#dening

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RAMALAN Juli 2020 dening Jucelino Luz

RAMALAN Juli 2020 dening Jucelino Luz

Juli 2020 Ramalan dening Jucelino Luz

Gelombang panas tekan ing Asia, kita bakal duwe prahara sing kuat kanthi angin sing ngrusak lan karusakan akeh;

Ing gelombang kadhemen (Brasil) isih nyuda wong-wong Brazil, kanthi udan abot lan akeh karusakan, lan ana kasus koronavirus – isih curiga karo peningkatan jumlah ing keputusan sing digawe, supaya ora udan ing tuntutan hukum ing Brazil, amarga ora…

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[toranosukev]

When in the sixty-first millennium of settlement in this country will a monument be erected to celebrate the end of the more than two hundred years war between black and white in Australia? Make no doubt. There will be such a monument. I shan't see it. Maybe not you. Maybe not your children's children. Maybe it will be a thousand-year war. But the end will happen and there will be a monument. And there will be a debate about that monument. Should it be 'useful'? Should it be something that will mend the consequences of this war - some social scheme, some educational programme to ensure it will never happen again? Or will it be not 'useful,' but a sacrifice that the present must make for the pain that has been made - some part of the Land that will belong to nobody but only to the past and the Land itself; some sacred space, shaped to rouse a memory, bring tears, give strength to resolutions? The debates about that space will be endless. Will it be a vaginal slash in the earth? Or will it be stiff and erect? Will it be black or white? Whose names will be upon it? Will the names have that ordered look by which we manage the dead, or will they be randomly represented, as chaotic and senseless as the occasions of the killings? Will it be mirror-shiny so that we see our faces in the past? What sorts of rituals will subdue its artificialities? When will it move from mere symbol - something to which those who see it give purely notional assent - to become sign, that whose mere presence conveys its meaning? When that monument to the 200- or 300- or 1000-year war is made, it will be because the songlines that bind together all those living in this land will say that the killings have not been so much of other as of self. On the presumption that the processes of creating such songlines has begun, we can at least explore their beginnings.

Greg Dening, Performances (1992), 223-224. A reminder that race, race relations, and racial tensions or conflict take myriad different forms around the world, that US American notions of the meanings of "black" and "white" are not universal, and that there is a lot more going on in this world than the concerns of our own country. But, also, at the same time, thoughts which I think could apply very much to our own country's situation as well, in this moment, as we once again think about race relations in our own country, in the aftermath of Charleston, and Bree Newsome, and amidst the ongoing burnings of black churches across the South.

[toranosukev]

Knowing the past, which we call history, and knowing the other, which we call anthropology are the two great cultural metaphors by which we know ourselves and knowing ourselves constitute ourselves.

Greg Dening, Performances, 200.

[toranosukev]

If 'Reflective History' means 'know thyself' in the present as well as in the past, the complaint is made, then we are likely to be lost in some vortex of pleonasms. Narcissus had it easy. Reflection only turned him into a flower. Reflection for us is likely to send us mad in a postmodern hall of funny mirrors.

Greg Dening, Performances, 126.

[toranosukev]

Everyone who would represent the past must ‘go native’ in some way or be condemned always only to represent the present. Even the ‘native’ must ‘go native’ in finding a past. We might think we are privileged in some way towards a past by being black or white, male or female, poor or powerful, but that privilege is only towards all the others of our living present. The past to which we each ‘go native’ is a lot farther off and no one gets there but by giving a little. ... [And yet, also,] few of us can find a voice which is neither white nor black, male nor female, young nor old. Few of us can deny the hegemonic mode in our translations of other linguistic forms into our own. ‘Going native’ … is actually a very difficult thing to do. That is why I used to take comfort from a headstone in the cemetery outside the Hawaiian Mission Archives … ‘Sister Kate,’ the epitaph reads, ‘She Did What She Could.’

Greg Dening, Performances, 124.

[toranosukev]

Clio, being first-born, always had a superior air. She was depicted crowned with laurels and usually held a trumpet in one hand and a book in the other ... Clio's name meant 'Glory.' There has always been an expectancy that history blows somebody's trumpet.

Greg Dening, Performances, 104.

[toranosukev]

Imagine we go to the theatre to see Death of a Salesman, a part of life and life’s relationships and structure, set out, like life itself, in a series of conversations. We hear the sentences of the conversation on the stage – about baseball, about dingy hotel rooms, about careless children and too careful wives … We know the sentences in their unity to be concerned with coping or not coping with the emptiness of public presentations of self. … Let us say we go to the theatre. The curtains are pulled back. There is Arthur Miller sitting on the stage. ‘Death of a Salesman,’ he says, ‘is about Everyman, Willie Loman, in an entrepreneurial society, and Everyman’s inability to cope with the emptiness of the public presentation of self. That will be $10 please.’ We would not know it at all. … The medium of most of our living is conversation, of texted narrative. The clothing of our structures is the trivialities of everyday existence.

Greg Dening, Performances, 47.