflooruntilitisrestoredtoitsprevious

location,facingtheaudience,withadelicatepapernapkinacrosstheback.Theperformers

scootclosertothechairlegs.Then,intheirowncautiousyetidiosyncraticways,theyplant

bothfeetbeneaththeirbodiesandinprolongedascension,theyrolltheirbodiesup,arms

hanginglooselybytheirsides,tofindtheaudiencethere,onceagain.

Theperformerssitintheirchairsandthenriseslightlysoastoliftthechairsjustoff

theground.Withbentbodies,theperformersbackupslowlytakingthechairswiththem.

Thereisalookofsurprisewhentheyhittheupstagewall.Theperformersrepositionthe

chairssothattheyfacethewall.Backstotheaudience,theperformersreachacrosstheir

bodies,overtheirrightshoulders,toremovethenapkinsfromthebacksofthechairs.

Outofsightoftheaudience,theperformersfoldthenapkinsintheirlaps.Andthen

unfoldthem.Theystandandfacestageleft.Theperformersshakethenapkinstorelease

anyremainingcreases.Once.Twice.Theyreturnthenapkinstotheirplacesonthebacks

ofthechairs.Thecreasesremain.Themusicfades.Eyesonthenapkins,theperformers

slowlymoveaway.

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[Theprojectionreads:

Ifyouhavenotalready,pleasetaketimetorecordanythoughts,images,ornotationsyoumayhaveinresponsetothepromptyouhavereceived.Youmayplaceyouritemonourmemoryboardattherearofthetheatre.Thankyou.

TrackOneplaysaslightsriseforthecurtaincallandtheperformerstaketheirbow.]

StagingNostalgia,PerformingSocialAestheticSpaces

InheranalysisofkitchenchronotopesinUncleTom’sCabin,RuthLaurionBowman

referstochronotopesas“social‐aestheticspaces,”aphrasethathighlightsthemanyforces

atworkonbodiesinspaceandtime(R.Bowman,“Domestic(ating)Excess”116).Copious

Notesstagescomplexandcompetingsocial‐aestheticspaces,demonstratingthe

consequencesofthedifferentforcesonandthroughtheperformers’bodies.Attimes,the

bodiesaredancingorsinging,attimestheyareheldinsuggestiveabeyance,attimesthey

aremourningoronthereceivingendofsearinglamentationsastheymakeandlongfor

home.Caughtinawhirlwindofforces,thebodiesinCopiousNotesareintheprocessof

navigatingandcreatingspace,time,andculturalandpersonalmemories.

Below,IfirstdescribewhatIseeasthreeprimarychronotopesthatgovernthe

actionofCopiousNotes:thedramaticchronotope,theprojectionchronotope,andthe

movementchronotope.Second,Icallontwotheoriesofcomposition,namely,Constantin

Stanislavki’sSystemandAnneBogart’sViewpointsinanefforttoarticulatehowI

composedCopiousNotes.Understandingthatchronotopesstimulateandarestimulatedby

actionandagency,tonamebuttwovariables,Iproceedwithananalysisofthecharacters

inCopiousNotesinordertoexplaintheirfunctionasagentsinthechronotopes.Iargue

thatthereciprocalinfluenceofthechronotopesuponandagainsteachothergeneratesa

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grotesquewayofdoingcriticalnostalgia.Lastly,Iexploretheintersectionsofnostalgiaand

performance,spotlightingusefulvocabularyfortheorizingthebodyinspaceandtimeand

speculatingontheroleofaffectiverelationswithinthistheorization.

CopiousChronotopes

CopiousNotesrevealsthreeinteractivechronotopesthatIconsiderprimarytothe

developmentoftheplayandtounderstandingtheinfluenceofchronotopesonstage:1)the

dramaticchronotope;2)theprojectionchronotope;and3)themovementchronotope.At

timesIrefertotheseprimarychronotopesasvortices,signalingthateachchronotopeisan

areaofcanalizedmotion.Assuch,eachchronotopeperformsitsownsenseofauthority

andfeaturesadifferentintersectionoftime,space,andbody.

Thedramaticchronotopeisthetimeandspacecreatedinthetensiverelationship

betweenthefictiveandtheatricalrealities,whichoperateinallstageperformance.The

fictiverealityreferstothepretendworldofthecharactersinteractingwitheachotherina

spaceandtimeignorantofthatoftheaudienceinthetheatre.InCopiousNotes,theminor

charactersexistexclusivelyinthisworld.Broadly,thefictivereality(achronotopeand

vortexfinally)isalignedwithrepresentationalaesthetics.Thetheatricalrealityrefersto

therealworldoftheaudiencesittinginatheatrewatchingactorsperformaplay,allthe

notedparticipantsawareofthedoublelifetheyhaveagreedtobeapart.InCopiousNotes,

theNarratorandtheCommentatorand,toanextent,Ambiexistinthisrealityaswellas

thatofthefictivereality.Againbroadlyspeaking,thetheatricalrealityisalignedwith

presentationalaesthetics.

InCopiousNotes,thescriptinhabitsboththefictiveandtheatricalrealms,marking

theproductivetensionbetweenthem.Ontheonehand,itgeneratesthefictiverealityinso

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farasitholdsthestory,plot,characters,andactionthatconstitutethepiece.Ontheother

hand,asamaterialtexttheperformerspickupandread,itcallsattentiontothe

constructednatureofperformance,interruptingtheflowofthefictiverealitytoremindthe

audiencethattheplayhasahistorypriortothecurrentevent.Inthisway,thepresenceof

thematerialscriptrecallsapast,enactinganaestheticofreturn.Similarly,whenthe

NarratortransformsvisuallyanddeliberatelyintoBeggarBoy,hebothmotivatesthe

forwardmovementofthedramaandhighlightstheconstructionofthepiece.InCopious

Notes,themainoccupationofthedramaticchronotopeistoshowthedramaofAmbiwhile

insistingthatnarrativereflectionandreflexivityoccur,therebyactivatingcompositional

modesandformsintegraltoinvokingthepastandtheexperienceofnostalgia.

Thesecondchronotopeisthemediatizedvortexofprojection.Themainbusinessof

theprojectionsistorelateconceptualandtheoreticalinformationaboutnostalgiatothe

audience.Thechronotopeisaccessiblevisuallyandtextuallyontherearwallofthestage

intheformof“notes,”whichimplythattheprojectionsarekeepingtrackofwhatisgoing

onandrecordingpertinentinformation.Bymeansofscholarlydiscourse,theprojections

explainatheoryofnostalgiaandthusserveapedagogicalfunction,enactingandseekingto

motivatebodiestothoughtandreflection.

Theprojectionchronotopeisprimarilyinterestedinmotivatingtheaudience,

encouragingthemtoreflectonwhattheyhaveseenandheardintheplayandhowit

relatestotheprojectednotes.Wemightthinkhereintermsof“aproject”and“toproject.”

Whenusedasanoun,theterm“project”connotesacollaborativeenterpriseoraproposed

undertakingusuallyembarkedonbymorethanoneindividual.InCopiousNotes,nostalgia

isframedasaprojectthattheauthor,performers,andaudiencemustembarkon.Thefinal

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noteprovidestheclearestexampleofnostalgiaasagroupproject.Itreads,“Performing

criticalnostalgiaasks:Ifperformancehastheabilitytoliftusoutofthepresentandinto

anotherplace,whycan’tthatplacebeapasthome?Whycan’twelingerthereforasecond,

tinkerwiththings,makethemright?”Thenoteusesfirstpersonplurallanguage,suchas

“we”and“us,”toproposetheprojectofcriticalnostalgiatotheaudiencethroughthetwo

suggestivequestions,whichrequirereflectionandaction.Bakhtinmightunderstandthis

interactiontobea“creativechronotope,”whichhearguesanimatesthelifeofaworkas

housedintheexchangebetweenthetext,theauthor,andthereaderorlistener(Bakhtin,

DialogicImagination254).Intheseterms,theprojectofnostalgiaisacreativeprojectthat

fosterswhatBakhtincalls“co‐creativity”ortheconsciousunderstandingthatsupplements

textualcreativity(Bakhtin,SpeechGenres142).

Whenusedasaverb,“toproject”meanstoforecastorestimateanoutcomeorto

extendoutwardorbeyond.Theprojectednotesanticipateandencourageaudience

responsebyprojectingdiscoursethat“facesoutwardawayfromitself,”invitingthe

audiencetoco‐createbyofferingtextmeantexclusivelyforthem(Bakhtin,Dialogic

Imagination257).Theimportanceoftheinvitationissignaledbycraftingtheprojections

sothattheytakeupalotofspaceandtime.Inscale,theprojectionscovertheupstagewall,

theirvisualdominanceunchallengedbytheperformerswhositquietlyintheshadows

takingnotesduringthesesegments.Induration,thenotesareshownforalongtime,

longerthanittakesmostpeopletoreadthem.Aswithnarrativedescriptionthatluxuriates

inaslow,close‐upviewofthesubject,timeslowsdownintheprojectionchronotope,

assuringtheaudiencetheycantaketheirtimereadingandthinkingaboutthenotesand

howtheyrelatetothesectionsthatprecededthem.Ofcourse,itisbymeansof

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interruptingandcontrastingthesurroundingchronotopes(thedramaticandmovement

chronotopes)thatadditionalfocusandinterestisgenerated.

InhisstudyofBrecht’sepictheatre,WalterBenjaminexplainsthataudiencesare

incitedtocriticalthoughtandreflexivitybymeansofinterruption(alsoknownas

alienationordefamiliarization).Benjaminwrites:

Epictheatredoesnotreproduceconditions;rather,itdiscloses,ituncoversthem.Thisuncoveringoftheconditionsiseffectedbyinterruptingthedramaticprocesses…itbringstheactiontoastandstillinmid‐courseandtherebycompelsthespectatortotakeupapositiontowardstheaction,andtheactortotakeupapositiontowardshispart.(Benjamin,UnderstandingBrecht100)

InCopiousNotes,theprojectionchronotopeinterruptsthedramaticprocessesandbrings

thingstoastandstillbyinterruptingandmakingwhathasbecomefamiliar,strange.The

interruptionoccursinregardstoformbyalteringbodiesinspaceandtime(inotherwords,

byalteringthechronotope),andinregardstocontentbydisruptingAmbi’stalewith

scholarlydiscourseonnostalgiaintheformofnotes.Copiousnotes.Whetheranaudience

ismovedtocriticalthoughtisunknownfor,asMichaelBowmanfollowingFredericJamison

warns,thereisno“presupposedconnectionbetweenreflexiveorpresentationalformanda

‘critical’attitudewhentechniquesofalienationorestrangementhavebecomethe

dominantstylistictokensofpostmoderncapitalism”(M.Bowman,“NovelizingtheStage”

5).Nonethelessandattheveryleast,inCopiousNotes,theaudienceismadetositstilland

wait,implicatedinanaestheticthatresistsforwardmovingtimeanditspresumptionsof

progress.Inthisvortex,oneismadetopause.Reflect.Bestill.Slowdown.Linger.

Imagine.

Dishwareismeticulouslyorganized,removed,andtheneachitemisrestoredtoitsproperplace.Amusicaltrackfadesinandout,alwaysrevisitingthesamerhythmictune.Laundryisdumpedontothefloor,folded,andplacedbackintothe

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basket…Bodiesmeetinthecenterofthestage,disperseandseparate,andthenreturntohomebase.Somereturnsaremoreeffortlessthanothers.(McGeough1)

TheabovequoteistakenfromDanielleDickMcGeough’sresponsetoCopiousNotes,

presentedatatalkbacksessionfollowingtherunoftheshow.Theactionsshedescribes

articulatethethirdmajorchronotope,themovementchronotope,whichconsistsoffour

distinctsequencesspacedevenlyoverthecourseoftheplayandstylizedmovementused

sporadicallywithinthedramaticscenes.Onesequenceincludesthefollowingaction:“With

atornface,KimeyestheaudienceasMichaelandJadepressthethickairbeneaththeir

fingersdownward.Kimgraduallydescendstothefloor,herrightearalmosttouchingthe

ground.”Anothermovement:

Onebyonetheperformersreturntotheirareaoforigin,standingbehindoneofthechairswithanarmoutstretchedbehindthem.Jadereturnsfirst,thenKim,thenMichael.Beforeeachsettlesintoposition,theyinvestigatethebodythatarrivedbeforethem,usingthemotiontheyusedattherockingchair.

Attachedagainbyclaspedhands,theperformersextendtheirbodiesforwardbyleaningintoabentleftknee,leavingtherightlegextendedbehindthem.Theextensionpullsthebodiesapart.

Theperformerswanderthespaceinvestigatingtheirfaceswithcuriosity.Kimtouchestherockingchair.Itrocks.

Inthemovementchronotope,theperformers’bodiesclaimfocusastheyexecute

everydayactionsstylizedtoevokethesenseandsensualityoftermscentraltotheshow’s

concerns,suchashome,thepast,memory,andnostalgia.AsBakhtinsaysoftimeinthe

chronotope,thetermshere“takeonflesh”andbecome“artisticallyvisible”(Bakhtin,

DialogicImagination84).Liketheprojectionchronotope,thevisualtemperamentoftime

isslowandcontemplativegenerally,andtheaimistosuspendtheforwardrushoftime.

However,inthiscase,thesuspensionisrealizedbymeansofextensionsofthebodyrather

thanbystillwordsprojectedonalargepage(i.e.,theupstagewall).Themovementalsois

directeddownward,backward,andacrossspace,oftenreturningtoandrepeatinggestural

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sequencesexecutedearlierintheshow.Theabove‐noteddescriptionofKim“almost

touchinghereartotheground”recallsAmbiputtingher“eartotheground”asdirectedby

MotherVoiceinthefictivetaleofthedramaticchronotope.ThesecondmovementIquoted

aboveillustrateshow,throughoutthepiece,theperformersmoveawayfrom,navigate

around,butultimatelyreturntothethreechairslocatedcenterstage,whatwemight

understandastheirhomebaseorplace.Themovementoftheperformers’bodiestoand

fromcenterstagemightbethoughtofintermsofbodylanguage,theperformers,here,

communicatingalanguageofreturn.

Nearthetopoftheshow,theCommentatorgesturestowardsthelanguagesofthe

bodywhenshetellsusthatweare“allwritersoftime.”Whilewritingisvisibleastextin

theprojectionchronotope,inthemovementchronotopebodiesenactwritingasthey

inhabitthetimeandspaceofthestage.Theperformerstakingnotesbusilyintheshadows

oftheprojectionsisaclearexampleofthemultipleevocationsofwritingintheshow.

Thenotedexamplealsodemonstrateshowthemovementstagesa“conscious

engagement”with“itsownstatusasarticulation…itsownstatusas‘writing’”(M.Bowman,

“NovelizingtheStage”14).ElysePineautheorizesasimilarideabutintermsofthebody

whensheadvocatesan“articulatebody”thatdemonstratesitsabilityto“createand

practicetheory”(Pineau2).ForPineau,thepracticingofbodytheoryissituated

“precariouslybetweenthelogicofprintandadisciplinaryepistemologythatprivilegesthe

presentandarticulatebodyastheprimaryconstitutiveapparatusinhumansense‐making”

(Pineau2).While,inthemovementchronotopeofCopiousNotes,apresentdynamicisin

operation,thechronotopealsofeaturesphysicalmovementorientedtowardthepast,

creatingandpracticingtheoryaboutthepast,past‐homes,andpastbodies.InMovement

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SequenceIV,bodiespointliterallytothepast“withpointedindexfinger[s],”each[poking]

attheairbehindthemforacountofeight.Right,left,right,left,astheylookuponthe

audiencewithquestioningfaces.”

Further,thebodiesofCopiousNotesarenotalwaysarticulateinthesenseofbeing

coherentorfluent.DanielleMcGeoughinherresponsetoCopiousNotes,observes,“Bodies

contortandtwistinanefforttolookback.Backwardmovementsareclumsy,and

sometimeswefindourselvesrunningintoabrickwall”(McGeough1).Likewise,inagrand

gestureperformedbytheCommentator,peninonehandandclipboardintheother,she

stretchesherarmoutbehindherandoverherhead,slowlydrawingherpenclosertothe

clipboard.Justbeforeherpenhitsthepage,shedropsthepenontothefloor.Fullycapable

ofperformingprecision,theCommentatoroptsinsteadtotheorizeandpracticeaclumsy

bodyofwriting,in/articulateinitsclaimtocommentonthepast.Thetwoexamples

demonstratethatwhilemuchoftheactioninCopiousNotesisnotarticulateinthegeneral

senseoftheword,theactiondoesarticulatebodiesstrugglingwithideascentraltothe

show,whichsuggeststhatourrelationshiptonostalgia,toreturningtohomeslocatedina

past,isnotaneasyoneandnoteasilyrendered(articulated)incoherentorfluentways.

Theinvitationextendedtotheaudiencebythein/articulatebodyistojoininthe

performanceexperimentoffiguringgenerativewaystore‐presentnostalgiaandthose

ideasassociatedwithit,suchasthepastandhome.Inheranalysisofchronotopesofthe

balletstudioandpractice,JudithHameraoffersonesuchwayIfinduseful.Arguingthatthe

“chronotopefunctionsasadialogicintersectionoftheworldandtherepresentational

grammarsandprotocolsthatorganizeandreproduceit,”Hamerausestheterm“corporeal

chronotope”torefertothewaysbodiesactualizerulesoftimeandspace(Hamera72&

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74).Hameraidentifiestwocorporealchronotopestodescribetheorganizationofbodiesin

ballet:“roam”and“home.”ChannelingBakhtin’schronotopeoftheroad,Hamera’sroam

denotesthe“processofmoving,aswellasthelocationofmovement,”“toroamistomove

awayfrom‘home’”(Hamera74).Hamerasuggeststhathomeofferscomfortandthe

potentialforconnectionandthathomeisprimarilyaplacetoreturnto.Sheobserves,“just

asallmovementsinballetbegin,gothrough,andendinaposition,allroamingrevolves

around,startsfrom,orendsathome”(Hamera75).Likewise,themovementinCopious

Notescreatesachronotopeofroam,asthe“bodiesmeetinthecenterofthestage,disperse

andseparate,andthenreturntohomebase”(McGeough1).

Throughouttheperformance,centerstageisthehomebaseorplacethatthe

roamingdepartsfromandreturnsto.Theroamingcreatesatopographyofpast‐home,an

imaginarylandscapeinscribedonthefloorofthestagebythemovementoftheperformers,

showingtheyhave“beenthere,”theyhaveroamedandreturnedhome.Putanotherway,

throughthechronotopesofroamandhome,theperformerswritewithapastorientation,

choosingtimeandagaintogoback“home,”inordertoreread,reflect,andrewrite.Their

movementto“homeplace”islessaboutresistanceandmoreabouta“returnforrenewal

andself‐recovery”(hooks49).Emergingfromthedramaticchronotopeintothemovement

chronotope,theperformersputtheirscriptsdownandleavecenterstagetoexploreideas

throughtheirslowlaboriousmovement.Attheendoftheirlabors,breathingheavily,they

returntotheirhomeplaceonstageseekingaplacetositandrecoverbeforetheyre‐enter

thedramaticchronotope.

Anotherwaythatthemovementchronotopesuggestsareturnhomeisthroughthe

performers’interactionswithmaterialobjects.McGeoughobserves,“Dishwareis

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meticulouslyorganized,removed,andtheneachitemisrestoredtoitsproperplace…

Laundryisdumpedontothefloor,folded,andplacedbackintothebasket…Anempty

rockingchair.Trash...Afamilyportrait…Anapkinisfoldedandunfolded”(McGeough1‐2).

Theperformersinteractwithdomesticitemstoinsistthatnostalgiabeconnectedwitha

returnhomeratherthanwithamoregeneralsenseofthepast.Further,theinteraction

countersSusanStewart’sclaimthat“nostalgiaisasadnesswithoutanobject,asadness

whichcreateslongingthatofnecessityisinauthenticbecauseitdoesnottakepartinlived

experience”(Stewart23).Inthemovementvortex,nostalgiaisrevisedbybodieslivingthe

experienceofnostalgiabyinteractingwiththeobjectsofhome.

ThemainchronotopesofCopiousNotesdonotoperateindependentlyofeachother.

Rather,asBakhtinsaysofchronotopesgenerally,they“aremutuallyinclusive,theyco‐

exist,theymaybeinterwovenwith,replace,oropposeoneanother”(Bakhtin,Dialogic

Imagination252).Animportantquestiontheniswhatisproducedinthecoexistence,the

interwovenplaces,thereplacements,andtheoppositionsBakhtinanticipates?

Above,Iobservedhowthethreechronotopestreatbody,home,andpast.The

dramaticchronotopedealswiththecontentofpast‐homethroughdirectreferencesbythe

Commentatorandthrough“inscene”characterdialogue.Theprojectionchronotope

featuresscholarlynotesaboutnostalgiainalongslowformatthatmaybedifficultforsome

to“feelathome”in.Themovementchronotopeinvokespast‐homethroughtheslow

sensualinscriptionofmovementthatconstantlyreturnsonitself.Takentogether,the

bodiesthatinhabitandnavigatethefictiveandtheatricalrealitiesofCopiousNotesare

challengedbytheforcesofthepast,bytheimagery,actions,andobjectsofhomethatthey

provesubjectofandto.Thisorientationisexacerbatedbythedisruptionofthedifferent

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chronotopesknockingupagainsteachother,resultingintheinterruptionoffamiliar

forwardmovingactionwiththein/articulatefitsandstartsofreflectiveandreflexive

activity.Indeed,inCopiousNotes,themainchronotopesandthebodiessustainedbyand

sustainingthemshiftintootherorbitsconstantly,physicallyandfigurativelyaffectingeach

otherintheprocessoftheirrotation.

Wemightthinkofthechronotopesasplanesofactivitystackedontopofeachother,

evershiftingandrotating.While,insomeaspectsofcontentorform,theplanesmayfit

togetherneatly,inotherstheyareincompatible.Becauseeachplanearticulatesadifferent

timeandspacerealityofhomeandpast,thereisboundtobesomeplacesthatdonot

matchup.Theseplacesrevealtheincongruities,oppositions,ironies,andexcesses

producedinthejuxtapositionofchronotopes.

PerformancetheoristandpractitionerVsevolodMeyerholdidentifiesthismismatch

aestheticasthegrotesque.ForMeyerhold,thegrotesqueisa“genreofsurprise”that

“mixesopposites”and“celebratesincongruities”(Pitches61).Further,itexpressesa

“capricious,mockingattitudetolife”(Meyerhold137;emphasisinoriginal).CopiousNotes

carriesmanyofthesetraits,composedasitisofacollageofincongruouschronotopesthat

interweavediversegenres,modes,anddiscourses.Further,thepieceapproachesnostalgia

withanenigmaticattitudethatjuxtaposescelebrationandmourning,sincerityand

mockeryaswellasthemesofpastandpresent,academicanddomestic,materialityand

transcendence.OneofthewaysMeyerholdrealizedthegrotesqueinhisworkwasby

highlightingtheconstructedaspectofthepiece,therebyinsistingonthedoublelifeof

performance.Likewise,withinandbetweenthechronotopesofCopiousNotes,thereare

interruptionsthatexposetheseamsoftheshow,notonlyinsistingonthepastconstruction

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oftheplaybutthataudiencemembersinteractwithpastandpast‐homeassubjectsto

whichtheyarecalled.

Inhistheoryofcarnivalandthecarnivalesque,Bakhtinoffersalittledifferenttake

onthegrotesque.ForBakhtin,grotesquerealismfeaturesthecontradictionsandexcesses

ofthebody,thatis,thebodyoflowratherthanhighcorporealdomains.The“sourceofall

thatisexcessiveandsuperabundant”(Bakhtin,RabelaisandHisWorld303),thegrotesque

bodyrevelsinitsorificesoftransmissionratherthanitssmoothimpenetrablesurfaces.It

isabodyofthebowels,phallus,gapingmouth,andanus,embracingthemesofbirth,

disease,death,gigantism,sweatorsalt,earthandsea,urineandexcrement.Itisabody

thatabusesandcurses(Bakhtin,RabelaisandHisWorld325‐335).Inexplicitlypolitical

terms,itisabodyofconstantbecoming,ofthecollectivemass,ratherthantheisolated

beingofthemodernindividual.

Bakhtinwrites,“thegrotesqueconceptionofthebodyisinterwovennotonlywith

thecosmicbutalsowiththesocial,utopian,andhistorictheme,andaboveallwiththe

themeofthechangeofepochandtherenewalofculture”(Bakhtin,RabelaisandHisWorld

327).Withrespecttothegrotesque,thesocial,utopian,andhistoricexcessesofpastand

homeundergirdCopiousNotesandpullthefocustothebodythroughcursesand

celebrations.BeggarBoy,aftergorgingonthefoodofhome,rubshisbellyand“lickseach

finger.”TwistedManverballyabusesAmbi,callinghera“cursedsoul”saying,“youvomit

shitandlies.”Ontheotherhand,Rev.AChiefPeaceleavesherconversationwithAmbi

“shakingherhead,jumpingupanddown,andpraisingGod.”Further,performersspread

theirlegs,onewomanmountsatable,andthetriotogethermakeconstantcontactwiththe

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ground.Thegrotesqueelementsofnostalgia,orpast‐home,emergeintheperformance

andmovetowardanironic,satiric,andcriticalend.

ChronotopesinProcess

Theperformersfacestagerightwiththeirbottomsonthefloor,rightlegbentandtuckedundertheleftleg.Theirbacksareerect,andtheirhandsareonthegroundtothesidesforsupport.Inasinglemotion,theperformersremovetherightlegfromundertheleftandprotractitata45‐degreeanglewhileplacingtheleftleginabentpositiontothesideoftheright.Creatingabodyclock,theperformersrepeatthenotedmovementuntiltheyrotateafull360degrees.

Theabovedescriptiondepictsasequenceofmovementthecastcametorefertoas

thebodyclock.Itinvolvesthreebodiespositionedcenterstage(athomeplace),expanding

andcontractingovertime,rotatinginacomplexandintricatepattern.Inadditionto

expressingathematicofreturnandhome,themovementcallsattentiontoperformanceas

aprocessofcomposition.

Inthissection,IaddresshowthecastandIcomposedCopiousNotesinordertoshed

lightonthepracticesandpracticingofnostalgiaandspecificallycriticalnostalgiain

performance.Theaimistorevisithowwecomposedtheshowand,basedonthat

description,extrapolatebroaderprinciplesandprocessesthatothersmightusetobuild

performancesconcernedwiththepastandpastreferencing,history,memory,ifnotalso

nostalgiaorthereturntopast‐home.

Priortorehearsal,IrevisitedthescriptofCopiousNotesthatIhadwrittenin2007,

toreflectonmytourandpilgrimagetoGhana.ThechangesImadetothescriptwereto

addanembodiedNarratorandaCommentator,inthelattercasetohighlightconnections

betweenAmbi’staleandnostalgia.Iaddedtheprojectionsforasimilarreasonandto

interrupttheforwardflowofthedramaticplotinthefictivereality.Lastly,Idecidedwe

wouldincludemovementsequences,butdidnotpredeterminetheirprecisecomposition.

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Duringthefirstrehearsal,Idefinedcriticalnostalgiaformycast,saying,“To

performcriticalnostalgiameanstousethebodytonegotiatetimeandspaceinorderto

referenceapastandahomeandtoimplyanattitudeconcerningthem.”Ialsoexplained

thatourtaskwouldbetoembodynotionsofpast‐homeandcraftourattitude(s)

accordingly,i.e.,inPineau’sterms,totheorizepast‐homethroughcreativityandpractice.

Wethensettowork,ourexplorationinformedbythemethodsofConstantinStanislavski

andAnnBogartandanaestheticIseeoperatingintheartworkoffeministartistSusan

HarbagePage.

Stanislavski’sSystemofactortrainingisaprocessofpsychologicalandphysical

techniques.Actorslearnandapplythetechniquesinaconsciousmannersoastostimulate

inspirationandcreativity.Stanislavskibelievesthatthesubconsciousholdsthekeyforall

greatartandconsidersthegoalofanactoristosparkandminethesubconsciousforits

imaginativepower,orinnercreativestate.Thecultivationofthisinnercreativestateis

describedinAnActorPrepares,whereStanislavskiaddressesaction,imagination,and

emotionmemoryamongotherprinciples.Hiswellknownpsycho‐techniqueconsistsof

doinganaction,selectedintermsofthegivencircumstancesofthetextandcharacter,

therebystimulatinganappropriatefeeling,senseoremotionmemory.Inotherwords,for

Stanislavski,tryingtoactafeelingwasunnaturalwhereasdoinganactionthatstimulateda

feelingorganicallywasnot.

InmysummaryofStanislavski’sSystem,theimportanceofinterrelatingactionand

feelingsoastosparkcreativityisevident,Ibelieve.AsStanislavskiadvises,“onecannot

alwayscreatesubconsciouslyandwithinspiration.Nosuchgeniusexistsintheworld.

Thereforeartteachesusfirstofalltocreateconsciouslyandrightly,becausethatwillbest

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preparethewayfortheblossomingofthesubconscious,whichisinspiration”(Stanislavski

15).InapplyingtheSystemtocomposingCopiousNotes,Ibecameintriguedbyhow

nostalgiaisunderstoodcurrentlyasametaphysicalcondition,aninnerstateofmind

lingeringsomewherebetweentheconsciousandsubconscious.InlightoftheSystem,I

thoughtImightre‐theorizenostalgiaasaninnercreativestateactivatedthroughconcrete

actionswedo,sub‐orunconsciouslyineverydaylife,butquitedeliberatelyincreative

endeavors,suchascomposingCopiousNotes.Inotherwords,Ithoughttoactivatethe

doubleoccupationofcriticalnostalgiaasastateofbeingandastateofmoving.

AttentivetotheimportanceofactiontotheSystem,AnnBogartfulfillsStanislavski’s

callforaconsciousapproachtoperformancebymeansofherViewpointsmethod.

Viewpointsisanactortrainingandcompositionprocessbasedontheconsciousawareness

ofone’sbody,thebodiesofothers,andone’ssurroundingsinspaceandtime.Although,in

theirdevelopmentofViewpoints,BogartandherpartnerTinaLandaudrewontheworkof

MaryOverlieandAileenPassloff,theyattributeViewpointslargelyto“thenatural

principlesofmovement,timeandspace”(BogartandLandau7).Inthisway,Viewpoints

providesahelpfulvocabularyandtoolforcomposingandanalyzingchronotopes.

BogartandLandauidentifynineViewpointsoftimeandspace.TheViewpointsof

timeincludetempo,duration,kinestheticresponse,andrepetition.AccordingtoBogart

andLandau,tempois“howfastorslowsomethinghappensonstage,”durationis“how

longamovementorsequenceofmovementscontinues,”kinestheticresponseis“a

spontaneousreaction”toexternalstimuli,andrepetitionis“therepeatingofsomethingon

stage”(BogartandLandau8‐9).Viewpointsofspaceincludeshape,gesture,architecture,

spatialrelationship,andtopography.ForBogartandLandau,shapeisthe“outlinethebody

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(orbodies)makesinspace,”gestureis“movementinvolvingpartorpartsofthebody,”

architectureisthephysicalenvironmentinwhichoneworksandhow“awarenessofit

affectsmovement,”spatialrelationshipis“thedistancebetweenthingsonstage,”and

topographyis“thedesignwecreateinmovementthroughspace”(BogartandLandau9‐

10).

ClarifyingmisreadingsregardingStanislavski’sSystemanddefiningtheirown,

BogartandLandauassert:

Insteadofforcingandfixinganemotion,Viewpointstrainingallowsuntamedfeelingtoarisefromtheactualphysical,verbalandimaginativesituationinwhichactorsfindthemselvestogether.AnothermisconceptionaboutStanislavsky’stheoriesofactingsupposesthatallonstageactionismotivatedbypsychologicalintention…ViewpointsandCompositionsuggestfreshwayofmakingchoicesonstageandgeneratingactionbasedonawarenessoftimeandspaceinadditiontoorinsteadofpsychology.(BogartandLandau17)

ThefinalsentenceisofinteresttomeasIamcuriousabouttheaffect(psychologicalor

otherwise)ofaperformanceofnostalgiathatdemonstratesaconsciousawarenessoftime

andspace.Inotherwords,whatistheaffect?

ToinformthebroadaestheticofcriticalnostalgiaIhopedtocreate,Idrewontwo

imagesfromtheartworkofSusanHarbagePage.Themostinspirationalimagedepictsa

wornhandkerchiefwithasmallchairstitchedinthecenter.AsIunderstandtheimage,the

chairinthenapkinsymbolizestheunfoldingoftimespecificallyasregardsthehistoryand

historicityofdomesticity.Thesecondimageshowsadelicatewhitecottonnapkinwiththe

embroideredmotifofawomanwearingabonnet.Stitchedaroundthewoman’sneckisa

pinknoose,theendofwhichtrailstotheborderofthenapkinanddisappears.

ThetwoimagesaredrawnfromPage’sPostcardsfromHome,acollectionofimages

thatformeembodiesthespiritofcriticalnostalgia:AKuKluxKlanrobemadeof

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seersucker.AportraitofaVictorianwomanmarredbyaswathofbrownpaintacrossher

face.Theword“doubt”embroideredninetimesinacircularpatternintoadoilypreviously

decoratedwithpinkandyellowflowers.Throughherpostcards,Pagerecollectsmaterials

andmemoriesfromapast‐home(awhiteracisthome)andrecomposestheminorderto

offeracritical,creative,andcaringengagementofbodiespastandpresent.

KeepinginmindPage’saesthetic(andherparticulardeploymentofanethicof“care

andrepair”),IcraftedtherehearsalsofCopiousNotesinanefforttoevokeasimilar

orientationtowardpast‐homes.Becausethescriptwasintact,wespentmuchofourtime

inrehearsalonthemovementsequences.AlthoughImadesomedecisionsregarding

movementpriortorehearsal,suchastheamountofsequencesandtypeofmusic,mostof

thespecificactionsemergedintheprocessofrehearsal.Below,Idescribepartsofour

processasinformedbycertainViewpoints.

Thetempoofthemovementwascomposedinrelationtothetemposusedinthe

musicIselected.Weusedthesametrackforallfoursequences.Themusicisslowand

rumblingatfirst,andaftersometime,itpicksuppaceanddrumsaddin.Agreeingthat

nostalgia,colloquiallyconceived,issimilartoadreamstate,wechosetoslowdowntime,

notonlytointerrupttheforwardpresumptionsofthedramabuttoevokeafeelingofbeing

“lostintime,”“lapsingintonostalgia,”or“ponderingplaces…outofreachof[one’s]own

memory”(Lippard154).Forexample,inMovementSequencesIIIandIV,theperformers

needtorisefromaproneposition.Ratherthansimplystandup,theactorsliftuponto

theirfeetwhilestillinacrouchingposition,extendtheirlegsfully,andthenrollupthe

remainderoftheirbodyslowlyandcarefully.Amovementthatcouldtakeafewseconds

wasextendedtothebetterpartofaminute.Asaresultoftheslowtempo,weachievedthe

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effectofdescriptivetimewhereaslow,close‐upviewofthesubjectisencouraged,not

necessarilyinanefforttocapturethesubjectastoreflectonitandone’srelationshiptoit.

Itcouldbesaidthedurationofmanyofthemovementsequenceswentontoolong

andtookuptoomuchspaceintheplay.InMovementSequenceIV,forexample,the360

degreeturningmovementconsistedofatleastfifteenrotationsonenight.Indeed,we

neverfixedtheexactnumberofrotationswewouldexecutebeforeourlegshitthechairs,

relyinginsteadonsilentkinestheticagreement.Havingoptedforaslowratherthanfast

tempogenerally,weamplifiedtheslowmotioneffectbyextendingtheduration.This

choicecreatedsuspenseaswellassuspensionastheaudiencewasheldinabeyanceeven

astheywonderedwhentheparticularmovementwouldendorchangetosomethingelse.

Kinestheticresponsereferstospontaneousbodilyreactionsthatariseinresponse

toexternalstimuli(BogartandLandau8).Examplesofakinestheticresponseinclude

recoilingfromheatorblinkingwhenthewindisinyourface.Theprincipleisrelated

directlytoStanislavski’stechniqueofactionstimulatingsenseoremotionmemoriesand,

indirectly,toRoach’sprincipleofkinestheticimaginationwhereperformers“thinkthrough

movements”(Roach27).Thatis,movementstimulatesthoughtratherthanthereverse.(I

mightmentionthatinRoach’sunderstandingofkinestheticimaginationthoughtimagining

actionisimportantaswell.)Forme,thekeypointinthisViewpointisthatmovingbodies

andmovingideasareinextricablylinked.Inrehearsal,Iusetheterm“body‐idea”to

communicatetheconnectiontomycast,drawingforsupportonthecartoonimageofa

lightbulbilluminatingsuddenly.Tada!Liketheilluminatedlightbulb,abody‐ideais

sudden,linkingimmediatelythecorporealexperiencetocognitionofaccuracy,asin“now,

that’stheidea,”andtopotentialorpromise,asin“that’sanidea.”

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OurprocessingofMovementSequenceIIwasinformedbythisprinciple.Iaskedthe

performerstobringobjectsofhometorehearsal.Ofthose,wesettledonateasetand

agreedtosetatableinatraditionalway,alludingtoadomesticdiningroom.Then,eachof

usapproachedthetableonourownandactedimmediatelyinresponsetoit,allowingour

kinestheticresponseandimaginationtoguidethemovement,trustingthatitwasaccurate

andpromisingpreciselybecauseitlinkedthebody‐idea.

RepetitionisaprominentfeatureinCopiousNotesandisevidentinallchronotopes.

Inthedramaticchronotope,thedialoguefeaturesmanyrepeatingspeechesandphrases,

suchasthoseofMotherVoiceandProfessorVoice.Intheprojectionchronotope,the

recurringformatofbrief“notes”inasuspendedtimeframeencouragesreverieifnot

criticalthoughtandreflection.Thesamemusicaltrackisusedinallfoursequencesofthe

movementchronotope,andmanyofthesequencesrestoreactionexecutedinpriorscenes

orsequences.

InCopiousNotes,theaestheticofreturntranslatesoftenasrepetition.Eachtime

performersroamandthenreturntohomeplace,theyrepeattheirinitialpositionandpose

centerstage.However,theaestheticofreturnleavesroomforvariations.Returningtothe

samemovementallowsonetoquerythecharacteristicsoftherepetition.Inotherwords,

howwerepeatisfarmoresignificantthanwhatwerepeat,affectingtheconsequencesof

returnandtherebyspeakingtofunction.Forexample,MotherVoicerepeatsthecontentof

herspeechmanytimes,tellingAmbi,“HearmyvoiceandknowwhatIsayistrue.Be

thankfulforthisexperiencechild.Weareallsoproudofyou.”AstheNarratorindicates,

however,MotherVoicecolorsthecontentdifferentlyeachtime,changingtheattitudeand

tonefromnurturingtosarcastictoscornfultosobbing.Inlightofthisdiscovery,

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understandingnostalgiaasreturn(toapast‐home)seemsamoreaptdescriptorthan

nostalgiaas“pleasurablerepetition”(Broome31)orasa“repetitionwhichisnota

repetition”(Stewartxii).Returnholdsthepossibilityofrepetitionandrevision.

OfthespatialViewpoints,Ifoundtopographytobethemostinfluentialonthe

choiceswemade.Toreview,topographyreferstothelandscape,floorpattern,ordesign

createdbybodiesmovingthroughspace(BogartandLandau11),whichisnoticeableonly

uponreviewofwhereonehasbeen.InCopiousNotes,MovementSequenceIVoffersthe

mostobviousexampleoftopographyinthatapatternofscrapeswasetchedontothefloor

oftheBlackBoxasaresultoftheperformersexecutingtheirrotationswithchairs.

AnespeciallyintriguingexampleoftopographyemergedinMovementSequenceI,

whenKimsettherockingchairtorocking.Therockingbothevokedabodyinthechairand

drewattentiontotheabsenceofabody.Thereafter,wheneverthechairwasreferencedor

claimedfocus,whetherstillorrocking,itrecalledthepresenceandabsenceofabody,

furtherassociatedwithamother,amotherrockingachild,home,childhoodhome.Inthis

way,therockingchairestablishedamemorysiteandpatternofmovementthatresonating

throughoutpiece,illustrativeofthetensionsbetweenrememberingandforgetting,

presenceandabsence,desireandlackinideasandexperiencesofnostalgia.

TheViewpointoftopographythenhelpedustorealizeandaccentuatethepast

referencingaimsoftheshow,challengingustofindwaystocallattentiontotheinvisibleas

wellasvisibletracesbymeansofhowweusedourbodiesinrelationtospace,place,and

objects.Afinalexampleoftheforceofthinkingandmovingintermsoftopography

occurredneartheendoftheshow,inMovementSequenceIV,whentheperformers

manipulatedtheirnapkins:

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Thenapkinslayunfoldedintheirlaps.Inunison,theperformersfoldthenapkinsoverandover,payingparticularattentiontomakingsureeachcornermeets.Astheycreaseandfoldthenapkins,theybringthemclosertotheirfaces.Asthemusicswells,thenapkinsbecometoodifficultandtinytofold.Whentherhythmofthemusicchanges,theperformersunfoldthenapkinsabruptlyandthenholdthemsteadilyinfrontoftheirbodies.Theyshakethenapkinstoreleaseanyremainingcreases.Once.Twice.

Whiletheperformersattempttoshakeloosethehistoryembeddedinthefoldsofthe

napkin,thecreasesremainandarevisibletotheaudienceasdeeplinespressedintosoft

whitecotton.AsMcGeoughobserves,“LikeFreud’swaxtablet,eachfold[ofthenapkin],

evenwhenreleased,leavesacreasebehind–arememberedinscription”(McGeough2).

IncomposingCopiousNotes,mycastandIsoughttoactualizetimeandspace

throughthestrategicuseofourbodiesonstage.Theactionswediscoveredinrehearsal

notonlyfuelledthemajorchronotopesbutalsogaverisetothediscoveryofnewtimesand

spacesthatwouldunfoldintheinteractionofmovements,projections,anddramatic

elements.Throughrehearsal,weletourin/articulatebodiesreturntoandrevisethebody‐

ideasofpast‐home,therebydiscoveringtogetherwaystoperformcriticalnostalgia.

ChronotopicCharacters

Thecharactersthatappearonstageareelaborationsofthecompositionprocess.

Thecharactersmightbethoughtofasforceswithinthedramaticchronotopeespecially,

movingtheplottowardculturalcritiqueandthegrotesque,finally.Theseforcesaremade

manifestthroughtheembodimentofandthedialoguebetweenthecharactersintheplay.

Inthissection,Iaddressthecharactersandtheirchronotopicrelations,reflectingon

potentialmeaningsfornostalgiathatderivefromtheiractionsintimeandspace.

Ambiistheprotagonistoftheplayandthelocusofmostoftheenergy.Astheplay

progresses,Ambiisincreasinglychallengedbythecharactersshemeetsandthesituations

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inwhichshefindsherself.Thesechallengescanbedescribedintermsofspaceandtimein

relationtoAmbi’sbody.Ambi’schronotopicorientationis“out”or“outside,”connotingthe

differentwayssheisoutoftimeandspace.“Toobrowntobeblackandtoobrowntobe

white,”Ambiembodiesoutsideness,strugglingbetweenmultiplepolesofexperience.But

Ambiisnotoblivioustoheroutsideness.Herspeechindicatesherconditionasmuchasdo

thespeechesoftheothercharacters,oneofwhomfeelsshehas“rolledontothewrong

shore.”

Locatedprimarilyinthedramaticchronotope,Ambiis“out”andchronicallyso.

Ambiisoutoftime,alwaysmissingbysecondskeyeventsthatoccuraroundherand

runningoutoftimetodoherjobasethnographer.Often,shelooksupandanimportant

momenthasescaped.Forexample,afamishedAmbimissesthescenewhereBeggarBoy

enjoysahomecookedmeal.Herattempttomakeconnectionsandtoorganizetheevents

ofherdayisfoiledbyherbadtimingandcompoundedbyherconstantnostalgic

daydreaming.ForAmbi,timeisnegotiable.“Somuchtodoandsomuchtosee,”her

speechismarkedbyasenseofurgency.Shewishestocaptureasmuchasshecaninher

littletimeinGhana.Andyetshemanagestosetasideextendedmomentsofreflectionin

whichtoruminateonthecomfortsandcontradictionsofdifferentnotionsofhomerooted

inheraffectiveunderstandingsofAfricaontheonehandandtheU.S.ontheother.Sheis

aninelegant“writeroftime,”consistentlyfindingherselfwithoutenoughtimetocomply

withherethnographicdutytomakecopiousnotes.

Inadditiontobeingoutoftime,Ambiisalsooutofplace.Shefindsitdifficultto

negotiatethespatialdemandsonherbody.Sheisledhereandtherebyothercharacters,

loweredtotheground,calledatfromabove.Shetrips,falls,andishelpedupagain.Ambiis

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clumsy.Spacerepresentsobstaclesshemustovercome.Herworldisfilledwith

incompatibleoutsidespacesthatshecannotanddoesnotinhabitfully.Sheis“avisitorin

herownhome”andyetwishesshewas“homerightnow.”Sheexperiences“notypical

nostalgia”andstrivestofindaplacetorestcomfortablybetweenhermultipleambiguities.

Thatis,sheisneitherfullyAfricannorAmerican.Sheisneithersolelytouristnorsolely

pilgrim.Andsheisneitherthealertethnographershewantstobenortheromantic

nostalgicshesometimesslipsinto.

Ambi’sambiguousoutsidenessisnotunlike“doubleconsciousness,”atermfirst

coinedbyW.E.B.Duboistoexplainthepsychosocialsplitor“two‐ness”thatcomesfrom

experiencinglifeasblackandAmericanatonce.HarveyYoungdeploysthisideanoting

thatseeingone’sselfthroughtheeyesofanothernecessitatesan“outsideperspectivethat

conceivablycouldbeusedto(mis)read[one’s]ownbody”(HarveyYoung13).Drawingon

PaulGilroy’swork,Youngadds,“Arguablythisdoublevisionisaccompaniedbyan

internalizeddoublevoice,”(HarveyYoung13).ProfessorVoiceandMotherVoice,for

instance,servethisfunctionwithrespecttoAmbi’sinabilitytooccupyeithersideofthe

ethnographer/nostalgicbinary.PerhapsAmbimeanstoheedMichaelBowman’s

suggestionthat:

Ananalysisoftouristproductionsoughttoadoptinitiallyaposeofambivalencetowarditsobjectsratherthanacondescensiontowardthem–oranastonishmentbeforethem.Ambivalenceallowsathinkingoftherelationsbetweencontradictorystates.It’sa“pose,”ofcourse,aperformance–butonethatisprobablymoreappropriatetothe“everyday”experienceandpracticeoftourismitself.(M.Bowman,“PerformingSouthernHistory”155)

Inthisway,Ambiinherefforttobeaneutralobservermightbeconstruedasa“poser,”and

insodoing,shefunctionswithinanotherchronotopiciterationof“out.”Sheis“outed,”

exposedbytheothercharactersasoutofherpropertimeandspace,asnotbelonging,as

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notoneofus.Sheislabeledasanalien,an“imposter,”andfinally,a“bastardchild.”In

Ambi’schronotopicworld,shecanbutoscillateinherattempttogetoutsideofher

doublings.Ambi’sdoublingsarebeliedbyheroutsideness.Herabilitytowritewithboth

hands,seeminglyapositivedoubledexterity,isalasoflittlehelp.

Writingmainlyabouttheauthorinrelationtohertext,Bakhtinplacessignificant

emphasisonoccupyingan“outside”position.InMikhailBakhtin:CreationofaProsaics,

GaryMorsonandCarylEmersonwrite,“forBakhtin,outsidenesswasthemoralposition

necessarytoco‐experienceaworkofart”(MorsonandEmerson82).Bakhtiniscautious

thenabouttheuseofautobiographicalmaterialsinliterarytextsashebelievestheuse

compromisesthedistancerequiredonthepartoftheauthortoextendtheco‐creative

gesturetothereader.InBakhtin’sestimation,asauthorofCopiousNotesandthisstudy,I

shouldbemoreoutsidethecharacterandplayandmyanalysisofthemhere.

AlthoughIam“inside”asauthorandperformer,Istillmaintainalevelof

outsidenessduetomypositionasdirectoroftheperformance.ItisfromtheoutsidethatI

makedecisionsthatinfluencethewaythechronotopesinteract,thewayeachcharacter

occupiestimeandspace,andthewaycriticalnostalgiaisenacted.HoweverBakhtinmay

feelaboutmyposition,hisobservationsregardingtheoutsidepositionareinstructive.To

occupyapositionoutsideistoembodyaparticularcorporealchronotopethatoperateson

theoutskirtsofsometypeofaction.ForBakhtin,“outsidenesscreatesthepossibilityof

dialogue,anddialoguehelpsusunderstandacultureinaprofoundway”(Morsonand

Emerson55).Ifthisistrue,anexaminationoftheoutsidechronotopeshouldreveal

culturaldynamicsthatemergeinandthroughdialogue;specificallyinthecaseofCopious

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Notes,thedialoguesAmbihaswiththeminorcharactersofMotherVoice,ProfessorVoice,

orTwistedMan,forexample.

IfAmbiisoutsidetimeandspace,thentheNarratoris“in.”Heisanomniscient

raconteurinsideeachscene.Markedlycomfortablewithmovement,theNarrator

exaggerateshisgestures,baskingintheglowofthestagespaceandrevelinginhisroleas

Narrator.TheNarratorincitesactionandreactstoit.HislinespromptAmbitoactionand,

withatrickstersenseofhumor,hechastisesAmbiwithhisbodylanguagewhenshedoes

notcomply.Forexample,whentheNarratorfirstintroducesAmbi,hesays,“Ambi,smiling

profusely,”augmentinghispromptwithatiltofthehead.WhenAmbidoesnotsmile

quicklyenough,theNarratorqueriesherreluctancewithaquizzicalexpressionaimedat

theaudience.

UnlikeAmbi,theNarratorisanagentincontrol.Generallyremainingin‐between

AmbiandtheCommentator,theNarrator’schairisatthecenteroftheaction,withthe

otherperformersseatedtohisleftandright.Alwaysindicatinghisfeelingswithgestures,a

wink,anod,orashrug,theNarratorsometimesoptsoutofthescenebytiltinghisbody

backwardandrelayingambivalencewithhisface.Inthisexample,theNarratorisin

controlandstillinthescenebyexpressinghisattitudenonverbally.Thiscapricious

characterheightenshis“inness”byagreeinganddisagreeingwithvocalizedbreaths,facial

contortions,andheadmotions.Heisintheknow.Inthescene.Inthemiddle.

TheNarratorengagestheaudiencewithasenseofauthoritynotunlikethatofthe

projectednotes.Fromhispositioninsideandintheknow,herelaysinformationtothe

audiencethattheywouldnothaveaccesstootherwise,asisthecasewithhisopening

speech:

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TheactiontakesplaceonacrowdedstreetinAccra.AmbistepsoffofaplanelabeledIndependenceAirways,walksdownafewricketystepsanddirectlyontothestreetUC,whichisoccupiedbystreetdwellers,taxidrivers,tourists,andvendors,allgoingabouttheirdayasusual.Somepeoplefightoverwhateverpeoplefightover,themenwatchthewomen,thewomenwatchthemen,andthechildrenwatchthemallwatching.Goatsandchickensminglewiththepeopleastheycommencewithloudchattingandfingersnappingastheircustomaryhandshakesend.

Astherearenoplanes,taxidrivers,goats,orchickensonstage,theNarratoristheonlyone

whocanrelaythisinformationtotheaudienceandsetupthescenefortheother

characters.

TheNarratortakesadvantageofopportunitiestoinspire,invade,andattimes

physicallyoccupysomeoftheminorcharacters,suchasBeggarBoy,TwistedMan,and

ProfessorVoice.TheNarratormorphsintothebodyoftheBeggarBoy,foldinghislegsinto

hislapandmakinghisbodysmall,pleadingwithAmbibymouthingthewords,“please,”

“hungry,”“food,”“money.”TheNarratoralsoassumesthecharacterofProfessorVoice,the

disembodiedinfluencethatresidesinsideAmbi’smind.WhereasAmbiattemptstoget

outsideheroutsideness,theNarratortakesgreatpleasureinhispositioninside.

TheCommentatorisguidedbyaspaceandtimechronotopeof“trans.”Meaning

across,beyond,orontheoppositeside,transconnotesanorientationoftraversingand

makingconnectionsbetweendisparatetimesandplaces.TheCommentatorintroducesthe

notionoftranscriptionasametaphorofmemory,orarememberingpractice,“makingus

allwritersoftime.”Inperformingthischaracter,Iamconstantlyawareoftheways

memoryoperatesastranscription,writtenontomybody(asAfrican‐American,as

academic,asauthor,asdirector,asperformer)asImoveacrossthedifferentlyconstructed

spacesandtimesrepresentedinCopiousNotes.Constructedasanambivalentmixof

storyteller,narrator,andinstructor,theCommentatormergesthespacestheotherswould

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inhabittypicallyandforcesthemintoconversationacrossthedramatic,projection,and

movementchronotopes.Forinstance,usingsimilarlanguageastheprojectednotes,the

Commentatorsupplementsthelimitedhistoryofnostalgiaprovidedinthenotesby

offeringadditionalinformationonnostalgia.Whilethenotesprovideasimpledefinitionof

nostalgiaasreturnhome,theCommentatorextendsthemeaningstoideasoforiginor

place,forexample.Unliketheprojections,theCommentator’sdiscoursemusttravel

throughmyphysicalbody,whichislocatedinthesamespaceasthedramaticaction.This

createsthepotentialforlinkingtheprojectionchronotopetothedramaticchronotope.

TheCommentatoralsopromotesdialoguebetweenthemovementanddramatic

chronotopes.Thisisachievedprimarilythroughtheuseofgesturalmovementinthe

dramaticchronotope.Whereastheothermaincharactersremainintheirchairsforlong

periodsoftime,theCommentatorisabletopopinandoutofscenesandwalkacrossthe

stagetodeliverlines.Occasionally,theCommentatorperformsinterpretivegestural

sequencesbehindthedramaticaction,andatothertimes,shevoiceswordsofcharacters,

suchasthoseofBeggarBoy.

Bymeansofheractions,theCommentatorenactsandsubvertsclichésofnostalgia.

Forexample,whenAmbi“noticingapieceoftrashontheground,picksitupandtossesit

aside,”theCommentatordumpstheneatlyfoldedlaundryontothestagefloor.Andwhen

ProfessorVoiceinstructsAmbito“capture”asmuchinformationasshecanbytakingnotes

andsnappingpictures,theCommentatorhopsontothepileoflaundryandpushesallthe

clothesunderhertightlyfoldedlegs.Duringasignificantpartofthedramaticaction,the

Commentatorliftsapenintheair,armextendedbehindher,slowlyandintentlypreparing

tomakethepenmeetanotepadonlytodropthepenasitmeetsthepage.Withthis

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motion,theCommentatorcommentsonthegrandiosityof(Ambi’s)writing.Thebodyof

theCommentatormovesacrossthestageandacrosschronotopesinordertomake

connectionswith,enact,andimplyanattitudetowardthedramatictextandconceptsof

nostalgia.

Intheseways,theCommentatorisinchargeofkeepingthechronotopesmovingand

touching,asifthreeChinesemeridianballs.TheCommentatorisnotinterestedingetting

outsideorinstigatingfromtheinside,butwithtransmittingandtranslatingacross

theoreticaltensions.TheCommentator’sauthoritythenisdrawnfromanabilitytoconnect

andmoveacrossthespaceandtimeplanesofthestage,alwayssharingwiththeaudience

thequalitiesofnostalgiaandcommunicatingtheaffectiverelationsbetweenbody,past,

andhome.

Fromthistransientperspective,theCommentatorspeaksofatransatlantic

nostalgia.ItisanostalgiathatsurfacesinthestagingofCopiousNotesasaphysicaland

metaphysicalrememberingpracticeintendedtocreateconnectionsbetweenAfrican

Americans,asrepresentedinAmbi,Africa,asrepresentedintheplaceshevisits,and

Africans,asrepresentedbyBeggarBoy,MelodyMango,Rev.AChiefPeace,TwistedMan,

andSchoolGirl.Therelationshipbetweennostalgiaandmemoryisparticularlycogent

wheninvestigatingAfricanAmericanconceptionsofthecontinentofAfrica.The

Commentatorarguesthattheseconceptionsarenostalgicandthatmemoryinthiscase

worksasawayofarticulatingnostalgiaasaperformanceofapast‐home.When

consideringthecaseofAfricanAmericanideasaboutAfricaasmythicalhomelandorplace

oforigin,itseemsthatneithertheviewsofStewartwhoseesnostalgiaasinherently

negativenorLippardwhoviewsnostalgiaaspositivecanaccountfortheturbulentand

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complexrelationshipbetweenAfricaandherDiaspora.Forthisreason,Idevelopedthe

discourseoftheCommentatorsoastohighlightthreeinter‐relatedconcernsofAfrican

Americannostalgiainregardstotransatlanticexperience.IwantedtheCommentator’s

discoursetocomplicatethediscussionofnostalgiaashomeoraplaceoforigin;topointto

thewaysinwhichnostalgiaspecificallyandmemoryingeneraloperatesasaperformative

processofidentityconstruction;andtodescribethepossiblefunctionsofnostalgiain

communicationpractice.Indoingso,thischaracteropensupthepossibilityof

understandingnostalgiaasareturnhomemanifestedthroughperformanceandpointsto

thewaysinwhichsuchatheoryspansacrosstimeandspace.

DanielleVigneswrites,“Homeisaplacewheremyaffectionsarecentered.Homeis

myplaceoforigin,residence,myrefuge”(Vignes345).Throughthevoiceofthe

Commentator,IhighlightandtraverseconceptsofhomethatnostalgiaforAfrica(as

conceptandcontinent)bringstolight.Theseconceptshavespaceandtimeimplications.

ThecolloquialtendencytorefertoanAfricanAmericanvisitingAfricaforthefirstornth

timeasa“return”toAfricacollapses“Africa”intoapasttimeandspaceframehowever

accessibleitmaybeinthepresent.Further,itdoesnotappeartomatterwhatpartof

Africathepersonvisits;it’sall“themotherland.”Perhapsthecolloquialtendenciesare,in

Roach’sterms,partofaperformativerepossessionofAfrica.Orperhapstheyaresimply

indicativeofadesiretodefineandperformpast‐homeonone’sownterms.Whateverthe

case,likenostalgia,imagesandideasofAfricaarelikewiseperformed.Intheintroduction

toPerformingAfrica,PaullaEbronwrites,“asanenactmentofdifference,performance

becomesamomentofnegotiationofnotionsAfrica”(Ebron24;emphasisinoriginal).

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EbronarguesthatperformancesormoregenerallyrepresentationsofAfricaallowfor

multipleperspectivestoemergeandconverse.

MotherVoiceandProfessorVoicerepresentmeetingsintimeandspaceandpointto

affectivebodilynegotiation.MotherVoicecomesfrombelowshakingherspiritandforcing

Ambi’s“eartotheground,”whileProfessorVoiceemanatesfromabove,askingcompliance

asAmbipeersaimlesslyintotheheightsofthetheatre.MotherVoicebidsAmbitoground

herselfintheearthyhistoricityofherbody,whileProfessorVoicecallshertotranscendthe

spaceofherimmediatesurroundingssothatshemay“piecetogetherwhat[shehas]

learnedatalatertime.”Ambi’sresponseisarticulatedthroughherbody.Sheisfloored,

moved,affectedbythevoicesfromwithin.Althoughdisembodied,MotherVoiceand

ProfessorVoiceareincompetitionforauthorityoverAmbi’sbodyandovertwotypesof

past‐home.ProfessorVoiceremindsAmbiofherobligationstoherinstitutionalhome,

whileMotherVoicealignshomewithafamilyconnectionandmotivatesAmbithroughfirst

personplurallanguagethatpositionsherbodyaspartofalargerfamilyunit.“Bethankful

fortheexperiencechild,”shesays,“Weareallsoproudofyou.”

Theothercharactersaffectandareaffectedbythekeychronotopes,defining

themselvesdifferentlyinspaceandtimeandevokingshiftingideasofhome.TheNarrator

turnsintotheBeggarBoyforafewmomentsandthenfadesaway.MelodyMangotakeson

adistinctandrhythmicformofspeech.Inthiscolorful“singsong”scene,MelodyMango

“knows”Ambihasnot“hadfoodinawhile”andpromisesfamilialconnectionandcomfort

foodforaprice.MelodyMangosellshometoAmbibytellingherthatshewillmakehera

fruitsaladthatAmbi’s“mothercouldn’ttouch.”Rev.AChiefPeace,speaking“loudlyand

fervently,”posesaquestion(oftime)toAmbi:“AreyourushingthewordofGodmylove?

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Godtookhistimewhenhemadeyou.”Again,Ambiisaskedwhyherclocktickssofastand

isinstructedtoslowdownandattendtothehistoricalrelevanceofhertimeinGhana.

Spatially,Rev.AChiefPeaceplacesAmbi’sbodyinapositionbetweenheavenandearth.In

anevocationofreligioushome,theReverendcastsAmbiasoutsider,asanobjective

petitioner,asneutralmoderator.Sheimplores,“Canyouwriteyourselfintoheavenmy

child?Willyouwritealetterforme?”asifAmbiholdsthespatial‐temporalsuperabilityto

marchrightuptoheavenandslipanoteunderGod’sdoor.

TheTwistedManoccupiesspaceandtimeinamannerquitedifferentfromthe

othercharacters,evokingthepoliticsofhomelessnessandprovidingtheclearest

illustrationofthegrotesque.Indicatingabodyintheactofbecomingdouble,theNarrator

slowlytransformsintothecontortedbodyoftheTwistedMan.Aspotlightisolatesthe

character,providinghimwithavoiceofauthorityheclaimsnottohave.TheTwisted

Man’smonologueisallaboutthebodyinrelationtotimeandspace,andithousesalmost

alltheelementsofBakhtin’snotionofthegrotesque.Hisspeechusescurses,abusive

expressions,andsensorylanguagetochastiseanddegradeAmbiandtoprovokean

affectiveresponsefromtheaudience.

Asarepresentationofchildhoodinnocenceorsimplyachildhoodhome,theSchool

GirlapproachesAmbineartheendofthepiece.OneresultoftheirexchangeisthatAmbi

nolongerappearstobetheinnocentbystanderwethoughthimtobe.TheSchoolGirl’s

questionsrevealtheconsequencesofAmbi’sdetachedstyleofnostalgia,andit

foreshadowsashiftintheplotperspective.ThefinalcharactertoenterAmbi’sworld,the

Englishman,assertstheambiguityofhomeasheentersandtransformstheplot’spointof

view.ByplacingAmbi’sbodyinsidetheframeofhiscamera,theEnglishmanaltersAmbi’s

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spaceandtime,castingherasjustliketheotherAfricans,placingher,asonemightan

object,insidethehomeshehasbeenseekingallalong.

Nostalgia,Performance,Chronotopes

InReveriesofHome:Nostalgia,Authenticity,andthePerformanceofSpace,Solrun

WilliksenandNigelRapportdeploytheterm“emplacement”todescribe“thewayinwhich

theplaceofidentity,ofselfandsociety,iscontinuallygeneratedbyactsofhome‐making”

(WilliksenandRapport3).SimilartoHamera'sconceptofcorporealchronotopes,

emplacementforWilliksenandRapportisbasedonanotionoftechnique.Theywrite:

Techniquesofemplacementmaybemanifold,spanninganarcfromindividualtocollective,fromformaltomundane.Theyincorporatearangeofsensorydeployments(visual,olfactory,tactile),andavarietyofengagementswiththepassageoftime,avarietyofperformancesinspace.(WilliksenandRapport3)

Thechronotopes,thecompositionalprocess,andthecharactersinvigorateCopious

Notes,articulatingdifferenttechniquesandengagementsthatnotonlymakehomebut

makethepast.Thesecomponentscombinetoproducewhatwemightcallagrotesque

historicity,atopsy‐turvyandsometimesblatantlycruelsenseofpast‐homeconstitutedby

acuriousmixtureofscholarlydiscourse,lyricalpoetryanddance,ontheonehand,and

“abusiveandirreverentspeech,symbolicandphysicalviolence,imagesofdegradation,

inversionand‘uncrowning’”ontheother(M.Bowman,“NovelizingtheStage”13).

Theperformanceaestheticthatemergesfromthismixingofopposites,this

surprisingamalgamofpastandhome,isnotacomfortingorcomfortableone.Similarto

Page’sartwork,theperformanceinterruptsnormativenotionsofpast‐home.Itisengaging

andrepellingatonce.InCopiousNotes,theproductionofagrotesquehistoricityspecified

byhomeexposestheseamsofAfricanAmericannostalgiaforAfrica,celebratingand

questioningnostalgiainawaythatisironic,satirical,andmarkedlycritical.However,this

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engagementwiththegrotesqueisjustonewaytodocriticalnostalgia.Differentcontent,

differenthomes,differentpasts,differentchronotopicdynamicswouldmostcertainly

produceadifferentsocialaesthetic,onethatmaynotbegrotesqueatall.Thatistosay,in

CopiousNotes,thejuxtapositionofthethreemajorchronotopesresultsinacritical

nostalgiathatismostcertainlygrotesque.Thegrotesqueaidsintheprojectofreturning

nostalgiabacktothedomainofthebody.Further,itkeepsnostalgiafromgettingcaughtin

thechronotopesofthesmooth,white,modern,metaphysical,present.

Achronotopicanalysisisprincipallyadescriptiveone.Thechronotopeprovidesa

wayofunderstandinghowbodiesmovethroughtheworld,therebymakingitand

perceptionsofit.ThebenefitofapproachingCopiousNotesusingthisvocabularyliesin

whatkindofknowledgeisproducedthroughthecomparativedescriptionsofinteractive

chronotopes.Inthiscase,anaestheticofcriticalnostalgiaemergesfromtheinteractionin

performance.Itisherethatweinvestigatethepossibilityformultipleaestheticsofreturn

andnostalgia.Itisherethatweengageperformanceasaplaneonwhichtohave

improbableencountersandimpossibledialogueswithpast‐homes.Itisherethattimes

andspacescan,inBakhtin’sterms,enterintodialoguewithothertimesandspaces.

RuthBowmandemonstrateshowchronotopesorsocial‐aestheticspacesincite

certainactionsandconversationstooccur,positingthattheseoccurrencesspilloverinto

cultureandintoeverydaylife.(R.Bowman,“Domesti(cating)Excess”116).Similarly,we

mightenvisagewaystocarrycriticalnostalgiaintohallways,homes,andhorizonsoutside

ofthetheatre,turningfocustotypographiesofouremplacement,themanywaysour

bodiesaremakersofspaceandwritersoftime.

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Bakhtinpromotestheideasofseeingandreadingtime,praisingtheabilityofthose

whowriteinwaysthatmakestimeunfoldinacareful,precise,andengagingmanner.

ExtendingthisconceptwithrespecttoperformanceingeneralandCopiousNotesin

particular,Ioffertheperformanceandanalysisasking,whatmightitbeliketofeeltime?

FollowingBakhtin’sinterestinseeingtime,Ispeaknowofseeingandfeelingtime.Ievoke

“feeling”hereasEveSedgwickdoesinTouchingFeeling,exploitingitsinternaldouble

meaning,itsphysicalandemotionalregisters(Sedgwick17).Feelingtimeislocatingthe

entirebodyinthediscourseoftime.Indeed,theconceptandperformanceofnostalgia

entailsnegotiationandnavigationofspaceandtimethroughafullysentientknowingbody.

Infeelingtime,welearnunderwhatconditionsweshouldslowthingsdownsoasto

inspireacknowledgementofandreflectiononhistoricalprocessesandsocialmemories.

Onewouldhavedifficultyenactingcriticalnostalgiasolelyintherealmoftheaffective,or

solelyintherealmofconventionalhistory.Performingnostalgia,feelingtime,attendsto

theaffectiveandsensoryhistoriesofbodiesandattemptsabodycenteredapproachto

doinghistoryandwritingaboutmemory.PerhapsanextensionofFoucault’scallto

“[listen]tohistory”(Foucault142),oracriticalreenactmentofAmbi’s“eartotheground,”

seeingandfeelingtimeisnotjustaboutlookingbackintime,butratherlookingbackwith

acknowledgementoftheshiftingfeelings,sentiments,andpassionsaliveinthepast.The

enactmentofthatpastthroughtherealmofbodilymovementcirculatesineveryattemptto

returnhome,ineveryfootmeticulouslyplacedbesideaknee,ineveryencounterwitha

fragilesaucer,ineverybodyclock,ineverychronotopeofexistence.

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ChapterFive

NotesTowardPerformingCriticalNostalgia:AReturnHome

Twobooks,twohomes.Itisfrommylocationwithinandbetweentwosocial‐

aestheticspaces–thehomeIcreatedformyselfinBatonRouge,Louisiana,andthehomeof

myyouthinColumbia,SouthCarolina–thatIwritethisdissertation.WhileinBaton

Rouge,IpurchaseandbeginreadingToniMorrison’snovelHome.ThestorytracksFrank

Money,aKoreanWarveteranreleasedfromserviceayearpriortothetale,ashetravels

fromthestreetsofSeattletohischildhoodhomeinLotus,Texas.Havingfoughtina

raciallyintegratedmilitaryunit,Frank’sreturntoasegregatedU.S.promptsfeelingsofloss

andconfusionregardinghisidentityandhome.Withtheendofmygraduatecareer

imminent,IfeellikeFrankinthatIam“nottotallyhomeless,butclose”(Morrison67).At

timesIcatchmyselflapsingintonervousinquiryregardingmyreturnhome,wondering,

“whosehouseisthis?”(Morrisoni)

OnoneoccasionaftermyreturntoSouthCarolina,Ispyasizablebookdisplayednot

farfromwhereIwriteatalocalbookstore.Thecoverisforestgreenwithalargetreeanda

titleembossedonthefront,creatingshinygoldimpressionsontheleathermaterial.From

myposition,Isquint.Thetitlereads,OurFamilyTree:AHistoryofOurFamily.Ithink,

“Whoisourfamily,andwhyisthisbookinthereferencesection?”Afterafewwork

sessions,mycuriositygetsthebetterofme,andIdecidetocheckoutthebook.Openingit,

Irealizethatthereisno“ourfamily.”Rather,thebookisfilledwithpagesandpagesof

blanklinesneatlyruledundergenealogicalprompts,suchas“Husband’sGenealogy”and

“Wife’sMother’sFullName”(OurFamilyTree5&11).Theblanksaremeantfortheuserto

fillinwithhisorherfamilyhistory.Lookingthroughthebook,Ipausetoquestionwhythe

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firstpageisamockmarriagecertificateandwhymosteverypagedisplaysdecorative

imagesofVictorianstyledwhitewomenandfamilies.Maybenotmyfamilyhistory,not

totally.Idrawcomforthoweverfromthepagesthatencourageamorecreativeand

anecdotalaccounting,suchas“FamilyTraditions,”“OralFamilyHistory,”and

“ExtraordinaryEventsWeHaveSurvivedandOvercome”(OurFamilyTree116,124,&

126).Beneaththeseheadingsareemptylineswaiting,callingtobewrittenon.

Twobooks,twohomes.Takentogether,thetwobooksandtwohomesunderscore

myexperienceengaginginandrepresentingmyresearch.Andtogether,theyhighlightthe

potentialforcriticalnostalgiaasamethodofscholarlyinquiry,asadeliberatepracticeof

personalandculturalremembering,asawayofrepresentingmemoriesofpast‐homes,and

asaperformanceaesthetic.Ilocatemybodyinthetugofwarbetweenthetwobooksand

thetwohomes,realizingthatactionisrequiredatbothsitesandthatcriticalnostalgia

requiresanactive,embodiedreturntoapasttimeandspace.

Withtheaformentionedideasinmind,inthischapter,Ireturntoandsummarize

thepriorchaptersinanattempttoreshapethemajorideasinanewspaceandtime.I

engageinthisdisplacedtransmissioninorderto:1)recollectmainconcernsinprior

chapters,pointingtoareasoffurtherresearchoutsidethescopeofthepresentstudy;2)

rearticulatetheideasbyplacingtheminconversationwitheachother;3)refunctionthem

viaadistillationoftheprojectofcriticalnostalgia;and4)reflectontheimplicationsofa

theoryofcriticalnostalgiaasitrelatestoperformance.

Recollect

InChapterOne,Itracetherootsandoriginsofnostalgiaanditscharacter,scope,

andfunctionasarticulatedinscholarshipfromdiversefields.InresponsetoNauman

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Naqvi’sclaimthatnostalgiashouldnotbeusedascritique,Iarguethatthehistoryand

usagesofnostalgiademonstrateitspotentialasacriticalanalyticofculturalphenomena

andasafruitfulsiteforperformancepraxis.Thechapterorganizesscholarshipon

nostalgiaintermsoftherecurringtopicsofnostalgiaasdisease,asembeddedinmaterial

items,asescape,asimpactingidentity,andasacomplexnarrativeofhome.Scholars

extendthesignificanceofthesetopicsbyaddressingthecharacterorquality,scope,and

functionofnostalgia.ThechapterintroducesthesitesofmemorythatIanalyzeoverthe

courseofthedissertation.ThesesitesarenostalgicperformancespracticedbyAfrican

AmericansinrelationtoaperceivedhomeandhomelandofAfrica.Themainargumentsin

thechapterare:1)nostalgiahasexperiencedshiftstowardsthemetaphysicalandaway

fromthecorporealbody;2)anycriticalinvestigationofnostalgiamustretainaconnection

totheideaofhomeaswellasthepast,apast‐hometobeprecise;and3)theoryon

nostalgianeedstobereturnedtothebodythroughtheanalysisofnostalgicacts.

Anticipatingquestionsthatunfoldinlaterchapters,Iaskmoreorlessexplicitly:intermsof

therecurringtopicsofdisease,embedded‐ness,escape,andidentity(aswellasapast‐

home),howdopeoplepracticeorperformnostalgia?Whatdotheyrestoreandwhatdoes

this“doing”tellusaboutnostalgiaandnostalgicperformances?Whatarethesimilarities

anddifferencesbetweennostalgiaandcriticalnostalgia?Andwhatistherelationship

betweennostalgiaandperformance,thebody,history,andmemory?

InChapterTwo,Idefineandapplyfourtypesofgenealogyinordertorevealand

analyzethenostalgicpracticesthereinandtotheorizecriticalnostalgiaasapotential

modelfordoingcriticalandperformancegenealogies.Guidedbythecentralquestionof

thechapter,“whereareyoufrom?”whichwasaskedofmebyamanImetintheCzech

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Republic,Iactivateandanalyzeseveralgenealogiesorancestralmappings.Iundertakea

criticalperformancegenealogytodescribeandanalyzeperformancesofpopularand

geneticgenealogyattwowebsitestargetedatAfricanAmericans,AfriGeneas.comand

AfricanAncestry.com.ApplyingJoeRoach’sprinciplesofperformancegenealogy,suchas

surrogation,kinestheticimagination,vorticesofbehavior,anddisplacedtransmission,to

thematerialonthewebsites,Irevealbodiesinscribedbyandinscribinganostalgichistory.

MybodyisincludedintheprocessasIdocumentmyexperiencesnavigatingthe

marketplacevorticesthatsellAfricabymeansofnostalgicappeals.Atthe“store”of

AfricanAncestry.com,IpurchaseAfricabysubmittingmyDNAtobetestedandlinkedtoan

Africancountryoforigin.Atthe“mall”ofAfriGeneas.com,Iamencouragedtotake

advantageofthecountlessresourcesforconstructingagenealogy,includingparticipation

inchatrooms,whereIfindalunchbunchofpopulargenealogistseagertooffermeadvice

andsupport.

ActingonthelessonsIlearnedatAfriGeneas.comandAfricanAncestry.com,Iexpress

theimportanceofcriticalandperformancegenealogiesremainingopentogenealogyas

popularlypracticed,whichentailsremainingopentothedrawofnostalgiaasapast‐home.

Activatingcriticalnostalgia,Iaskwhattypeofhomeiscreatedatthetwowebsitesand,in

response,isolatedifferentsensesofhome,homeland,andcommunity.Idemonstratehow

thesedifferentsensesareenactedthroughsurrogation(asmanifestedinkinesthetic

imagination,vortices,anddisplacedtransmissions)andarguethatnostalgiainpopularand

geneticgenealogiesisanactofcontinualsurrogation.Further,inthetwocasesthat

concernme,theperpetualsurrogationisinclinedtowardanethicofcareandrepair,

implementedbytheperformersinordertohealhistoricalrupturesofbirthandconnection

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or“origin”and“roots.”Inthisway,Iactivatecriticalnostalgiaintermsofitsethical

imperatives,arguingthatakeyaspectofpracticingcriticalnostalgiaistoattendtoorigin

androotsandquestiontheirimpactonidentity.Iarguethatperformancesofnostalgialive

inthecruxofthesequestions:fromwhencedoyoucome?And,towhatareyouconnected?

Inadditiontoaskingwhatkindofhomesandhomelandsaremarketedonthe

websites,itmightbefruitfultoturnthequestionslightlyandaskdoAfriGeneas.comand

AfricanAncestry.comfunctionashomesandhomelandsthemselves.Aretheysurrogatesfor

“Africa”orsomeotherplaceofhome?In“FindingOurWay(s):ATheoreticalModelfor

PerformanceStudiesandHomeplace,”ShaunaMacDonaldproposesthattherearefour

avenuesfortheactivationofhomeplaceinPerformanceStudies:1)homeplaceasevent;2)

homeplaceastext;3)homeplaceasdirector;and4)homeplaceasperformer.Below,I

drawonexamplesfromChapterTwotodemonstratehowthesecategoriesactivate

homeplaces.

Homeplaceaseventdealswiththe“ephemeralhomeplaces”thataredistanced

temporallyandperformedthroughpersonalandcultural“memoriesandprojections”

(MacDonald29).ThelongingsforAfricaashomeandhomelandexpressedonthe“Online

Community”pageofAfricanAncestry.comfallwithinthiscategory.Althoughthedistanceis

morespatialthantemporalandmoredigitalthanephemeral,Ialsofeeltheactivityof

chattingwiththelunchbunchonAfriGeneas.comisaperformanceeventthatarticulatesa

homeplace.ThisdigitalhomeplacethenislessofAfricaandmoreofthecurrent

participantsbuildinghomeplacethroughtheirmemories,projections,anddialogue.

Homeplaceastextrefersto“everydaynegotiations”thatconstruct“whogetstofeel

athomeandhow”throughperformance(MacDonald32).Onthetwowebsites,thedesire

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togainknowledgeofone’srootsisimperativetonegotiatinghomeandfeelingathomein

thegenealogicalcommunity.OnAfricanAncestry.com,thetestimonialsofthenotables,in

particular,operatetoimplywho,havingdiscoveredtheirAfricanlineage,is“athome”and

whoisnot.Onefollowsa“script”providedfor“(wouldbe)citizens”(MacDonald32).And

initiallyintendingtoattendthelunchbunchasaresearcherofthegenealogicalprocess,on

AfriGeneas.com,Iamcompelledbythelunchbunchto“talkthetalk,”i.e.,tofollowascript

ofpopulargenealogy.

Homeplaceasdirectordescribeshowperformancepractitionersengage“literal

places,sitesthatcandefinitelybeindexedonamap”(MacDonald35).Onesuchplaceis

theDoorofNoReturn.AscomposedonAfricanAncestry.com,thevirtualdoorfunctionsasa

metonymfortheactualdoorandtheslavecastleinwhichitishoused.Thishomeplace

functionstodirectthevariousperformersandtheirmovements,suggestingthey“fill

variousroles”(MacDonald35),suchascaptive,tourist,pilgrim,orguide.Atthesite

proper,performersaredirectedtocompletevariousactions,suchasduckingone’sheadas

theymovethroughthedoor.Further,asastoreandamall,thetwowebsitesdirecttheir

usersdifferently,resultingindifferentexperiencesofthemarketplace‐as‐homeplacethey

provide.

Homeplaceasperformerindicatestheabilityofplacestoperforminwaysthatare

not“completelyinert”(MacDonald37).Ashomeplaceperformers,AfriGeneas.comand

AfricanAncestry.comareembeddedwithanagency(anostalgicandaffectiveagency)that

allowsthemto“reachoutandgrabpeople”(MacDonald37).WhileAfriGeneas.comopens

thedoorandinvitesfolktoexplorethewebsiteontheirown,astheymightamall,

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AfricanAncestry.comtakestheuserbythehandprovidingasuccincttouroftheproducts

theyofferintheirstore.

MacDonald’smodelhelpsmeunderstandthewebsitesnotonlyasperformances

thatdirectuserstothedesiredhomeplaceofAfrica,butaspossiblesurrogates–displaced

transmissions–forthathomeplace.InfurtherextensionofMacDonald’smodel,itmightbe

helpfultoconsiderthebodyashomeplace;thatis,asaphysicalentitythatcarriesand

claims(inspace)ideasandpracticesofhome.WithrespecttoAfricanAncestry.com,the

DNAofbodiesholdsthekeyforestablishinghome,whichideallyisAfricaninorigin.At

AfriGeneas.com,thelunchbunchasksmequestionsaboutmylineage.Thenamingofblood

tiesfunctionsasthesourceandactivityofplacingmeinmyhome,anditalsobuildsa

communitybetweenus,i.e.,byoursharinginformationaboutlineage.Ingeneticgenealogy

andpopulargenealogy,ifthereisnobody,thereisnohome.

Bodyashomeplaceextendsalsotothephysicalingestionofhome,throughthe

intakeoffoodorsmells,forexample,andtootheractivitiesthatmakehomethroughthe

body.Tosay,“Ifeelathome,”impliesbothanabstractsenseofcomfortinrelationtoone’s

environmentandthephysicalsensationofthebodysettledandrestedinspaceandtime,as

ifawellmadehousewithagoodfoundation.Bodyashomeplacearisesinthesentiments

ofJudithBroomewhenshewrites,“weresideinourbodies”(Broome17),orTamiSpry

whensheargues,“Weliveinourbodies,learnaboutself,others,andculturethrough

analyzingtheperformancesofourbodiesintheworld”(Spry165).Bodyashomeplace

fulfillsSoyiniMadison’scalltoexperienceourbodiesashomesthatweshouldopenupto

others.Shewrites:

Wemustembracethebodynotonlyasthefeeling/sensinghomeofourbeing–theharborofourbreath–butthevulnerabilityofhowourbodymustmovethroughthe

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spaceandtimeofanother–transportingourverybeingandbreath–forthepurposeofknowledge,forthepurposeofrealizationanddiscovery.(Madison,“DangerousEthnography”191;emphasismine)

Thebodyashomeplacehousesthepotentialfortherealizationanddiscoveryofhistoriesof

nostalgiaasgroundedinthebody,familystoriesofreturnandconnection,originandroots.

InChapterThree,ImobilizetheSankofaproverb,“returnandtakeit,”byassociating

theproverbwithitscolloquialcounterpart,“gobacktoyourroots.”Buildingonideasof

home,homeland,andcommunity,originandrootsasestablishedinChapterTwo,Idescend

furtherintothebodyofresearchIamsubjecttoandthebodiesrepresentedthereby

enteringthevortexoftheElminaslavecastle.Iuseacombinationofgenealogicalpractice,

includingclosetextualanalysisandpersonalnarrative,toanalyzehownostalgiaoperates

inavideoandactualtourofthecastle.

Theironiesandoppositionsthecastleengendersillustratethecomplexityof

nostalgiaasaphysical,emotional,rhetorical,andpoeticdevice.Drawingontheworkof

EdwardBruner,IdescribefourironiesthatariseatElminaCastle:1)ancestralsadnessand

pride;2)foreignnessandfamiliarity;3)differingsensesofhome;and4)theambiguityof

return.Asaresultofexperiencingtheseironiesinjuxtapositionwiththeoppositional

rhetoricusedintheofficialnarrativeofthesite,Iexperiencemybodyasnervous.This

nervousnessrepresents,inpart,themeetingoftraumaandnostalgiainthespaceofthe

castle.

Bymeansofmyanalysis,anactofcriticalnostalgiafinally,Iemphasizetherole

affectandaestheticsplayinrepresentationsofhistoryandmemory,particularlythoseofa

painfulpast‐home.Iconcludethatrevisitingourmemoriesofapasttraumathrough

kinestheticimaginationrendersquestionsofauthenticityirrelevantandillustratesthe

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generativepotentialofnostalgia;generativebecauseitisthroughanaestheticofreturn

(i.e.,revisitingthewound)thatanoscillatingfieldofspaceandplaceisgenerated.In

ElminaCastle,anarrayofnarrativesencouragesonetolocateorplacetheirbodyin

relationtowhattheyexperience(toknowtheirplace,asitwere).Conversely,thesame

narrativesoperatetodisplacethebody,propellingitintothespaceofever‐shifting

historiesandmemories.

Onewaypeopleareplacedisthroughtheoppositionalrhetorictheguidesusetotell

theofficialnarrativeofthecastle.Recalltheexampleoftherapedfemalecaptiveswhoare

usefultothenarrativeonlyaslongastheyofferaclearoppositiontotheslavetrader.Once

theybecomepregnantandbearraciallymixedchildren,theyareexcisedbythetelleras

“insignificant.”Astorythatisexcludedcompletelyfromtheofficialnarrativeconcerns

“domesticAfricanslaveryandanearlierperiod(1400‐1600)ofArabslavetradingacross

theSaharatotheMiddleEastandtheMediterranean”(Bruner295).Thesehistories

troubletheblack/whiteoppositionbyintroducingotherracialandregionalactorsintothe

vortexofslavetrading.Brunerendshisessaywithaseriesofoppositionsimplicittoall

castlesandareflectiononthepoliticsofstorytellingandpower:

Bytheirverynature,castlesaredominantlocalitiesthatdefineboundaries,thattelluswhohastherighttobeinsidethecastle,withinthecenterofpower,incontrol,andwhoisoutside,ontheperiphery.Castlesareadynamicpresence,placesthatproducemovementbetweenhomeandabroad,sitesfortheconstructionofnarrativesoftimeandnarrativesofspace.Oldcastleshavelonghistories,storiesofcombatandbattle,honoranddegradation,beautyandcruelty,civilizationandbarbarism.Whoownsthecastles?Whohastherighttotelltheirstory?(Bruner302)

Continuedresearchmightrevealthewaysinwhichpeopleandstoriesexcludedfromthe

officialnarrativeofaplacefindwaystoworkthemselvesbackin,thewaystheyperform

return.

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AnaestheticofreturnisatworkintheformaswellasthecontentofChapterThree,

andthustheideaofreturnanditsmannerofrepresentationmeritsomereflectionhere.

Discussingbasiccompositionforms,RuthLaurionBowmanandMichaelBowmanobserve:

Poetryisbasedonamodelofreturn,goingback,beginningagain(poetryiscomposedin“verses,”fromtheLatinversus,whichmeans“return”)whereasthecommonspeechofdramaandnarrativeisbasedonamodelofmovingforward,proceeding,continuingon(prose,fromtheLatinprosus,whichmeans“moveon,continue.”(R.BowmanandM.Bowman,HandbookforPerformanceComposition).

Itisfitting,then,thattheoverallformofChapterThreeispoeticinthatIinterweave

recurringdiscourses,therebycreatingacollageofconstantreturnandrevision.Itismy

hopethattheformactivatesasimilaraffectiveexperienceforthereader.Afruitfulventure

forfutureresearchwouldbetoputnostalgia,poeticforms,andaffectiveexperienceintoa

morecomprehensiveconversationthanIhavepursuedhere.

Anotheravenueforfutureresearchwouldbetodevelopavocabularythatwould

helptotraceandtheorizetherangeofaffectiverelationstohome,topast,andtopast‐

homes.AsEveSedgwickpointsout,“Affectscanbe,andareattachedtothings,people,

ideas,sensations,relations,activities,ambitions,institutions,andanynumberofother

thingsincludingotheraffects.Thusonecanbeexcitedbyanger,disgustedbyshame,or

surprisedbyjoy”(Sedgwick19).InChapterThree,Ifocusprimarilyonthebitterandthe

sweetofnostalgia,butnodoubttherearegradationsIhaveyettodiscoverandexpressing

afullrangeofaffectswouldaddcomplexitytomyunderstandingofnostalgia.Nonetheless,

inthiscase,Icipheredmybittersweetexperiencethroughthemetaphorofnervousness,

aimingtofindanexpressionandformthatwouldcapturethephysicalaswellasemotional

affectofbittersweet.Inheressayon“PerformativeWriting,”DellaPollockexpresseswhat

sheseesasthesimilaritiesbetweencorporealandtextualnervousness:

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Performativewritingisnervous.Itanxiouslycrossesvariousstories,theories,texts,intertexts,andspheresofpractice,unabletosettleintoaclear,linearcourse,neitherwillingnorabletostopmoving,restless,transientandtransitive,traversingspatialandtemporalborders...[Performativewriting]followsthebody’smodel:itoperatesbysynapticrelay,drawingonechargedmomentintoanother,constitutingknowledgeinanongoingprocessoftransmissionandtransferal,findinginthewide‐rangingplayoftextualityanurgencythatkeepswhatamountstotextualtravelfromlapsingintotourism,andthatbindsthetravelerto/his/hersurgingcourselikeanelectricalchargetoitsconduit.(Pollock90‐91;emphasisinoriginal).

Pollock’sdescriptionperformsastyleofwritingthatisindicativeofnervousmovement.

HerarticulationofperformativewritingdrawsonnotionsofthegrotesqueandFoucault’s

practiceofcriticalgenealogy,bothofwhichareinterestedinentangledhistorieswritten

ontothebody.Sheargues,“Genealogywritesabodyalwaysalreadywrittenbyhistory”

(Pollock91).Asenactedbymy“alwaysalreadywritten”nervousbody,criticalnostalgia

writesabodythatisnever,notreally,easytowrite.

InChapterFour,Iperformedanaestheticofreturn,ascendingingenealogicalterms

tothestageofthedissertationtostagetheforcesatworkinmywritinganddirectingof

CopiousNotes:ANostalgiaTale,whichwasbasedingoodpartonmyexperiencesinGhana.

Todescribeandanalyzetheforces,IdrewonMikhailBakhtin’stheoryofthechronotope,

whichIalignedwithRoach’svortexasitoperatesingenealogicalpractice.Iforegrounded

threechronotopesinmyanalysis,thedramatic,projection,andmovementchronotopes.In

CopiousNotes,theinteractionofthesechronotopeswiththeparticularmaterialgiveriseto

agrotesqueperformanceofcriticalnostalgia.

Intheplay,IamconcernedwithquestionsofAfricanAmericanidentityandthe

authenticityofexperienceinregardstotheprotagonist’svisittoandviewofAfricaashome

andhomeland.Iaminterested,too,innostalgiaasacriticalactandperformancepractice

inboththefictiveandtheatricalrealitiesoftheplay.AlthoughAmbihasreturnedtowhat

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sheperceivesasherplaceoforigin,sherunsintotroublefindingconnectionsorrootsin

Ghana.And,althoughshemeetsarangeofcharactersthatimpactherexperiencein

significantways,sheremainsanawkwardoutsider.Ambi’sguidingchronotopeof

“outside”isplacedindynamicjuxtapositionwiththe“inside”chronotopeoftheNarrator

andthe“trans”chronotopeoftheCommentator.

DrawingonBrecht’stacticofalienation,Idiscussthewaysinwhichthedramatic

actionofAmbi’sjourneyisinterruptedbythemovementandprojectionchronotopes,the

effectoftheinterruptionpromptingtheaudiencetocriticalthought,kinestheticimagining,

andco‐creativity.Tosupplementhowcriticalnostalgiaoperatesintheplay,Iprovide

insightontheprocessofcomposingthepiece,drawingonthepracticesofConstantin

Stanislavski,AnneBogart,andSusanHarbagePage.Inconcertwiththecontentand

chronotopesoftheplay,theuseofthesemethodsresultsinagrotesqueaestheticof

nostalgia.

While,inChapterThree,theoscillationbetweenspaceandplaceisfeatured,in

ChapterFour,timegainsequalprominenceduetomyuseofthechronotopeasamethodof

compositionandanalysis.InNostalgia:SanctuaryofMeaning,JanelleWilsonconsiders

placeandtimeinherresponsetoJanMorriswho“raisestheissueofwhethernostalgia,as

itisexperiencedtoday,relatesmoretoplaceortime”(Wilson22;emphasisinoriginal).

Wilsonarguesthat,overtime,therehasbeen“ashiftfromlongingforaparticularplaceto

longingforaparticulartime”(Wilson22).Theshiftoccursbecausepeopleassumethey

canreturntoaparticularplacebutnottoaparticulartime,whichresultsinalongingfor

thattime.WhileWilson’sstudyraisesanintriguingquestionregarding“why”thenoted

shiftoccurred,sheappearstotreattimeasanatural(forwardmoving)phenomenonrather

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thananabstractionpeopleconstructindifferentways.Ialsoamtroubledbythe

theoreticalandpracticalseparationoftimeandspacewithregardtonostalgia.Itis

important,Ibelieve,totheorizetimeandspaceastheyunfoldtogether,asHenriLefebvre

doeswhenheremindsus:

Whenweevoke“space,”wemustimmediatelyindicatewhatoccupiesthatspaceandhowitdoesso:thedeploymentofenergyinrelationto“points”andwithinatimeframe.Whenweevoke“time,”wemustimmediatelysaywhatitisthatmovesorchangestherein.Spaceconsideredinisolationisanemptyabstraction;likewiseenergyandtime.(Lefebvre12)InChapterFour,Iillustratethewaysinwhichtimeandspacearecoterminousby

highlightingbodiesastheynavigatewithinandbetweenchronotopes.Forinstance,the

dramaticchronotopeisconstitutedbyfictiveandtheatricalrealities,whicharedistinct

fromeachotherpreciselybecauseofhowtheycomposebothspaceandtime.Shouldwe

omitconsiderationofoneortheother–forexample,shouldweconsiderthereturnof

AmbitoAfricaintermsofspaceonly–wewouldlosethedynamicofAmbireflectingonher

experiencesandthedynamicoftheperformerKimshapingthosereflectionsforthe

audienceinthetheatricalreality.ThenostalgicreturntoAfricawouldbeunderstoodin

termsofthe“inscene”fictiverealityonly,whichdoesnotcapturetheexperienceof

nostalgiaandcertainlynotacriticalone.

AnotherissueofchronotopesconcernsAmbi’spositionofbeing“outside”spaceand

time.While,intheplay,thepositionappearstobenegativeinmanyways,itisaposition

laudedinsomecriticaltheories,suchasBakhtin’sviewoftheoutsideauthor.Also,in

feministstandpointtheory,theoutsideposition,howevermarginalized,isoneofsuperior

knowledgeandexcesssight.hookswrites:

Asaradicalstandpoint,perspective,position,“thepoliticsoflocation”necessarilycallsthoseofuswhowouldparticipateintheformationofcounter‐hegemonic

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culturalpracticetoidentifythespaceswherewebegintheprocessofre‐vision.(hooks145)

Theoutsidethencanbeaplacefortheorization,forcareandrepair,andforarticulatinga

selfsilencedelsewhere.Inadescriptionofself‐reflexivewritingstyles,Kuhnspeaksofthe

socialimportanceofthosewhowritefromoutsidetheprevailingpositionsofpower.Her

sentimentsarticulateAmbi’spositionandmyownasablackfemaleauthor:

Isthereaconnectionbetweenself‐reflexivewritingbycontemporarysocialistandfeministintellectualsandanoldertraditionof“outsider”lifestories,narrativesproducedbymembersofsocialgroupswhosestorieshavetraditionallybeenuntold,hiddenorsilenced?Howdolifestories“frombelow”–bywomen,byformerslaves,byworkingclassmenandwomen,forexample–handletherelationshipbetweenlifeevents,thenarrationoftheseevents,andthenarratingsubject?Significantly,forsuch“outsider”autobiographersbeingasignificantagentworthyoftheregardofothers,ahumansubject,aswellasanindividuated“ego”foroneselfisnotnecessarilyeasyortobetakenforgranted,andthesewritersalsotendtoshunthe“greatI”ofconventionalorbourgeoisautobiography.(Kuhn150‐151)

Writingfromaplacethatisautobiographicalinpart,inCopiousNotes,Iclassifymywriting

asarevisionisttask,andIaskalongwithKuhn:

Canaquestioningofbourgeoisorpatriarchalnotionsofidentityandadesiretoredresssocialandhistoricalinjusticesbereconciledinautobiographicalwriting?Ifso,how?Revisionistautobiographycertainlyattemptssucharapprochement:usuallybyinsisting,withinthewritingitself,onagapbetweenthe“I”thatwritesandthe“I”(orperhapsbetterthe“me”)thatiswrittenabout;sometimesbydrawingexplicitlyonformalbodiesofknowledgeortheoriesasframeworkswithinwhichtoexplore“I”orthe“me,”anditsplaceinhistory,itscontingency.(Kuhn151)

AsallthecharactersinCopiousNotes,includingthenotesprojectedonthescreen,are“not

notme,”Iconstructanautobiographical“I”thatrealizesKuhn’saims.Intheplay,my

personalpositionandviewsarenottakenforgrantedasgivens,butratherpulledapart

intomultiplecharactersjuxtaposedindiversechronotopes,andthereby,theconstitutionof

the“greatI”isquestioned.

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Wilsonarguesthatnostalgiais“notsimply‘livinginthepast,’butratheranactive

engagementwiththepast,andajuxtapositionofpastandpresent”(Wilson157).Overthe

courseofandacrossthepagesofthisproject,Ihopetohaveexpandedtheideaofnostalgia

toapointwhereitisfullycontextualizedasalivingexperienceofthebody.Ihopetohave

capturedbothitsphysicalandmetaphysicalqualities,theorizeditspotentialintimeand

space,andachievedaneffectiveandaffectivejuxtapositionofpastandpresentbyresisting

theurgetolocatenostalgia’spowerinthepresenttense.ButIalsorealizethatthereisstill

much(memory)worktodo.

Rearticulate

Iintroducedthisconcludingchapterwithastoryabouthowtwohomesandtwo

booksframemyresearchandwritingjourney.But,withrespecttothecontentofthis

dissertation,thehomesandbooksstretchbeyonddescriptorsofmyresearchexperience.

Theyanticipatemynextmove,whichistoplacethechaptersinconversationwitheach

otherinordertoarticulatetwosocialaestheticspacesthatundergirdmyresearch,namely,

thedomesticspaceandtheacademicspace.Below,Iextendtheideasofspace,time,and

bodysetdowninpriorchaptersinordertoconsiderthenotedspaces(andtimes)more

generally.

Adomesticspaceisinoperationacrossthepagesofthisproject.Thehandlingof

domesticitemsinCopiousNotes,thesiteofwomen’sbodiesatElminaCastle,andthe

genderedexperiencesofgenetictestingareexamplesthatenactandchallengethe

domesticspace.TheMotherVoicethatresidesinAmbi’shead,avoicethatgroundsAmbi

literallyandfiguratively,exemplifiesthisspace.ThedomesticisseenalsoinKim’sactions

assheputsthesaltandpeppershakerstobedandshushesateapot,homedefinedhereby

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theactionsofawoman’sbodyinspaceandtime.Thefemalebodymovesinrelationto

objectsembeddedwithnostalgia,itcreateshomeplacesthatcomplicatenotionsofprivate

andpublic,sacredandprofane,anditutilizescriticalnostalgiaasamethodoffeminist

resistanceandcritique.

TheactorsinCopiousNotesnavigateanenvironmentofhomethings,itemsthatare

embeddedwithnostalgiaandinferthesensibilityandactivitiesofthedomesticspace,

alludingtotheworkofwomenpreparingfood,launderingclothes,rockingachildina

chair.Theseactivitiesconnectwomen’sbodiestotheactivitiesofkeepinghouseand

makinghome,workingwiththebodytocareforotherbodies.Ashooksrecalls,“inour

youngmindshousesbelongedtowomen,weretheirspecialdomain,notasproperty,butas

placeswhereallthattrulymatteredinlifetookplace–thewarmthandcomfortofshelter,

thefeedingofourbodies,thenurturingofoursouls”(hooks41).

Thedomesticspacehasbeenconceivedofasasacredplaceaswell,especiallyinthe

U.S.inthenineteenthcentury,whenadividewasconstructedbetweentheprofanepublic

sphereoflaborandcapitalgainandthesacredprivatesphereofthehome,wherewomen

sawtothespiritualeducationoftheirfamilieswhilemanagingtheirhomeeconomy

efficientlyandtypicallyinvisibly.In“Domestic(ating)Excess:Women’sRolesinUncle

Tom’sCabinandItsAdaptations,”RuthLaurionBowmanpointsouthowStowefashioned

Rachel’skitchenasanexampleofthedomesticideal,Rachelmanagingtorunherkitchen

effortlesslywhilealsocaringforrunawayslaves.Inthisway,“domesticityfunctionedasa

counter‐balance,apurgativeandperhapsevenanapologia,tothe‘profane’businessof

makingmoneyinthepublicsphere”(R.Bowman,“Domestic(ating)Excess”117).Writing

aboutthenostalgiaintheeighteenthcentury,Broomeargues,“thefemalebody,especially,

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becameanobjectoffascination,investedwithnostalgiaforsomeimaginarycoherenceand

assignedtheburdenoftraditionandredemption”(Broome156).Takentogether,for

BroomeandforBowman,“thedomesticprojectwasasiteofbothhegemonyand

resistance”(R.Bowman,“Domestic(ating)Excess”117).

Inpenningthedomesticspaceinthechaptersofthisstudy,thedoubleoccupationof

hegemonyandresistanceisevident.HegemonyarisesinthelyricalopeningtotheElmina

Castlevideowhenit“welcomeshome”theviewerandinthenostalgicclichéswhenAmbi

recallsher“mom…servingheranicehealthyplate”offood.Resistancemaybereadinmy

stagingoftheprivatespaceonstage,inframingthehomeforpublicconsumptionbyan

audience,andinlocatingthehomeasasiteofacademicenterprise.Icritiquetheconcept

ofhome,joiningWilsonwhoqueries,“Followingtheoriginaldefinitionofnostalgiaas

extremehomesickness,weshouldposethequestion:Whatishome?”assertingultimately

that“‘home’couldverywellneedaredefinition”(Wilson32).Throughmydiscussionof

originandroots,Iseektotroublehomeanditsrelationtonostalgia,asMorrisondoes

whenshewritesinHome,“Thishouseisstrange./Itsshadowslie./Say,tellme,whydoesits

lockfitmykey?(Morrisoni).Here,Morrisonquestionstheassumedstabilityofhome,

expressingdoubtandquestioningwhereagencyliesintheactofreturninghome.The

poeminfersthattherearetimeswhenwedonotpositionourkeyinthekeyhole,ratherthe

keyholesummonsourkeytoenterin.

Acrossthesitesofmemoryinthisstudy,women’sbodiesenactandtrouble

conceptsofhomeandnostalgia.VisitorstoElminaCastle,insearchoftheirrootsoralost

home,areconfrontedwithnarrativesofwomen’ssuffering.Thetourguidetellsthestory

ofAfricanwomenbeingrapedusingaseriesofoppositions.Thewhitemalegovernor

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selectsablackfemalecaptive.Sheistransformedfromdirtytoclean.Sheisbroughtup

fromthedepthsofthedungeonstotheheightsofthegovernor’schamberswhereuponshe

israped.Ifthewomanisimpregnated,sheismovedtoaplaceoutsidethewallsofthe

castle.Thislattercontingencyaddscomplexitytothenarrativeofcastleashome,

homeland,and(metaphorical)domesticspacebydeconstructingthenotedoppositions,

insertingthepromiseofanewanddifferentlife,conceivedviolentlybutintroducingthe

possibilityofescape.

InheranalysisofEuropeanwomen’snarrativesofAlgeriaandKenya,Patricia

Lorcinargues,“Theusualanalysisofnostalgiaasalongingtoreturnhomecanbe

complicatedbyrethinkingtheconceptinrelationtonotionsofspaceandtimeandtheiruse

inwomen’spersonalstrategies”(Lorcin2).TheartworkofSusanHarbagePageprovides

examplesofLorcin’spoint,demonstratingcompositionsthatdefamiliarizethelongingfora

past‐home,thehomeplace,andwomen’srelationshiptoboth.Inherexhibition,Postcards

fromHome,PagedisplaysaseriesofphotographsofpeoplewearingKKKgarmentsmade

outoffloralprints,velvet,seersucker,camouflage,denim,anddelicatelace.Thesubjects’

eyespeerthroughcutoutsinthevariousfabrics.Insomeshots,thegarmentsconcealonly

thefacesofmen,women,andchildren.Inothershots,mostofthebodyiscovered.Intwo

photographsthefeetareexposed;amanwearsgymshoesandawomanwearscozysocks.

Inherphotos,Pagedrawsonthebeautyandseemingneutralityoffabricsandtheir

crafting,i.e.,shedrawsondomesticity,tostagehercritiqueoftheKKK,askingwhatlies

beneaththeinnocentsurfaceofourhomeandbodies?

EchoingPage’saesthetic,inMovementSequenceIIofCopiousNotes,Iselected

commonobjectsofhome–table,tablecloth,dishwareforateaparty–andde‐and

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reconstructedthemthroughmovement.Thechoreographyconsistedoftheperformers

removingtheitemsfromthetableandfiddlingwiththem,awomanmountingthetableas

ifitwereabedandgatheringthetableclothbetweenherlegs,wringingitasifitwerea

dishragandwindingitintoarope,afterwhichshedismountedthetableandwiththeother

performersrestoredthedishwaretoitsproperplaceonthetable,“aplateatopatable,a

sauceratopaplate,ateacupatopasaucer.”Thewoman’sbodytroublednotionsof

domesticity,interminglingimagesofdaintyteapartieswiththoseofdanger,sexual

abandon,andpleasure.

InherreviewofCopiousNotes,DanielleDickMcGeoughobservesthat“theterm

domesticitycanbebroadenedtoincludetheprocessofdomestication,whichentails

conqueringandtaming[whatisperceivedtobe]wild,natural,andalien”(McGeough1).In

theplay,Ambiattemptssuchdomesticationwhenshenotices“apieceoftrashonthe

ground…picksitupandtossesitaside,”remarking,“Youwillnotpollutemyfantasy!”

AnotherexampleofdomesticationisDNAtesting,whichtakesbiologicalmaterialand

codesitintosequencesthatscientistscancategorizeandanalyzeforvariouspurposes,

suchasmakinggenealogicalconnections.Ofcourse,theacademydomesticatesknowledge

bydividingitintodisciplineswithdistinctdiscourses,theories,andmethods.

Mymovetodomesticationintheacademyintroducesthesecondsocialaesthetic

spaceoperatingatthecruxofmystudy,namely,theacademicspace.InCopiousNotes,the

academicspaceisexemplifiedbytheProfessorVoicethatAmbihears,biddingherto

“captureaccuratelyasmuchasyoucan”andto“writeaboutanythingandeverything.”

Whereasthemaincomponentofthedomesticspaceisthewoman’sbody,themain

componentoftheacademicspaceisone’sclaimtoknowledgethroughrepresentation.

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HowdoIrepresenttheknowledgeIcollect,andwhatdoIdoaboutthatwhichIcannot

represent?

ProfessorVoicetellsus,“donotbeafraidofbeingbiasedorignorant”andto“accept

thatyouareinfinitelybiasedandinexorablyignorant.”Intheacademicspace,thisisa

difficulttaskindeed.Infact,itisuponandagainstthefearof“beinginfinitelybiasedand

inexorablyignorant”thatItellmystoriesandwriteupmyresearch.Itryto“capture

accuratelyasmuchas[I]can,”andto“writeaboutwhat[I]see,what[I]hear,howitmakes

[me]feel.”Thisisthevoice,withinandwithout,thatIrespondtowhenIsubstantiatemy

methodsandemphasizetheculturalsignificanceofmypersonalstories.ThisiswhyI“take

notes”andwhyItaketheminthewaysIdo.

Duetothehighlycodifiedrulesoftheacademy,capturingandrepresenting

knowledgerequiresthesuccessfulapplicationofcertain“formal,representational

grammarsandprotocols”(Hamera73)thataremoreakintothelanguageofmy“books”

thanthelanguageofmy“home.”Mystruggletomastertherequisitegrammarsand

protocolsundergirdsbothmywrittenandperformanceresearch.Ashooksnotes,

“Languageis…aplaceofstruggle”(hooks146).Thewordsbelowspecifythis“place”and

speaktomysentimentsabove:

IhavebeenworkingtochangethewayIspeakandwrite,toincorporateinthemanneroftellingasenseofplace,ofnotjustwhoIaminthepresentbutwhereIamcomingfrom,themultiplevoiceswithinme.Ihaveconfrontedsilence,inarticulateness.WhenIsay,then,thatthesewordsemergefromsuffering,IrefertothatpersonalstruggletonamethatlocationfromwhichIcometovoice–thatspaceofmytheorizing.(hooks146)

Likehooks,muchofmyperformedscholarshipemergesinspaceandtimeas

confrontationswithin/articulateness,orsilence,pregnantwithwhatHarryElamrefersto

asthe“productiveambivalence”oftheblackbodyinperformance(Elam289).Heargues

195

thatblackperformerscancallupontheproductiveambivalencethatariseswhenablack

bodystepsonstageasawaytoinvestigatemeaningsofblackness.Thisinvolvestheblack

performerinthreeways,asa“realperson,”atheatricalrepresentation,andasocial‐

culturalconstruction(Elam289‐291).IcalltheproductiveambivalenceIexperienceasI

representmyvoicethroughperformanceandwriting“in/articulateness,”“silence,”and

“struggle”forasimplereason.Itisdifficulttofindlanguagetoinvestigateblacknesswhen

performingbeforeapredominantlywhiteacademicaudience.

Laboring,forinstance,tobringcriticalandperformancegenealogymoreintouch

withthevoicesandbodiesthatdopopulargenealogies,Ihaveattemptedtodemonstrate

ratherthandownplaythewaysinwhichblackbodiesfigureinthespaceandtimeof

academia.Althoughattimesthestruggleinspiresmeandattimesthesilencedebilitates

me,Itrytoexpresssuccessfullythewaysinwhichmybodyintheacademicspaceisbotha

siteofgenderedandracialexperimentationandasitebeyondrepresentation;theways

thattheblackbodyisbothlaboratoryandlabyrinth.

Refunction

Asayoungscholarofmemory,performance,andtheblackDiaspora,Iamindebted

tothetheoreticalandpracticalworkofscholarswhocamebeforeme.Borrowingfrom

scholarshipintheareasofPerformanceStudies,CriticalCulturalStudies,MemoryStudies,

AfricanAmericanStudies,andDiasporaStudiesisachallengeandajoy.TheresearchI

haverecollected,rearticulated,andrefunctionedhereunderwritesthetheoryofcritical

nostalgiaandhelpsmetoputthe“critical”intheterm.

Below,IdrawonthenotesprojectedduringCopiousNotestooutlinepointsIfind

importanttothetheoryofcriticalnostalgiaasitrelatestoperformance.Icallthesepoints

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“notes”towardperformingcriticalnostalgiatoinferthecomplexityofwhatinformsthe

briefstatementsandsoasnottoforestall,toanticipateactually,thecontinued

developmentofthetheory.

1. Performancesofcriticalnostalgiamustbecritical.Thatis,performancesmust

implyanattitudeofinquiryandevaluationtowardapast‐homeanda

willingnesstonegotiateeventswithintheaestheticrealm.Performancesof

criticalnostalgiamustinvokeapast‐homecreativelyinordertoengageand

challengeitsmakeupandmannerofrepresentation.

2. Performingcriticalnostalgiainvolvesthe“stuff”ofthepastandthe“stuff”of

home.Itusesthepastandvariousarticulationsofhomeasrawmaterialfor

imaginativeenterprise.Performancesofcriticalnostalgiarelyonan

understandingofpastandhome,noteitheror.

3. Criticalnostalgiaprovidesuswithacomplexvocabularyfordiscoveringhome

bymeansofunderstandingthecomplexitiesofhome,homeland,and

community.Italsoexplorestheideaofhomeplaceasevent,text,director,

performer,andbody.

4. Criticalnostalgiaisthepracticeofcriticalgenealogy,withaspecificationof

homeandaninclinationtowardtheinterrogationof(historical)originsand

roots.

5. Performingcriticalnostalgiaembracesthehistoricalconsciousnessof

performancebutdoesnotdenyaffectandemotion.Instead,itencourages

insightandinducesquestionsregardingregisters,qualities,andfunctionsof

affectivememory.

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6. Performingcriticalnostalgiarequiresthenegotiationandco‐experienceof

individual(personal)memoryandcultural(social)memory.

7. Criticalnostalgiaperformsanethicofcareandrepair,miningpast‐homesfor

injuriesandenactingcurativemeasures.

8. Performingcriticalnostalgiainspiresustoquestionmodernistnarrativesof

progressandpresence.

9. Performingcriticalnostalgiaenhancestheconceptofnostalgiaasa

metaphysicalstatebyconcretizingitintheactofperformance.Performing

criticalnostalgiaassumestheexistenceofandutilizesthenostalgicact.

10. Performingcriticalnostalgiaimpliesaconsciousnessofthebodyandutilizes

body‐ideasascreativetools.Bodyconsciousnessincludesactsofreflexivity,or

ideasabouttheroleofself;reflecting,orideasthatemergefromactiverecallof

thepast;andreflection,orideasaboutwhatthepastmeansforbodiesinthe

world.

11. Performancesofcriticalnostalgiaoftenembraceanaestheticofreturn.This

aestheticinvolvesthekinesthetictransmissionorthepoetic(re)visitationof

past‐homes.

12. Criticalnostalgiaisinterestedintherelationsoftimeandspacegenerallyand

thereforeisnotindebtedtothepresent;itresiststheurgetoplacenostalgia’s

criticalpowerinthepresenttense.Criticalnostalgiaasks:Ifwearguethat

performancehastheabilitytoliftusoutofthepresentandintoanotherplace,

whycan’tthatplacebethepast?Whycan’twerevelorlingertherefora

secondandtinkerwiththings,makethemright?

198

Reflect

WhenAfricaisregardedasapartoftheculturalandpoliticalhistoryoftheAfricanDiaspora,itisusuallyrecognizedonlyasanorigin–asa“past”totheAfricanAmerican“present,”asasourceofcultural“survivals”and“retentions”intheAmericas,asanessence“preserved”incollective“memory,”asthe“roots”ofAfricanAmericanbranchesandleaves.(Matory157)

ItiswithandagainstthewordsofAfricanAmericanStudiesscholarJ.LorandMatorythatI

offerthisprojectasauniquechallengetothepowerdynamicsofwhichhespeaks.These

dynamics,whichresultultimatelyintheabstractingandessentializingofAfrica,bearoutin

termsofaffectiverelations,timeandspace,theroleofthebody,andideasaboutorigins

androots.Matory’swordsalsoimplyalackoformisuseoftoolsforinvestigatingthe

relationshipbetweenAfricaandherDiaspora.Withthisproject,Iseektounpackaffective

relationstohistories,herstories,andmemories.Iendeavortoaddcomplexitytoissuesof

timeandspacebyenactingthiscomplexityasitoperatesonline,onthebody,andonstage.

Iworktohighlighttheexperiencesofthecorporealbodyasopposedtoso‐called

“survivals,”“retentions,”or“essences.”Iventuretowardtheexpansionoforiginsandroots

inrelationtoidentitysuchthattheyoperatenotonlyasmetaphorsbutalsoasactivitiesof

culturalmemory,activitiesthatcanandshouldbeinterrogatedratherthanvalorized.

Finally,Iofferamethodofscholarlyinquest,apracticeofmemory,ameansfor

representingmemoriesofpast‐homes,andacompositionalaesthetic.Inamethismethod

criticalnostalgia.Itismyhopethatcriticalnostalgiainspiresvariedperformances,which

thenwillgivebirthtomorememories.Ihavepracticedthismethodacrossthepagesof

thisprojectandwillcontinuetoimaginemorewaysthatmemoriesact.Or,asbellhooks

mightputit,Ireflectonthetypographyofthisproject,tracingthe“memoriesofold

199

conversationscomingbackagainandagain,memorieslikereusedfabricinacrazyquilt,

containedandkeptfortherightmoment.Ihavegatheredandremembered”(hooks115).

Asahopetohaveillustratedthroughthisstudy,criticalnostalgiadoesnotworkin

isolation.IagreewithBakhtinthatco‐creativityrequiresaninvitationtodoperformance

togetherwiththereader,thelistener,theaudience.Asallperformancesarenotdonein

harmony,ortothesametune,Ianticipatemoremovementsofnostalgia.Ihopetohave

initiatedor,moreaptlyperhaps,shakenuptheconversationforPerformanceStudies,for

AfricanAmericanStudies,forCulturalStudies,forDiasporaStudies,forMemoryStudies,

forthestudyofmyselfandmymultiplepositionsasIattempttoreturnnostalgiatothe

homeof(my)bones,(my)body,fromwhenceIfeel,remember,theorize,withyou.

200

Epilogue

WeekspassasIawaittheresultsofmyDNAtestfromAfricanAncestry.com,and

duringthistime,Ioftenthinkaboutwhatthetestmayreveal.Whathavebecomeofmy

cottonswabs,thefuzzysurrogatesIsentinplaceofmybody?Whatdothemagicalelves

haveinstoreforthem?Whatprocedurewilltheyusetoextractmycountryoforiginfrom

driedsaliva?Weekspass,andtheDNAtestslipsawayfrommyimaginary.Ialmostforget

aboutthetestuntilthreeseparateemailsremindme,eachoddlysayingthesamething:

DearMs.Huell,Theswabsfor[yourtestID#]havebeenreceived.Youcanexpectyourresultsinapproximatelysixweeks.ThankyouforchoosingAfricanAncestry.Welookforwardtofindingyourroots.(AfricanAncestryProcessing)Weekspass.Duringthistime,IleavemyhomeinBatonRouge,Louisiana,asmy

graduatecareercomestoanend.Friendshelpmepackmybelongingsasweeatcheese

andChantillycakeandlaugh.Morefriendshelpmemovetheitemsfrommyhomeintoa

storageunit.Furniture.Lamps.Waytoomanypillowsforoneapartment.PotsandPans.

Clothesandshoes.Decorativemasks.Moreshoes.Anakedwirewomancarryingtwo

pots.IdustthebaseboardsbeforeIleave.Theyweredusty.And,uponcompletingthat

ritual,theapartmentisnolongermyhomeanymore.Idrivetwelvehoursbacktomy

parents’house,mychildhoodhome,stoppingmanytimes.

Inlessthanaweek,Ifetchanoversizedenvelopefrommyparents’mailbox.The

returnaddresssaysitisfromAfricanAncestry.com,andIcasuallymentiontomymother

whatIexpectittohold,theresultsofthegenetictestIsubmittedaspartofmyresearch

project.MyinclinationistocarryaroundthepacketwithmeforafewdayslikeIdidthe

201

testingpacket.But,realizingtheresultsmayreporttheAfricancountryoforiginformy

wholematernalline,mymotherbidsmeopenthepackage,commandsmeeven.Icomply.

Insidethepackagetherearetwolargepamphletsbothwithvibrantimagesonthem.

Thefirstonefeaturesasolitarylimegreenplantgrowingupoutofrichblacksoil.The

planthassixleaves,andthetextbelowtheimagehassixwordscenteredonthepage,

“WelcometotheAfricanAncestryFamily.”BelowthewordsistheAfricanAncestry.com

logo,anupsidedown“V”withadoublehelixgrowingupitsleftside.Iopenthefirst

pamphlet,whichcontainsthreeloosepages.Thereisatwopageletteronyellowishbrown

stationarywithafadedtreeasbackdrop.Theotherdocumentisamap.Ireadtheletter:

DearMs.Huell,

ItiswithgreatpleasurethatIreportyourMatriClan™analysisdeterminedyourmaternallineagetobeofMiddleEasternancestry.OurhaplogrouppredictionisthatthemitochondrialDNA(mtDNA)sequencethatwedeterminedfromyoursamplebelongstoHaplogroupN1c,anon‐Africanlineage.OurhaplogrouppredictionisbasedonyourmtDNAsequencedatafromtheHVR‐1region.Inmostcasesthispredictionissufficient,howevertheclassificationofhaplogroupscontinuetochangeandinordertobecompletelysureofthepredictionmoresequencedatafromHVR‐2andthecodingregionsofmtDNAisneeded.MtDNAhaplogroupsarecontinent‐specific,withverylittlemixingofmtDNAhaplogroupsfromdifferentcontinents.TTCTTTCATG GGGAAGCAGA TTTGGGTACC ACCCAAGTAT TGACTCACCC ATCAACAACCGCTATGTATC TCGTACATTA CTGCCAGCCA CCATGAATAT TGTACGTAC CATAAATACTTGACCACCTG TAGTACATAA AAACCCAATC CACATCAAAA CCCCCTCCCC ATGCTTACAAGCAAGTACAG CAATCAACCT TCAACTATCA CACATCAACT GCAACTCCAA AGCCACCCCTCTCCCACTAG GATACCAACA AACCTACCCA CCCTTAACAG TACATAGTAC ATAAAGCCATTTACCGTACA TAGCACATTA CAGTCAAATC CCTTCTCGTC CCCATGGATG ACCCCCCTCAYourSequenceSimilarityScoreis100%,whichmeansthatyoursequenceis100%thesameassequencesfromMiddleEastpopulationsbelongingtoHaplogroupN1ctoday.TheboldlettersindicateDNAsequencepatternsthatyousharewithHaplogroupN1c.EnclosedyouwillfindaCertificateofAncestrythatauthenticatesyourmaternalancestry,amapthatexplainshaplogroupsacrosstheworld,abookletto

202

understandingandsharingyourresults,andinstructionsforjoiningtheAfricanAncestryOnlineCommunity.Weunderstandthatthisinformationmaybedifficulttoabsorb,especiallyifyouwerenotawareofanyMiddleEastancestryonyourmother’smaternalline.ItisimportanttonotethateventhoughwedidnotfindAfricanancestryforyourmaternallineage,itdoesnotmeanthatyouarenotAfricanAmerican.ItdoesnotmeanthatyourmotherisnotAfricanAmerican.AnditdoesnotmeanthatyouhavenoAfricanancestryanywhereinyourfamilytree.PleasefeelfreetocontactoneofthespecialistsinourofficetodiscussotherlineagesthatmaybemorelikelytoyieldAfricanresults.ThankyouforyoursupportandinterestinAfricanAncestry.Sincerely,GinaPaigePresident(Paige)ThemapshowstheworldsaveforAntarctica.The(other)continentsaredelineated

bytheirshapecoloredinshadesoflightgreen,beige,andbrown.Eachsportsalabelof

uppercaselettersthatindicatestheir“haplogroup.”Thereisalsoaseriesofwhitearrows

thatoriginateinAfricaandAsiaandbranchoffinseveraldirections,merging,separating,

joining,thepointsofthearrowslandingfinallyatvariouslocationsacrossthemap.An

explanationofhaplogroupsisleftjustifiedonthepage:

HAPLOGROUPS

Haplogroupsrepresentspecificmitochondriapatternsfoundamongtheworld’sdifferentpopulations.About60,000yearsagoagroupofindividualsmovedoutofAfricaandtheirdescendants,throughthenaturalprocessofmutationinmtDNA,formedtheMandNhaplogroups.AsmankindmovedoutofAfricaandintotheMiddleEast,Asia,Europe,andtheAmericas,uniquegeneticmutationswerepasseddowntotheirdescendants.TheirdescendantsinAsia,AustraliaandpartsofEuropeevolvedtheirownspecifictypes.So,today,EuropeispopulatedbythehaplogroupsH,I,J,K,T,U,V,W,andX;AsiabyA,B,C,D,E,F,G,M,andY;theAmericasbytheAsianbranchesA,B,C,D,andX;PapuaNewGuineabyPandQ;andAustraliabyfurtherMandNtypes.Today,identifyingyourpersonalhaplogroupisagatewaytounderstandingyourancestry.

203

HAPLOGROUPN1HaplogroupN1isoneoftheearliesthaplogroupstohavemigratedoutofAfrica.ItisfoundlargelyinEurasia.HaplogroupN1cisfoundintheMiddleEast.ItisalsofoundinAfricabutitspresencethereisasaresultofreversemigrationbacktothecontinent.Althoughitisuncommoninotherpopulations,accordingtotheNationalGenographicProject,N1isalsofoundamong3%ofpeoplefromtheLevant,Arabia,andEgypt.(Haplogroups)BeneaththemapIfindacertificateofancestryaffixedtotheinsideofthepamphlet.

Amazement.“Theperfectirony,”Istoptoappreciate.Abittersweetmixtureofjoyand

confusion.IlaughasIreadthecontentofthelettertomymotherwhositsnearby.She

movesclosetome,andwehoveroverthemapprovidedbyAfricanAncestry.com.Wetryto

manageouremotionsandnavigatethemapinordertofind“TheMiddleEast.”Isnicker

wildlyatthispoint.Mymomasksinhercharacteristicjovialshriek,“What?!Doesthat

meanweain’tblack?!”Imanagetore‐readpartofthelettertoher,“Itisimportanttonote

thateventhoughwedidnotfindAfricanancestryforyourmaternallineage,itdoesnot

meanthatyouarenotAfricanAmerican.ItdoesnotmeanthatyourmotherisnotAfrican

American.And,itdoesnotmeanthatyouhavenoAfricanancestryanywhereinyour

familytree.”ThefirstquestionIaskaloudinavoiceIrecognizeasmymother’sand

grandmother’sis:“HowamIsupposedtoputthisinmydissertation?”

Onlyminutespassbeforemymomsucceedsincontactingbothmygrandmother

andmyaunt,mymom’ssister.Mygrannyandmyaunt’sresponsestaketheformof

questionsaswell:“TheMiddleEast?!Whereisthat?”and“How’dwegetmixedupwith

thosekindofpeople?”respectively.Imakesomephonecallsofmyown.Onefriendoffers

thatperhapsIhadneglectedtoswabtheAfricanpartofmymouth.

Asmymomisnowbusilylookingupthe“MiddleEast”and“Eurasia”onWikipedia,I

rememberthesecondpamphletandpickitup.Itfeaturesagreenvalleybelowabluesky

204

surroundingacloudintheshapeofAfrica.Mymindslipsbacktoameetingwithoneofmy

professors,PatriciaSuchy,whodesignedtheposterformyshow,BlackBodyBusiness.In

themeeting,Iaskedifitwouldbepossibletoinsertcloudgraphicsalongthetopofthe

posterthatresembledtheshapeofAfrica.Intheend,theposterpicturedalargeoutlineof

ahumanfigure.Theinteriorofthefigureiscomposedofacollageofbodyparts,compiled

fromphotographsIhadtakenofmycast:intertwinedlegs,claspedhands,sevenarms

foldedtogether,atattooedfoot,faces.Thecollageofimageshighlightthedifferencesinthe

actors’skintonesrangingfromcreamycarameltodeepmahogany.Myattentionfallsback

tothesecondpamphlet.

Thewords,inblackfontandcenteredonthepage,read,“NowThatYouKnow.”

InsideisadetailedmapofAfrica,andalabel,“Africa:TheGreatContinent,”beneathwhich

isaquotefromMayaAngelou.Aguideforunderstandingtheresultsofthetestisprovided.

Itexplainsthatthetestusesthe“mutations,”theboldlettersintheDNAsequence,to

determinethelocationofancestry.IfthemutationsindicateAfricanancestry,

AfricanAncestry.comcomparesthetesttaker’sgeneticinformationwithadatabaseof

Africanlineagesinordertolocateacountryandanethnicgroup.

FindingtheinformationonAfricaoflittleusetomenow,Imovetoclosethe

pamphlet.But,beforeIdo,Inoticeabannerrunningthewidthofthepamphlet,reminding

me,to“usethepostcardsincludedinthepackagetoshareyourresultswithfriendsand

family.”Ipeerintotheenvelopeforsaidpostcards.Theyaremissing.Irereadmyresults

again,landingonasentencethatholdsmyattention.“HaplogroupN1cisfoundinthe

MiddleEast.ItisalsofoundinAfricabutitspresencethereisasaresultofreverse

migrationbacktothecontinent.”Backtothecontinent.Ithink.IfIam“from”Africaatall,

205

amInowtheprogenyofancientreturnerswhodepartedAfricaonlytoonedayreturn

again?Isigh.AndIsmile,andIshrug.

Iwanttowriteapoem.IwanttowriteapoemsoasnottoaskwhetherIamblack

ornot,orwheretheMiddleEastis,orhowitisIgotall“mixedup.”Iwanttowriteapoem

abouttheperfectironyofhomeandpastandtranslatethisironyintothelanguageof

creativerepossessionandunwittingdispossession.Thispoemwillmoveinacircle,I

decide.Itwillbeaboutagardenerwhoplantsherseedsinfertileground,anditwilldetail

herstruggletomanagehowlargeanditwhatdirectionsherplantsgrow.

Ilookforthepostcardsoncemore,andIamunabletolocatethem.IsupposeIam

tomakemyown.

206

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Vita

JadeC.HuellisfromIrmo,SouthCarolina.Duringherteenyears,shediscoveredher

writingabilityscriptinganddirectingherfirstplayMommy,whichwasperformedbyher

dramaclass.Jadeservedaseditorofherhighschoolliterarymagazineandwasheavily

involvedinballetandmoderndance.ShegraduatedfromDutchForkHighSchoolin2000.

JadewentontoearnaB.A.inCommunicationatColumbiaCollegeinColumbia,

SouthCarolina,in2006.WhileatColumbiaCollegeshestudiedabroadintheCzech

Republic,internedatthelocalPBSstation,andworkedasapeermentorinthe

department’sspeechlab.JadewasawardedtheOutstandingCommunicationStudent

awardwhileinattendanceandhassincereturnedtogiveaspeechandrunaworkshopon

ColumbiaCollege’scampus.

Jadecontinuedhereducation,earninganM.A.inEnglishwithanemphasisinSpeech

CommunicationandaCertificateofGraduateStudyinGenderStudiesfromtheUniversity

ofSouthCarolina,in2008.DuringhertimeatUSC,JadeworkedwiththeGenderStudies

programasaninstructorandmentorinthecommunityjuvenilearbitrationprogramand

participatedinasummerabroadprogramwithNewYorkUniversityinGhana,WestAfrica.

JademovedtoBatonRouge,Louisiana,tobeginherdoctoralcourseworkat

LouisianaStateUniversityinthefallof2008.Inadditiontoteachingcoursesin

communicationandperformance,Jadeproducedordirectedthreeproductionsinthe

HopKinsBlackBoxandcontributedtoavarietyofotherperformances.InNovember2011,

JadewasawardedtheMarieJ.RobinsonScholarshipbytheNationalCommunication

Association'sPerformanceStudiesDivision.JadeiscurrentlytheBlackPerformingArts

PostdoctoralFellowintheDepartmentofPerformanceStudiesatNorthwesternUniversity.

performing nostalgia: body, memory, and the aesthetics of past

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