Peep Show Laugh Track

 

If you ever wanted to know what Peep Show with a laugh track would be like, this Channel 4 Charity Comedy Gala clip is a good example. While it is always fun to see Jeremy and Mark doing mundane things together (which they do in the show, sometimes eating at restaurants like the Indian one where Jeremy requested 4 naan) or going to a pub, this clip captures our duo at their best. The clip here is quintessentially Peep Show but I think we're all glad that the show did not  use a laugh track...

Revisiting Contribution à l'étude de l'ethnobotanique précolombienne des Grandes Antilles

After reading numerous other studies on the indigenous peoples of the Caribbean, revisiting Jacques Roumain's "Contribution à l'étude de l'ethnobotanique précolombienne des Grandes Antilles" in Oeuvres Complètes  is a more meaningful experience. As the only substantial article on the indigenous peoples of Haiti (and the Greater Antilles) by Roumain, this piece from the 1940s shows Roumain attempting to bring together the historical, archaeological and linguistic sources. An added benefit is the inclusion of Haitian Creole names for various flora of the region, not just the Taino and Spanish names (often derived from the Taino or indigenous names). This is particularly interesting as one can see how Haitian Creole words for local flora are often not of Taino origin, though hardly shocking. But as one of the few articles that tries to bring Haitian perspectives into conversation with sources drawn from Spanish, English or German sources, Roumain's work shows there is a place for Haitian perspectives. Indeed, the Puerto Rican scholar, Francisco Moscoso, made a point of citing Nau for his understanding of how Taino chiefdoms worked through tribute obligations. One only wishes Roumain had lived long enough to explore other dynamics of indigenous Caribbean archaeology and socio-political questions. Perhaps Haitian ethnology could have maintained a more serious interest in the indigenous theme.

al-Maghili and The Obligations of Princes

Although it is a dated translation, Baldwin's The Obligations of Princes: An Essay on Moslem Kingship is one of the more accessible translations of al-Maghili's treatise on politics. Written for the ruler of Kano, Muhammad Rumfa (r. 1463-1499) when al-Maghili lived in Kano, Taj al- Din fi ma Yajib 'ala l- Muluk shows how the influential North African scholar conceived of an ideal Islamic state. Throughout the short treatise, al-Maghili focuses on the role of the king or sultan as a force of justice who seeks to rule in a way to support the spiritual and material well-being of their subjects. An essential refrain throughout the text is translated by Baldwin, "The veiling of the king from his subjects is the source of all mischief" (p. 7). Throughout several short chapters, the reader is reminded of this. 

Since the question of how to rule justly was a central aim, al-Maghili's account gives a number of directives to Rumfa on how a king should rule. As previously mentioned, a king must not veil himself from his subjects as this is the source of all mischief. Indeed, "God has not invested you with power that you may lord it over your subjects and dominate them; He has put you in authority only to foster their spiritual and material well-being." In order to avoid that pitfall, a ruler must "Manifest your love of what is excellent, and of worthy people; show your hatred of corruption and corrupt people" (7). And while a prince is allowed to adorn their person and court, they must not exceed what is acceptable for men or reduce their treasury. In other words, the king can and will look "the part" through lavish clothes, courts, and jewelry. But, there must be moderation so that kings will not abuse the treasury. Muhammad Rumfa appears to have followed this through his own lifestyle.

Besides, these aforementioned injunctions, al-Maghili offers a number of reasonable guidance on administration, the conduct of war, and the duties of the prince in these spheres. A king should always have a guard at hand and also endeavor to use guile rather than outright war when feasible. Princes must be skeptical of those who come bearing presents and to forfeit strongholds they cannot hold. These suggest that an ideal ruler must know how to operate a state in which military matters require diplomacy and guile. Furthermore, overexpansion or attempting to make gains one cannot hold are foolish. In the context of competing Hausa kingdoms of the 15th century, this advice could be seen as a warning to be careful about entanglements one cannot win or turn to one's advantage. To what extent Rumfa followed this is unclear since he went to war with Katsina for 11 years without either side winning.

Lastly, it is worth mentioning that in judgement and the law the duty of the ruler is to ensure justice and support. Indeed, these two are the pillars of royal authority. Thus, upright and informed witnesses must be included for taking testimony in a case. Similary, princes cannot accept bribes or take money in cases In addition, al-Maghili writes, "It is the bounden duty of a great prince to sit everyday where the women and children may have access to them" (15). Clearly, the ruler cannot be completely separated or divorced from his subjects. The weakest and most minor among them should be able to reach the king when they have legitimate grievances or complaints about his administrators or governors. Justice likewise entails lawful collection of retinue and taxation. This must follow religious law and avoid seizing goods from the people. In fact, the ruler should be liberal and use state revunies to suppor t those in need, strengthen defenses or fortresses, and provide for the Islamic religious establishment. The poor, oprhans, descendants of the Prophet, and others must be supported, too. 

If a ruler violated these rules for proper Islamic governance and became tyranical, al-Maghili views them as illegitimate. Subjects were under no obligation to support these rulers if a rebellion breaks out. Instead, al-Maghili wrote, "Leave him and your claims on him, for God will take vengeance on a tyrant by means of a tyrant, to the ruin of them both" (18). Here one can see that, to al-Maghili, the political authority immediately lost legitimacy when it violated the core precepts of Islamic statecraft. In other words, the consent of the governed is a core part of the state contract. One can see here the seeds of Uthman dan Fodio's jihad which rocked the region in the 19th century as various Habe governments were accused of corruption, unjust practices, and violating Islamic tenets. As al-Maghili's responses to Askia Muhammad demonstrate, similar accusations were made against Sunni Ali of Songhay. In Air, too, the al-Lamtuni's questions to al-Suyuti of Egypt indicate a similar problem with widespread political corruption and a number of other practices which both viewed as unjust.

In that light, it is interesting to compare the ideal vision of a Muslim ruler described by al-Maghili (who also responded to questions from Askia Muhammad of Songhay) with what is known of Muhammad Rumfa. Based on the The Kano Chronicle, Muhammad Rumfa is remembered for having undertaken a number of innovations as well as welcoming sharifs. Given his vast number of wives and for allegedly being the first to use ostrich feather sandals and the kakaki, Rumfa appears to have elevated the royal court's style, ostentation, and power, both symbolically and politically. But in terms of the veiling of the king from his subjects, it is difficult to discern how and to what extent Rumfa may have tried to ensure access to his subjects. Perhaps the giving of state offices to eunuchs was meant to increase the power of the sarki as these officials would be bound to Rumfa? In that sense, he may have followed al-Maghili's recommendation to appoint governors who did not buy their positions with gifts and to closely scrutinize how his officials administered areas under their control. But the lenthy war with Katsina said to have taken place during his reign may be an example of failing to recognize an impossible situation that requires relinquishing strongholds and focusing on guile or other strategems for military victory. 

Le portail de Bainet

We randomly encountered a painting of Gabriel Leroy depicting the portail of Bainet in the 1950s today. Since the painter was from Jacmel, it was included in a series on Jacmel, Jacmel en photos, by Jean-Elie Gilles. Although this painting is only showing one part of our ancestral town, it is always a pleasure to see more paintings of Bainet.

Doing the Impossible with Sun Ra

Greetings, black youth of planet Earth. The latest documentary on Sun Ra, Sun Ra: Doing the Impossible aired on PBS recently. It is very well done and even includes interviews with members of the Arkestra. The filmmakers also did a great job integrating video clips and recordings from Sun Ra's lifetime with the mainstream narrative. They perhaps decided to play it safe and focus on the more immediately accessible side of Sun Ra's music rather than fully immersing the listener into the frantic free-jazz of some of his work. For a presumably similar reason, the film does not fully explore the complex and questionable framework of Sun Ra's writings in his Chicago period. Even his poetry was charitably described by Ishmael Reed as notes expressing the importance of music in his life. But overall, they succeed in portraying Sun Ra as a visionary who survived the Jim Crow South. His passion for music and his belief in its potential for communicating deeper message will undoubtedly resonate with many viewers. Even the concept of alter destiny is presented persuasively and with a powerful message of self-empowerment.

As the title suggests, the film focuses on the positive sides of Sun Ra's penchant for mythocracy. While there is an ugly downside to Sun Ra's occultism and esoterica (which is partly explored by members of the Arkestra describing it as being cult-like), this documentary portrays it in the context of African Americans and their marginalization. Stripped of their own past and forced to live someone else's myths, Ra's inventive imagination sought to counter this with a new future that looked to space. While one writer who appears in the film claims Sun Ra was a pioneer or a "first," it is actually quite clear that Sun Ra based his stage persona (and real life, since the two were so entwined) on past generations of black bandleaders, the traditions of Western and African American esotericism, Afrocentrism and black autodidacticism. Indeed, his vast library even included at least one work by J.A. Rogers and when the Arkestra visited Egypt, members of the band viewed it as "their" history (the Egyptians who can be seen in the shots of the Arkestra at the Sphinx or Great Pyramid must have been completely baffled!). Sun Ra was certainly the first to encapsulate so many of these elements in a jazz band, however. And since the documentary wisely sidelined most of Sun Ra's prose writings expressing his worldview, viewers are instead treated to an engaging overview of Ra's life and career. Even for those who have read biographies of Ra, there are some interesting aspects in his life we had forgotten about. For instance, the Arkestra's Philadelphia base was purchased for a dollar from Marshall Allen's father. Or that Esquire published a poem by Sun Ra on the eve of the Moon landing. 

Sadly, the 90 minute time slot severely limits how comprehensive these documentaries can be. Despite a pretty good overview of Sun Ra's upbringing and early career in Birmingham and Chicago, the New York years are hastily covered. The film highlights how Sun Ra was not accepted by critics, but one wishes they explored how Ra was a fixture at Slug's Saloon. Nor are jazz musicians from the free jazz period interviewed, even though they could have added a much-needed musician's perspective on how Sun Ra really "fit" in the avant garde New York jazz scene. Likewise, one would have liked more attention on John Gilmore and Marshall Allen as key members of the Arkestra who kept the band's legacy alive. In fact, when we saw the Arkestra live about 7 or 8 years ago, Allen was still leading the band in a performance very faithful to the multimedia aesthetic of Sun Ra. But without shedding light on these figures who kept the band going after Sun Ra's death or their own widely regarded musical talent (Gilmore), another example of how excellent the Arkestra truly was is missed. Obviously, Sun Ra ran the show and the band supported his vision, but truly remarkable musicians who were faithful to his band were what made the Arkestra work. This is clearly expressed in the almost spiritual relationship between Sun Ra and vocalist June Tyson, whose presence in the band is regal.

Our minor nitpicking aside, this is an excellent introduction to the complex life and oeuvre of Sun Ra. The timing does not allow for extra details, even though Ra's life was full of remarkable episodes and anecdotes. For instance, Sun Ra thinking "Nuclear War" could be a pop hit and trying to get major labels interested. Or the story of the white judge who Sun Ra told would never see another black person like him. Hopefully, viewers of the documentary will go on to read Szwed's fantastic Space Is the Place. Sun Ra was a very unique person, but rightfully built his own myth to escape the myth of black inferiority and subjugation. We are almost inspired to revisit his broadsides and the reading lists for the course he taught at UC-Berkeley.

Port-au-Prince au cours des ans (1804-1888)

The volume covering Port-au-Prince from 1804-1888 in Georges Corvington's Port-au-Prince au cours des ans is very important for establishing the pattern of urban (under)development that has characterized Port-au-Prince throughout Haiti's history as an independent nation. Of course, Corvington focuses on the history of Port-au-Prince's urban confines, characteristics, economy, and cultural life means the larger story of Haitian underdevelopment and peripheral status in the world system of the 19th century are largely ignored. But any full understanding of why Port-au-Prince, despite some positive reforms in the years of Geffrard's presidency, or even part of the Salomon years, often failed to consistently maintain urban policies to rebuild or expan infrastructure, must be seen within the larger structural problems of Haitian political economy beyond the capital. By narrowing one's focus on the capital, however, the nefarious consequences of Haiti's structural woes are immediately clear, elucidating why the city in 2026 is unfortunately like its 19th century counterpart.

While the seeds were undoubtedly sown in the colonial era, this volume demonstrates how the various governments for most of Haiti's first century after the Revolution failed to manage and sustain the capital's growth. The perennial problem of instability and frequent revolutions, fires, natural disasters, or economic woes made the capital one which often lacked the infrastructure to adequate house its people. In addition, a large class of urban poor who were either unemployed or underemployed were already evident, with beggars known for congregating in public places and sleeping by the cathedral. Like today, the city's poor roads, badly managed tramway service (driven by horses in the 1870s and 1880s), and the failure of the municipal and national authorities to maintain sanitation, roads, or the distribution of water made much of the capital an unagreeable place. 

Despite these many problems, the capital was not without its charms. For instance, the Geffrard years witnessed a flourishing moment for the elite and bourgeois while Salomon's tenure saw the city expand further, beginning to look more like the capital of today spatially. Various governments did endeavor to improve infrastructure (often running out of funding before completion or relying on questionable concessionaires). The city's urban poor and laboring classes were actively involved in Carnival and the bourgeois homes formed elite salons or patronized theaters and high-end shops. Some degree of mixed neighborhoods could be seen in Bel-Air when petite-bourgoisie families established homes in the area or even parts of the Bord-de-Mer where families with means lived relatively close to impoverished quarters. Naturally, the seeds of the suburbanization and wealthy enclaves also developed in the 1800s, with Turgeau being one of the desirable neighborhoods of the time. 

But those on the other side of the tracks became a burgeoning problem for different neighborhoods, not just Bel-Air or Morne-a-Tuf. The capital's frequent fires, political turmoil, and the government's dependence on German or other foreign interests severely limited the ability of the state to adequately manage and restore the city after its numerous fires. These sadly meant that, as the population gradually grew, the state was usually not able to ensure urban infrastructure or services that would make the city livable. Naturally, this problem became extreme in the second half of the 20th century, but one can already detect traces of it in the 19th century. Even a Salomon who partly encouraged home ownership on the new outskirts of the city or the growth of charity, social aid, and Catholic churches, schools, and hospitals werenot adequate to meet the challenge. Not wholly explained by Corvington but very significant, the urban masses who supported the charismatic Salnave represent one eruption of proletarian or urban poor assertion. Although failing with the fall of Salnave and the return to power of the old bourgeois interests, the specter of the urban poor remained a threat to established interests. For that reason, one wishes Corvington explored more deeply the question of crime, labor (domestic servants, artisans, stevedores), and religion or spirituality of the urban poor and workers. For instance, how did Vodou shape the lives of the urban poor and neighborhood organization or politics? To what extent did the Church's new chapels and parishes in the growing city shape popular Catholic identity and practice? Their lives are partly represented in his numerous references to areas like Bel-Air, but a deeper sense of their class position and daily experienes may have helped readers to understand how inequality was exacerberated whilst benefitting the elite and political classes. 

In other words, we should probably read the subsequent volumes of the series. There Corvington would have had more sources to draw from to paint a more complete social picture of the Haitian capital. Nonetheless, this is a fine start for a basic overview of how Port-au-Prince did evolve in the 19th century. Corvington is careful with sources, often relying on newspapers from the period in question, foreigners' accounts, memoires, and using maps and photographs to display the changes over time. Perhaps engaging with oral traditions and family histories, especially among families frrm the lower-class or middle classes could have helped to fill in the gaps for much of the 19th century.

21st Century Romance

Long one of our favorites from The Night of the Purple Moon, Sun Ra's "21st Century Romance" is the confused highpoint of Western civilization. In all seriousness, this comforting piece is pensive and features some nice honking from the horn player (Gilmore?) whose brief solo adds a bit of edge to what is rather tame material by Sun Ra standards. It's one of the better outings from a rather accessible Sun RA LP with no long tracks.