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"AIDS (Disease) and the arts"
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The Culture of AIDS in Africa
This book enters into the many worlds of expression brought forth across Africa by the ravaging presence of HIV/AIDS. Africans and non-Africans, physicians and social scientists, journalists and documentarians share here a common and essential interest in understanding creative expression in crushing and uncertain times. Chapters investigate and engage the social networks, power relationships, and cultural structures that enable the arts to convey messages of hope and healing, and of knowledge and good counsel to the wider community. And from Africa to the wider world, the text here brings intimate, inspiring portraits of the performers, artists, communities, and organizations that have shared here their insights and the sense they have made of their lives and actions from deep within this devastating epidemic. Covering the wide expanse of the African continent, the chapters include explorations of, for example, the use of music to cope with AIDS; the relationship between music, HIV/AIDS, and social change; visual approaches to HIV literacy; radio and television as tools for “edutainment”; several individual artists’ confrontations with HIV/AIDS; various performance groups’ response to the epidemic; combating HIV/AIDS with local cultural performance; and more. Source material, such as song lyrics and interviews, weaves throughout the collection, which is a nuanced and profoundly affective portrayal of the intricate relationship between HIV/AIDS and the arts in Africa.
eBook
The culture of AIDS in Africa : hope and healing in music and the arts
The Culture of AIDS in Africa presents 30 chapters offering a multifaceted, nuanced, and deeply affective portrait of the relationship between HIV/AIDS and the arts in Africa, including source material such as song lyrics and interviews.
eBook
How to Make Dances in an Epidemic
David Gere, who came of age as a dance critic at the height of the AIDS epidemic, offers the first book to examine in depth the interplay of AIDS and choreography in the United States, specifically in relation to gay men. The time he writes about is one of extremes. A life-threatening medical syndrome is spreading, its transmission linked to sex. Blame is settling on gay men. What is possible in such a highly charged moment, when art and politics coincide? Gere expands the definition of choreography to analyze not only theatrical dances but also the protests conceived by ACT-UP and the NAMES Project AIDS quilt. These exist on a continuum in which dance, protest, and wrenching emotional expression have become essentially indistinguishable. Gere offers a portrait of gay male choreographers struggling to cope with AIDS and its meanings.
eBook
“Break the Silence”: Art and HIV/AIDS in KwaZulu-Natal
Art from KwaZulu, South Africa, reflects the fact that approximately 20% of the nation's population may be HIV-positive. Works with this concern have included a memorial quilt, photographic exhibitions, patchwork jackets, ceramics, beaded panels and necklaces, basketry, monuments, and special decoration of public buildings.
Journal Article
Artists in aid mission
Overviews the second showing of 'Implicated and Immune', an exhibition first shown in 1992 that explores artistic responses to the deaths of NZers from AIDS. Speaks with several artists exhibiting in the show. Describes the work of artist Fiona Clark, who created captioned photo albums in 1980s of people living and dying with AIDS, and of choreographer Douglas Wright, who created the AIDS-theme piece, 'Elegy'. Talks to gallery owner Michael Lett about how HIV is now a less visible disease, yet numbers of infected are rising. Hears from Gay Mens's Sexual Health research group director Peter Saxton about NZ's history and current status of HIV treatment and rising disease statistics. Notes the show is at the Michael Lett Gallery until 28 Feb, coinciding with the Auckland Pride Festival. Source: National Library of New Zealand Te Puna Matauranga o Aotearoa, licensed by the Department of Internal Affairs for re-use under the Creative Commons Attribution 3.0 New Zealand Licence.
Newspaper Article
\A territory not yet on the map\: Relocating gay aestheticism in the age of AIDS
Critical and artistic responses to the AIDS epidemic emerged simultaneously in the mid 1980s, and informed each other over the contested ground of \"official\" AIDS discourses. As these responses were initially defined, two positions emerged: aestheticism and activism. This study focuses on aestheticism but does so in the context of activism and suggests similarities between the two positions. In my analysis of the literary representations, I focus my attention on the works of Edmund White, Armistead Maupin, Robert Ferro, and Paul Monette, writers who first came to prominence in the 1970s before the epidemic and who have written on the topic of AIDS. In the works of these writers I examine the construction of a gay interpretation of late-nineteenth-century aestheticism that emerged in the 1970s in the wake of Gay Liberation. The novelists that I examine adopt certain features from their tradition, most notably the cult of beauty, the effects of the closet, and the pastoral motif. These features are present in their works before the epidemic and after the appearance of AIDS an apocalyptic vision is present in their continued use of gay traditions. The activist position as articulated by Douglas Crimp derives primarily from the visual arts. I examine that position in the context of visual representation and also explore the aesthetic response in the visual arts by examining the work of Stephen Andrews. As Crimp articulates the AIDS activist position, it is the direct heir of the Gay Liberation movement; I also examine the impact of the liberation theories of the late 1960s and early 1970s on Crimp's theory of AIDS activism. I suggest similarities between liberation theories and the construction of a gay aesthetic tradition. I also examine Andrews's highly aestheticized work Facsimile in the context of an emerging tradition of gay responses to photography and suggest similarities between this highly aestheticized response and the activist critique of AIDS representations.
Dissertation
The Calendar of Loss
A revelatory examination of AIDS mourning at the intersection of black and queer studies.
His world view colored by growing up in 1980s Ethiopia, where death governed time and temperament, Dagmawi Woubshet offers a startlingly fresh interpretation of melancholy and mourning during the early years of the AIDS epidemic in The Calendar of Loss.
When society denies a patient's disease and then forbids survivors mourning rites, how does a child bear witness to a parent's death or a lover grieve for his beloved? Looking at a range of high and popular works of grief—including elegies, eulogies, epistles to the dead, funerals, and obituaries—Woubshet identifies a unique expression of mourning that emerged in the 1980s and early 1990s in direct response to the AIDS catastrophe. What Woubshet dubs a \"poetics of compounding loss\" expresses what it was like for queer mourners to grapple with the death of lovers and friends in rapid succession while also coming to terms with the fact of their own imminent mortality.The time, consolation, and closure that allow the bereaved to get through loss were for the mourners in this book painfully thwarted, since with each passing friend, and with mounting numbers of the dead, they were provided with yet more evidence of the certain fatality of the virus inside them.
Ultimately, the book argues, these disprized mourners turned to their sorrow as a necessary vehicle of survival, placing open grief at the center of art and protest, insisting that lives could be saved through the very speech acts precipitated by death. An innovative and moving study, The Calendar of Loss illuminates how AIDS mourning confounds and traverses how we have come to think about loss and grief, insisting that the bereaved can confront death in the face of shame and stigma in eloquent ways that also imply a fierce political sensibility and a longing for justice.
eBook
A Framework for Recuperation: HIV/AIDS and the Keiskamma Altarpiece
Discusses representations of the AIDS pandemic in the 'Keiskamma Altarpiece' (2005; col. illus.) by the Keiskamma Art Project, Hamburg, South Africa. The author states that the South African political leadership has not adequately addressed the pandemic and observes that there have been various initiatives to use the visual arts as a means to engage with the issue. She traces the development of the Keiskamma Art Project established by the artist Carol Hofmeyr to help generate income for local people and renowned for its production of large-scale embroideries. She describes the 'Keiskamma Altarpiece' and its thematic engagement with HIV/AIDS, noting that the work is based on the Renaissance 'Isenheim Altarpiece' (1515; col. illus.) commissioned to provide comfort for the victims of a gangrenous disease. She explains motifs relating to local history and tradition and considers the use of imagery relating to both Christianity to and local belief systems. She highlights the prominent role of women in the work, noting that women are disproportionately affected by the AIDS virus due to socio-cultural factors and stressing the tapestry's foregrounding of female AIDS victims, carers and village elders and its promotion of female empowerment as means to combat AIDS and its effects.
Journal Article
Lethal Decisions
This first-person account by one of the pioneers of HIV/AIDS research chronicles the interaction among the pediatric HIV/AIDS community, regulatory bodies, governments, and activists over more than three decades. After the discovery of AIDS in a handful of infants in 1981, the next fifteen years showed remarkable scientific progress in prevention and treatment, although blood banks, drug companies, and bureaucrats were often slow to act. 1996 was a watershed year when scientific and clinical HIV experts called for treating all HIV-infected individuals with potent triple combinations of antiretroviral drugs that had been proven effective. Aggressive implementation of prevention and treatment in the United States led to marked declines in the number of HIV-related deaths, fewer new infections and hospital visits, and fewer than one hundred infants born infected each year. Inexplicably, the World Health Organization recommended withholding treatment for the majority of HIV-infected individuals in poor countries, and clinical researchers embarked on studies to evaluate inferior treatment approaches even while the pandemic continued to claim the lives of millions of women and children. Why did it take an additional twenty years for international health organizations to recommend the treatment and prevention measures that had had such a profound impact on the pandemic in wealthy countries? The surprising answers are likely to be debated by medical historians and ethicists. At last, in 2015, came a universal call for treating all HIV-infected individuals with triple-combination antiretroviral drugs. But this can only be accomplished if the mistakes of the past are rectified. The book ends with recommendations on how the pediatric HIV/AIDS epidemic can finally be brought to an end.
eBook