(s)word


Our Man In Cairo - Spartacus

November 14th, 2008

I met Spartacus when I first got to Egypt and was looking for a job. She is an imposing personage. I tend to have a different experience of Egypt from her, for reasons you will no doubt understand from the following excerpt of an interview I held with her. We are obviously touching here on issues of gender and race. Whereas I agree that one shouldn’t generalize to the point of being prejudiced, I do hope the reader will be open minded about the events here related. Every truth is partial, and there is much truth to what Spartacus has to say. She has been living in Egypt, off and on, for the majority of the last decade, and by that very fact she deserves the respect of anyone who seriously wishes to understand this deeply troubled country.

??? : Do we have to use my real name?

Lelyn : We don’t have to use your real name. What name do you want to use?

??? : Spartacus, that’s my stage name.

L : Tell people a little bit about your background.

Spartacus : I’m from Chicago. I’ve been in Egypt four years. I own a language management company. I’m here with my three girls, ages 21, 11 and 6. It’s been a trip. The two youngest are home schooled, and the oldest is fluent in Japanese. She lived in Japan; she’s going back this year to open a branch of our office. Pimpin’ international. I’ve quit more jobs than most people have interviewed for. I’ve been teaching for about 20 years. I’ve lived in six countries. I speak five or six languages: life is a trip. I don’t know what else to say.

L : You’re from Chicago, um, you’re an African American woman.

S : Sometimes.

L : When you want to be.

S : (laughs)

L : Sometimes when you don’t want to be.

S : I am who I am. I’m always me. People try to pigeon hole me. “Oh, she’s got an afro. She’s pretty. She’s got a big booty.” My name is still Spartacus.

L : What was your life like in America?

S : Damn, I don’t know how to answer that. What was my life like? It sucked.

L : Well, how old were you when you got married.

S : Eighteen. I was in love!

L : What did he do?

S : To me? Or…

L : For a living.

S : He was in the Airforce, and now he’s a cop in Chicago. But he’s a professional asshole.

L : When did you get to Egypt?

S : The first time I came was in 2001. I came with the French boyfriend. I was here for eight months, as a tourist. I was just getting the lay of the land. I needed a break. I had just come from the Dominican Republic and Chicago again. I taught at a university in Chicago for three months, and figured out that I was not cut out for living in the States and reinsert myself into this shit we call living. So I took my youngest at the time and I moved to France. From France I moved to Egypt in 2001. I was here during September 11.

L : Where did you live?

S : I lived in Dahab, on the Red Sea, in the desert. Hanging out with Bedouins and fighting cats for chicken. You ever been to Dahab?

L : No.

S : They have more cats than people in Dahab. I bullshit you not. So if you’re sitting in an outdoor cafe, you’re sitting on the ground. The cats will just come and snatch your food off your plate. They were that bold. So, anyway, as I said I was fightin’ cats in Dahab.

L : So what was it like on September 11?

S : I was terrified. I was at the beach. You know, I watch TV, and I think all Muslims are fundamentalist freaks, all tryin’ to kill us. I’m here on vacation. I hear a bunch of cheering, and I thought it was a soccer game at 8 o’clock in the morning. That’s how smart I was. I was like: “what the hell are they doing this early, whatever!” One of the owners of this shop told me to come into this secret place. He said “Madam you have to come with me.” I’m like: “get your hands off me, shut up and get me a drink.” I’m at the beach chillin’. He’s like: “no you have to come with me now.” I had no idea. So I get upstairs in this freakin’ tower where we used to watch movies, and the room is full of white people. I never saw so many white people in one place: it’s Egypt! I make a point of not talking to them, because I’m in Egypt and I don’t want to be bothered with Americans. So, I’m like what, and they’re all crying. I still didn’t get it. Then I saw the TV, and one of the towers fell. I said “it’s not time for the movie! Why you showin’ the movie so early?” I’m the dumb person in the room. But the news was in English, and then I got this feeling like “oh shit” something is going down. The guy was talking about the towers and blah blah blah. Man! That was one of the scariest points of my life. I really thought it was a Jihad. And people were cheering and they thought it was funny. They were saying “America’s dead!” I was thinking: “you have got to be kidding! Of course this happens when I’m here.”

The whole town was in the streets : “America’s dead!” Anyway, I took my daughters; we all went to an internet cafe. Everybody was doing everything at the same time. We had Swiss, French, German, but only a handful of Americans including me and my daughters. There were a total of 15 or 20 foreigners. I was black, so I could blend in. And I told my daughters: “Speak Spanish. We don’t know them. Stay away from the white people.” So we took stock of who was there, who had their passport, who needed to go back to their room. The Americans organized everyone else. That was the first time I felt like an American, and I was 34 years old. The first fuckin’ time! I was like: “Oh, you done come to our house trippin’? It is on! Wait til’ George Bush get on TV.” And so anyway we ran to the internet cafe. The whole town was lined up outside the internet cafe. There’s no back door, so we were like “it’s going down.” And I read too much and watch too much TV, so I’m thinking about the mass murders. We’re standing there lookin’ like if ya’ll are gonna do this, let’s do it. Fuck it, let’s get it on. And they didn’t. (laughs) But in that moment of waiting… It probably wasn’t that deep, but in my mind… You know how you get so scared all you hear is your own breathing and your heart beating in your ears? We stood there facing them, and they were facing us. Just waiting. I just knew we were going to be hacked to pieces or something.

It didn’t happen. We cussed they ass the fuck out. I was going to take the bus back to Cairo, which is a nine hour trip. A friend of mine who was a Bedouin said: “don’t take the bus. I just got back from Cairo. They’re dragging British and Americans off the buses, taking their passports and beating the shit out of them.” So I had to stay. And one of my friends had a ticket for the next day. We had to pay 200 pounds Sterling, Sterling, to get from Dahab to Sharm. Let me tell you what the hell that was like. When you think desert, you think sand dunes. That’s where the fuck we were in a black and white taxi! My life sucked. It was like 200 degrees. I was scared. I didn’t know if I could trust this fool. So one of us sat beside him, and the other sat behind him so we could put his ass in a choke hold and drive off in his car. Man it was… no one was talking. There was this bus that had broke down with three Australian chicks on it. They were the only white people on board. Everybody knew what had happened, and everyone was trying to get out. Everybody on the bus was just standing there, and there were these girls with all their stuff just going “oh shit!” We drove past and they just screamed at the taxi “please stop!” I said “don’t you dare stop.” But then I thought, if that was me, what would I do? So we went back. We picked them up. There wasn’t enough room in the car, but we had to do it. I couldn’t leave them out there. They looked scared.

We got to Sharm, and we stayed there for two weeks. One of the proudest moments of my life as an American, it was some dumb shit but whatever: when George Bush came on TV and declared war on everything that thought it might want to be a terrorist. I remember everything about him, the suit, the hair, everything. He was the most presidential that day. When I heard him speaking I yelled: “that’s right, we’re coming to get your ass!” I forgot that I was in a Cairo cafe. (laughs) That I shouldn’t have been in because I was a woman. I said “yeah!” Everyone in the cafe looked at me like… I said: “in about twelve hours I want to hear you say ‘America’s dead.’ We’re gonna get your ass.” Man! It was my first time feeling patriotic. And, lo and behold, soon after that…boom. So anyway, that was the most terrifying moment of my life, the first time I was in Cairo.

L : And then you left.

S : Yeah, I left, and I went to Italy.

L : That’s were you had your car accident.

S : Train accident!

L : Oh yeah…

S : I had a train accident, and uh, that was a damn trip.

L : So, fast forward, how long was it between then and when you got back to Cairo?

S : Six years, five years. I got back in 2004.

L : Why did you come back?

S : Because there’s a market for what I do. Language management. I teach business protocols. I mean, there’s no customer service here. These people need training to compete. The GATT (General Agreement for Tariffs and Trade) provisions needed to be implemented by 2005, and I knew that. It means everyone has to change the way they do business if they want to compete in a global economy. So Egypt had to come up. I was studying it for two years, while I was recuperating from my accident. I couldn’t walk for two years. I didn’t have shit to do but read. I built my company while I was recuperating. I targeted this region. So I did extensive research. It’s cheap to live here. I have three kids. Well, four, but only three with me. I just thought, it’s easy. I don’t have Willy Lump the drug dealer hanging out on the corner trying to sell me a bag of weed. There are no school shootings here. I don’t see Chester the Child Molester riding down the street trying to snatch kids.

L : Generally it’s a very safe city.

S : It is.

L : Amongst the big cities in the world, this is the safest.

S : I’ve lived in many big cities around the world, and this is the safest I’ve felt. People piss me off, but I don’t feel unsafe. Egyptians have limits. There are some things you don’t do. I can get down with that. The economy is conducive to what I do. They need me. I’m here. And we can still eat and live in doors, and we can go out.

L : But what happens with Egyptian men?

S : It depends on what they want. They usually think I’m a prostitute. Because I’m African. Most of the Sudanese women here are prostitutes. They make them prostitutes. That’s the only job they can have. For someone who was a civil libertarian and an activist my whole life, I moved to misogynist hell. No, misogynist and racist hell. I mean this is the worst fucking place on earth. Seriously, I’ve gotten into more fist fights because Egyptian men think that they are destined by God to subjugate my black ass. So my nickname is either Sharmuta (whore) or Aswad (nigger) or Hamar (donkey). And they wonder why I beat their ass. In 2001 it was funny. I almost went to jail the first time. This guy punched me. Now, I’m 6′1″, 200 pounds. I’m a big woman. You’re gonna hit me? And then what? And the fool was short. So he missed, and he hit me in the chest. I beat his ass like he owed me child support. I broke his nose, and cracked three ribs. I almost threw him through a plate glass window, but I didn’t want to go to jail.

L : This was in Tallaat Harb (a large and busy intersection in Cairo)?

S : Yeah, right in front of Groppi, the most famous restaurant in Cairo. And of course, Egyptians watch everything, and so hundreds of people came around, mostly men, which scared the shit out of me because I’m from the land of bumrushing. I’m from Chicago. Once they get you down, they bumrush you. That’s what we do. So you got the police there aiming their rifles at me, not him because he’s the one that’s bleeding. Everyone saw him hit me, but because I’m just a Sudanese whore it’s alright for him to hit me. I whooped his ass. “Where are you from?” I said “I’m from the earth.” “Where’s your passport?” I said “Yo’ mother’s got my passport. If you’re man enough to get it, come and get the motherfucker.” You know? I’m a woman walking this earth, and you’re all dogs. None of you are Muslim, because you let that man hit me. You have to protect me, because your god tells you to. So what is it about me that tells you that you don’t have to do this?

L : They still thought you were Sudanese at that point?

S : They were convinced. I said: “yeah, I’m Sudanese, and you just got a Sudanese ass-whoopin’, get the fuck on!” The police were going to arrest me. I said: “the first one of you man enough to do it, put the cuffs on.” I thought my ass was kicked anyway, so whatever. And you know I had timed how long it takes to get from Tahrir to the embassy? That was the first thing I did. I wasn’t going to make it that day from Tallaat Harb. So the men here are convinced… I mean, they treat their own women bad. But at the same time, it’s weird. I don’t see women suffering the humiliation of child support court. That was the most humiliating thing I ever went through. What, you get me pregnant in the back of a Chevy? I can’t tell you what that felt like. Here is someone that you’ve built your life around, and they’re treating you like some ho that wants her change. You know what I mean? I do not see women here doin’ that.

L : But you got away from the cops in front of Groppi?

S : Oh yeah, I left. I told them to get out of the way and I just walked.

L : So they realized that you were American?

S : I think they must have, because I was actin’ a fool. I started screaming in English. They said “whoa, Hia Amerikia.” Everyone just did this uniform “back up.” Then I really snapped. Oh, it’s not that you respect me, you’re scared of that white man that’s gonna come behind me. I was more pissed then. You can’t respect me as a human being, you respect that white man who you think is on his way.

L : How many fights have you gotten into since you got here the second time?

S : Oh man, I get into three fist fights a week.

L : Is it always guys hitting on you?

S : No, they’re just rude! The electrician threw the bill in my face. I kicked his ass and threw him down the stairs. I can understand that people are pissed, but just because I’m a black woman I’m beneath him! The rule is my house is Chicago. Welcome to America. Telephone man, kicked his ass stuffed him in the elevator, told him that if I saw his ass on the street I was gonna beat the shit out of him. The neighbors were like: oh my god, she’s a savage. I had to beat the hell out of the Bowab, both of them. No, I beat their ass. One taxi driver, I almost broke his legs trying to pull him out of the window. The fucker yelled at me. When I first got here it was hard. I hit them in their mouth. They want to yell at me? I understand they’re men, they’re stronger, but to me it’s worth the asswhoopin. I did not come 7000 miles to be fucked with. I came here to build a life. I respect people. I say “Salam Alaykum.” I do what they do. You are going to respect me. But for some reason, they have some preordained psychosis to where they’re not going to respect me because of the color of my skin and my gender. I am obligated to kick their ass.

L : They’re also pretty sex starved.

S : They think they are, but they’ve never had it so they don’t know. This country is inundated with two-pump chumps. So how would they know? 80 percent of men here have sex with other men.

L : It’s a way of advancing in society.

S : It is. But you see the concept of sexuality or sexual orientation is a political construct of the west. There is no such animal in Africa. There is no “homosexual” or “lesbian.” People do what they do; they don’t have to define it like that. The whole homosexual/gay thing came with westerners, and I think it’s a mistake to classify people like that.

L : There’s a lot of things that go on in secret.

S : Of course, Cairo is a fascinating city in that everything here has another side to it. If you listen to the nuances of the conversation, there is always something else going on. And once I learned that, life got a lot easier. This is a country of compulsive liars. They lie just because. The shit doesn’t even profit them. We were talking about America the other day, and how awful it is. I said “you’re right, but it works for us. We are whoopin your ass because it works. Our psychosis works for us; yours doesn’t work for you.” Here’s a woman with dirty feet selling Kleenex for 25 piastres (ten cents) and she’s got two babies on top of her head [a common sight in Egypt]. And she’s wearing all that shit (Niqab, Higab, etc.) in 200 degree weather! So, where are the men she’s wearing that shit for? They’re not respecting her. They don’t respect her enough to have a clean street for her to sell her Kleenex on. There are too many religious people here for the streets to be this dirty. The women work too hard, for the men who treat them like dogs. I always ask them: “what are you wearing that for? Where is the man you’re respecting? Because, see, you are in a Microbus with ten bags and two babies. Where are these men that you’re wearing this for? Everyone has their own thing, and I can dig it. But it has to be reciprocal. Women are chattel in Africa. Like I said the first time I met you, the best thing that happened to me was slavery. I don’t want to be from here! This is some sick shit. Every African woman my age I see looks like she’s got somebody’s foot where she don’t want it. They look ten or twenty years older than me. They are downtrodden.

L : Except for the rich families.

S : But even in the rich families, people have to take shit just to be rich. They live by the leave of their men. She just ain’t scrubbin’ floors and ho’n for a living, but she’s serving her father and her brothers. And she will marry whoever the hell they tell her to. So it doesn’t matter if they have money. They still don’t belong to themselves. You can’t even live by yourself. I got a friend she just moved out; she’s 35. What’s up?! But I tell women, “you are the problem because you keep doin’ it.” And they say “well, you know…” And I say “no I don’t know, because I’ve had to fight for everything I have.”

L : What is the size of the feminist movement here?

S : What is feminism? No, there is no resistance here. No, because they want to be kept. There’s another side to it. They don’t want to go to work. They want to be pampered. They want to have the maids and the nannies. If you want that, you have to put up with this asshole on you for two minutes. Because they’re lazy. I tell em’ all the time. The first thing they say to me is “you’re beautiful, why don’t you get married?” I tell them: “Why should I get married? I don’t have to get married to have sex.” They say: “but your life is so hard!” I say: “my life is a lot better than yours. I work for a living. My children are healthy and happy. What makes my life hard? I have to work, so what?”

L : But this family structure isn’t really Egyptian culture.

S : Then what is it?

L : It’s a conservative construct that gains force from time to time, but you know like I know that people don’t really live their lives that way. They’re just keeping up an image.

S : The sick part is that they think they have to keep up an image. They’re keeping up the image of chasteness, when they’re not. They’re getting jiggy with it at four in the morning. Why are they hiding it? That’s what’s sick. If they were really serious about it, why wouldn’t they be out in the open about it? Why would you get married at 25 so you can have sex, when it’s understood between you and your wife that you’re going to have a mistress? I have so many friends who do that. They got married because their parents told them to. So now Fatima stays in the house, covered. She never goes outside. You got two misbehaved kids because they eat sugar all day. They won’t sit down; they can’t shut up. She’s harping at his ass on the phone because he won’t let her out of the house because she represents his honor. But then after work he hooks up with his girlfriend. What kind of shit is that? And they want to act like they’re normal? That shit’s not normal. They try to say “we like the American lifestyle.” But you don’t have to like it. It’s not about judgement. They try to act like they do it too, but they don’t - because they have to hide it.

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Post categories: Lelyn Masters, Politics

Cloudcuckooland

October 27th, 2008

By Michael Curran

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The Private Life of Gannets, available to download in high quality from the Internet Archive.

I want to riff on birds, riffing as a way of exploring morphic resonance between different kinds of material. Out there in the world, in art, music and literature, birds are ubiquitous. See Max Ernst’s Two Children Are Threatened By A Lark or re-run Hitchcock’s The Birds. Listen to Patti Smith’s Birdland while reading The Raven by Poe. Recall the Four and Twenty Blackbirds Baked in a Pie, Tennessee William’s Sweet Bird of Youth, Jim Morrison’s Bird of Prey, Leda’s Swan, Coleridge’s Albatross and perhaps the saddest bird of all Lewis Carroll’s Dodo. The augurs of ancient Rome would interpret the will of the gods by studying the behaviour of birds, their flight patterns, eating habits and songs. I make no such soothsayer’s claim for my activities, which are more akin to an open play of fanciful pattern matching.

The Private Life of Gannets can be located on the Internet Archive – such a veritable storehouse of bird footage that I chose the gannet completely at random. The film was directed by Julian Huxley and shot by John Grierson, the uncompromising Scottish filmmaker and theorist who introduced the word ‘documentary’ to the English language. In the spring of 1937 they began shooting off the Welsh coast on the island of Grassholm (Welsh; Ynys Gwales). Its name, Viking in origin, means ‘green island’ although the rock, pungent with guano and the plumage of the birds, is white in appearance. A camera captures the hatching of a chick; its physical development unfolds in time-lapse photography. New born birds are completely black, and gradually their feathered down shows increasing amounts of white. The use of slow motion reveals the operations of flight. These fowl have far forward eyes with binocular vision allowing them to judge distances with acute accuracy and they are shown diving down into the sea to skewer fish. The term “greedy gannet” arises from their voracious appetite and the species’ arrah arrah cry has made one more recent visitor to the island describe it as an avian discotheque. Today this colony of gannets still rule supreme on a terrain wholly unoccupied by humans. If they could only know this - the gannets might indeed be grateful.

In Aristophanes’ satire - The Birds - the leaders of the bird kingdom are disastrously misled by two humans into defying Zeus by building a city, “Cloudcuckooland” which interrupts the flow of communication between mankind and the gods. The aerial blockade prevents the steam of sacrificial offering rising skywards to the gods.

For the literary ornithologist this play is a delight – amongst its extensive cast are a Hoopoe, Partridge, Mallard, Kingfisher, Sparrow, Owl, Jay, Turtledove, Crested Lark, Reed Warbler, Pigeon, Woodpecker and Vulture – to name but a few.

They describe their creation thus:

It was Chaos and Night at the first, and the blackness of darkness, and hell’s broad border;

Earth was not, nor air, neither heaven; when in depths of the womb of the dark without order

First thing first born of the black-plumed Night was a wind-egg hatched in her bosom,

Whence timely, with season revolving again, sweet Love burst out as a blossom,

Gold wings glittering forth of his back, like whirlwinds gustily turning

He, after his wedlock with Chaos, whose wings are of darkness in hell broad-burning,

For his nestings begat him a race of birds first and upraised us to light new-lighted.

Aristophanes’ 2500 year old comedy, combines natural history, mythology and augury, to explore governance and corruption in the birds quest for primacy over gods and humans. Cloudcuckooland transforms from an egalitarian state into dictatorship. This theatrical entertainment, outwardly light, colourful, absurd and played for laughs has much darker undertones.

In 1920 the German composer Walter Braunfels used the play to devise an Opera, Die Vogel. On August 29th 1920 another bird was born in Kansas City – Charles Parker Jnr. Die Vogel with other works by Braunfels was banned in the 1930s by the Nazis as part of their campaign against Entartete Musik (Degenerate Music). Other than a general hostility to modernist styles this included music made by composers with differing political views and those of Jewish Lineage. It also included a strong censorship of Jazz because of its Afro – Americans proponents. However later in a perverse form of propaganda a Nazi Jazz band was devised and named Charlie and his Jazz Orchestra, recording versions of popular songs with the lyrics altered and radio broadcast to Britain and America. On both sides, music, film, art even birds were appropriated as tools of warfare.

The British were convinced the Nazis were preparing a pigeon invasion from occupied France and Belgium to deliver messages to their spies in Britain. The British trained battalions of falcons in preparation for a Battle of Britain with feathers. It never happened. The files reveal the Nazi pigeon invasion was the product of overheated imaginations.

Christopher Andrew

Looney Toons indeed, Daffy The Commando and Donald Duck in full Nazi regalia in Der Fuerher’s Face! Hawks, doves and eagles remain the cherished symbols of fighting talk.

The War is on!
War unutterable!
War with the gods!
Scan, scan the cloud-filled sky…

Aristophanes

Created before these rumblings, The Private Life of Gannets became one of many films that were to shape the course of scientific research itself, by encouraging an interest in visual communication within the animal world. Species were selected for their photogenic qualities and there was an increasingly sophisticated understanding of the image’s power to educate and inform.

Science and entertainment required that only the most spectacular and private aspects of animal life were recorded.

Gregg Mittman

Grierson was seriously committed to the fabrication of authenticity in the natural history film and more so in documenting the workings of human society, particularly that of the working class. He was a radical filmmaker. However to the contemporary viewer this observing eye can look and sound a little quaint. The soundtrack is crowded with voice-over and the sound of an anodyne orchestra playing sickly parlour music. A very English voice intones with gravity upon “the anchors and chains of wrecked ships” and the commentary, in describing the pale island, makes repeated poetic reference to the whiteness of snow. We never get to hear the sound of the birds or the rush of the sea or an occasional unearthly silence. Try visiting a different island in Antonioni’s L’Aventurra and you will hear the sound of the wind and waves crashing against the jagged perimeter of rock. You will encounter another form of seeking and looking in which the psychology and sense of place has the exactitude of an almost scientific eye. Yet the two very different films both articulate a terrible sense of remoteness and awe.

It is too easy to overlook Private Lives. The cinematography reveals a passion for expanding the language and content of the medium, within the often limiting conventions of public information films of this time. The aim? To show life and nature as it is. It is a film that wants to fly and what better subject than birds that can, not flightless things like ostriches, penguins, kiwis and chickens.

During the First Punic War, Publius Claudius, a headstrong man, consulted the sacred chickens which were not eating, which was a bad omen, he replied, “Let them drink!” and ordered them to be thrown into the sea. Shortly after that he lost his fleet of the Aegeate islands. This was a great disaster for our Republic and indeed for Claudius himself

Neptonius

In adulthood Charlie Parker Jnr became Bird. While out on the Road with the McShann Band, in the wilds of Nebraska, the car hit a chicken that had run onto the highway from a nearby farmyard. Parker suggested going back to pick up the “Yardbird” and thus his nickname came into being. Was this an augury of sorts?

Bird ate that chicken but why did it cross that road?

Plato: For the greater good.

Aristotle: To fulfill its nature on the other side.

Karl Marx: It was an historical inevitability.

Thoreau: To live deliberately … and suck all the marrow out of life.

Mark Twain: The news of its crossing has been greatly exaggerated.

Emily Dickinson: Because it could not stop for death.

Bird would not stop for anything. He wanted to play a music that “they can’t steal from us“, “they” being the white musicians who copied earlier forms of jazz and received most of its financial rewards.

His playing had such dexterity, such fluidity. In his playing, if you take his nickname Bird and you picture a bird flying through the air – in flight – he’s totally free. Even though the music is structured, his style of playing is so totally free, that he can just fly – go in any direction he so desires.

Milt Jackson

On April 30th 1941 Alto saxophonist Parker made his first commercial recording “Swingmatism” with Jay McShann’s band in Dallas. Also in 1941 an elephant flew, albeit a cartoon elephant. Dumbo’s aerial feat was immortalised in the song – When I See An Elephant Fly. The song was sung by a crew of jive-talking Crows – (voiced as blacks performers). This was not unusual at the time, amongst other crude stereotypes in the world of animation, such as monkeys or cannibals, Afro- Americans were often depicted as black birds, Disney’s unwitting racial divination.

cra, cré, cro, crou, crouou.
grass, gress, gross, grouss, grououss.
craé, créé, croa, croua, grouass.
crao, créé, croé, croue, grouess.
craou, créo, croo, crouo, grouoss.

A transcription of crow-calls made in 1806 by Dupont de Nemours

In 1945 after an unsuccessful engagement ended with Dizzie Gillespie, all the musicians returned to New York except for Bird, who cashed in his airplane ticket and stayed in California. Stranded there with a serious heroin addiction, his need for cash led him to Dial Records where he recorded “Moose The Mooch,” “Yardbird Suite,” “Night In Tunisia” and “Ornithology.”

Ornithology” is a ‘contrafact’ – a newly written melody over the chord progression of another song –”How High The Moon” Again notions of flight, of becoming airborne, are never far from reach. Contrafact gives birth to improvisation.

arrah arrah
bebop bebop
be-babbe-debop
boo bam boo
hoopoe hoopoe
baba-baba-BA!

The regal instrument sounds out timelessly.

King Solomon then called in the animals, birds and creeping things, one by one, to parade before the king and his onlookers, without any man leading them, and without any of them being bound by fetters or restraints. While this was taking place, King Solomon noticed that the Hoopoe bird was absent among the birds, and commanded his servants to bring unto him the bird, even if it meant chaining him. When he was eventually brought before the king, the king enquired where he had been.

The Hoopoe bird tells King Solomon of a land he has discovered in the east whose capital is called Qitor and whose ruler is the Queen of Sheba.

Lo! I found a woman ruling over them and she has been given abundance of everything; she has been given the knowledge of all things in her country, and has a mighty throne adorned with gems, pearls, gold and silver.

The bird is sent by Solomon to request the queen’s immediate attendance at Solomon’s court. The Hoopoe is a spy, messenger, envoy and diplomat but being a mercenary he too likes to fly in any direction he so desires. He hovers through Time with a pearl in his beak, flying across centuries towards the 1950s streets of New York, to 1678 Broadway, to Birdland. He swoops right inside the club and nests that pearl in the interior of an alto sax.

Down them stairs, lose them cares - where?
Down in Birdland.
Total swing, bop was king - there
Down in Birdland.
Bird would cook, Max would look - where?
Down in Birdland.
Miles came through, Trane came too - there
Down in Birdland.
Basie blew, Blakey too - where?
Down in Birdland.
Cannonball played that hall - there
Down in Birdland

Saturday morning, an empty sky.

His death, too and his deification after death were known in advance by unmistakable signs. As he was bringing the lustrum to an end, before a great throng of people, an eagle flew several times about him then across to the temple hard by, perched above the first letter of Agrippa’s name

Suetonius

On March 12th 1955 Bird took flight from a room in the Stanhope Hotel. An ornithic host gathered in the branches of a Sawtooth Oak in Central Park and sang sweet and plaintive laments. Only the Hoopoe remained aloof from the congregation – perched alone in the recesses of a Black Willow, completely mute. He was preparing to change places, tempos, time zones; ready to fly back to King Solomon, or perhaps further forward to who knows where.

Walls in Greenwich Village were covered in the graffito: BIRD LIVES.

Never again
Through my domain
Shall a god presume to stray;
The birds are on guard,
The gates are barred,
Not one shall pass this way!

Never again
Through my domain
Shall the smoke from altars rise;
In vain they’ll sniff:
For the faintest whiff:
We’ve cut off their supplies

Aristophanes

Back at the end of the day, the film crew at Grassholm are packing up their kit and waiting nervously on the rocks for the boat to the mainland, oblivious to the Gannets continuing to dive into the ocean for fish. The film must go to the lab in Soho as soon as possible. They rub their sides and stamp their feet against the chill air – never for a moment considering the possibility of taking the auspices.

In 357 AD the emperor Constantius outlawed all methods of divination including Augury.

The art may have gone the way of the dodo, yet when watching Huxley & Grierson’s film or foraging through the links below, you may discover your own propensity towards divination. If you don’t believe me – you are almost certainly in Cloudcuckooland.


The Private Life of Gannets
Directed by: Julian Huxley
Produced by: Alexander Korda
Written by: Ronald Lockley
Starring: A. L. Alexander
Cinematography: John Grierson, Osmond Borradaile
Release date: July, 1937
Running time: 10 minutes

View the full film or download a high-quality version on the Internet Archive

To visit the island of Grassholm call:
A Thousand Expeditions +44 (0)1437 721 721


Maskwork - Esther Planas & Marc Hulson

October 11th, 2008

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