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Wondrous Origins of Wonder Woman
In a way the Wonder Woman story starts in Medford, Massachusetts, at Tufts University, in the 1920s. William M Marston, a young progressive and unorthodox psychology professor, teaches his own DISC theory＊ to his students. One particular female student takes a shine to Marston’s DISC ideas and to the professor himself. Next thing we know Marston immerses himself in a ménage a trios with the student (Olive Bryant) and his (initially quite reluctant) wife Elizabeth. The polyamorous relationship◵ allows Bill to explore a latent interest in BSDM and arrive at the conclusion that women are the “love leaders” of society, predicting that women would “take over the rule of the country, politically and economically, within the next hundered years” [Tim Hanley, Wonder Woman Unbound: The Curious History of the World’s Most Famous Heroine, (2014)].
(Source: www.money.org/)
⍋ 1st sighting of the pioneering super-heroine: Marston uses the pseudonym “Charles Moulton” for the Wonder Woman comic books
Marston over the years tries his hand at many things in addition to psychology —inventing a systolic blood pressure test (which contributes to the development of the polygraph); writing screenplays for early silent films; authoring self-help books—without ever really attaining a measure of lasting success in any. Marston’s venture into creating comic books in 1940 turns that trend around. Always looking for a new business opportunity, especially after finding himself on the outer in academe, Marston finds a new way to champion his faith in female superiority by creating Wonder Woman, the first super-heroine in comics.
⍒ Wonder Woman on the lie detector
Marston’s ‘superwoman’ Having successfully pitched the idea to DC Comics boss Max Gaines, Marston’s Wonder Woman debuts in 1941 in All Star Comics #8, with cartoonist HG Peter supplying the pencilling which have a touch of art nouveau about it. Marston embodies WW with all the attributes and values that added up to his idea of perfect femininity (based seemingly on an amalgam of the brace of women in his life, Elizabeth and Olive). The make-up of WW’s character reflects Marston’s fascination with Greek mythology. She is depicted as an Amazonian princess◘ , as “strong as Hercules”, “wise as Athena” and “beautiful as Aphrodite”. Garbed in a sexy but patriotic suit of star-spangled red, white and blue, her accoutrements are distinctively martially potent – including the “Lasso of Truth”, a device to compel people to tell the truth (an idea germinating from Marston’s lie detector prototype). WW wears indestructible bracelets which deflect bullets, a golden tiara which doubles as a projectile and an ‘invisible’ jet to whisk herself away from danger [Wonder Woman Psychology: Lassoing the Truth, edited by Travis Langley & Mara Wood (2018)].
Wonder Woman, a comic book gender transgressor In the comics of the 1930s prevailing cultural norms are reinforced, superheroes are male by gender and violent in method – the stereotypical depiction of women was commonly restricted to evil seductresses, the girlfriends of heroes (eg, Lois Lane) or their ‘helpmates’. Wonder Woman represents a radical departure from the norm, her shtick is fighting fascism in America wherever she finds it – using her brains rather than the heavy-handed brawn exhibited by Batman, Superman and co. [‘A Psychologist and A Superhero’, (Margarita Tartakovsky), Psychology Central, updated 15-Mar-2019, www.psychcentral.com].
Wonder Woman, “deer-hunting” ⍋
Comic bondage and a moral backlash
Marston is able to indulge one of his most cherished psychosexual beliefs through Wonder Woman, that “women enjoyed being bound”. In the comics it appears as a standard contrivance, we find WW being tied up by villains as some point or other in the story line. Sometimes WW herself ties up women, and to accentuate the kinkiness of her character, dresses them in deer costumes for a mock cervid hunt through the forest⁌ [‘Wonder Woman (comic book)’, Wikipedia, http://en.m.wikipedia.org]. The BSDM preoccupation reflects a personal fetish of Marston’s but also can be linked back to the powerful influence the suffrage, feminist and birth control movements has on him (pioneering birth control activist Margaret Sanger was Olive Byrne’s aunt) ⌖. Wonder Wonder is an instant hit for the comic book-reading public (eventually reaching a weekly readership of five million), drawing the opprobrium of America’s moral guardians who object to the torture motif running through the stories, also considering WW’s outfit to be far too skimpy [‘The Surprising Origin Story of Wonder Woman’, (Jill Lepore), Smithsonian Magazine, October 2014, www.smithsonianmag.com].
⍒ Justice Society of America
At DC Comics Wonder Woman is invited to join the Justice Society of America (DC’s superhero team in the “Golden Age of Comic Books” as the period was known). WW’s elevation is hardly a step forward for gender advancement however as her designated role in the JSA is that of secretary for the male superheroes, while the ‘boys’ get on with the heroics of protecting the world from the designs of global criminal masterminds [‘The Truth About Wonder Woman’, Robert Kirkman’s Secret History Of Comics, (US documentary)].
Marston doesn’t get to appreciate the success of Wonder Woman for long, he contracts a form of cancer and dies in 1947, still in his early fifties (for the last two to three years he has an assistant, Joye Hummel, who helps ghost-write the WW stories when he is too ill). With the reins of the Wonder Woman comics passing from its originator to new hands, the iconic super-heroine’s persona and fortunes would undergo a number of transformations over the decades to follow. Initial sketch of WW by HG Peter (1941) ⍒ (Source: Smithsonian Libraries)
︵︵︵︵︵︵︵︵︵︵︵︵︵︵︵︵︵︵︵︵︵︵︵︵︵︵︵︵︵︵
＊ Marston believes that the behavioural expression of emotions could be divided into four primary types – Dominance, Inducement, Submission and Compliance [‘William Marston’, www.discprofile.com/]
◵ Elizabeth and Olive each have two children to Bill and everyone live under the same roof
◘ like Superman, Batman, etc, WW has a civilian alias – Diana Prince
⁌ such scenes may also have inspired by Byrne giving Marston a window into the activities of her sorority at Tufts University – “baby parties” where dominatrix women bind and discipline submissive sorority members [‘Curious Traditions of Times Past: Baby Parties’, (Yim Walsh), Tufts, 18-Sep-2014, www.dca.tufts.edu]
⌖ from this exposure Marston learns that the breaking of chains is “a powerful feminist symbol of emancipation” [‘A look back at Wonder Woman’s feminist (and not-so-feminist) History, (Michael Cavna), Independent, 30-May-2017, www.independent.co.uk].
♋️ ♋️ ♋️
The Moral Guardians’ War on ‘Pernicious’ Comic Books
As all of us are only too aware, COVID-19 has cut a swathe through public gatherings, large aggregations of people are a “no-no” in 2020. Across the globe all manner of events have been on the receiving end of a different sort of cancel culture treatment. The superhero-studded world of comic book conventions has not been immune to this contagion. Comic-cons everywhere, including the San Diego Comic-Con International, America’s oldest comic book convention, have been red pencilled in this year of the plague. But if we turn the clock back some 70 years we might observe a time when the existential threat was directed at the product itself, the actual comic books.
(Photo source: www.theverge.com/)
There were no organised comic-cons in the more cautious and conformist 1940s and 50s, but this in no way equated with a lack of popularity of comic books. In fact the Forties had been a Golden Age, especially for American comic books, Comic strip creators were riding high with a slew of superhero characters—including Superman, Wonder Woman, Batman and Captain America, the Avengers and Captain Marvel—proving lucrative for companies like Detective Comics (DC Comics), Entertaining Comics (EC Comics) and Timely Comics (Marvel Comics). By mid-decade comic books were the most popular form of entertainment in the US (with 80 to 100 million copies being sold per week!) By the late 1940s comic books were well and truly being marketed towards adults as well…”fed by the same streams as pulp fiction and film noir, titles (began to tell) lurid stories of crime, vice, lust and horror” [David Hajdu, The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America, (2008)].
♦️ Wonder Woman (Sensation Comics, 1942)
‘Seduction of the Innocent’
Dark clouds appeared over the comics industry’s blue skies in 1954 with the publication of Seduction of the Innocent by a Bavarian-born neurobiologist Fredric Wertham. The book was “a full-throttled attack on the lurid contents of various crime, horror, and even super-hero titles, (with an emphasis on) graphic illustrations of wife-beatings, sado-masochism, and gruesome murders”⁕ Sean Howe, Marvel Comics: The Untold Story, (2012)]. Wertham’s inditement of the American comics of the day was that they corrupted impressionable youth, inveigling them into fanaticising about evil, leading them on a ruinous path to criminal behaviour, etc.[‘History of Comics Censorship, Part 1’, CBLDF, www.cbldf.org/].
♦️ Crime SuspenStories, 1950
1940s, North and bonfires
Wertham was not the first critic to take aim at the US comic book industry. In the view of CBLDF✥, since the 1930s “the comics medium has been stigmatized as low-value speech”. In 1940 conservative commentator Sterling North urged parents and educators to guard against the influx of “mayhem, murder, torture and abduction—often with a child as the victim” in contemporary comic strips. North also decried the incidence of “voluptuous females in scanty attire, machine gun (-wielding hoodlums) and “cheap political propaganda” in the comics. The effect on children, he went on to say, of these “badly drawn, badly written and badly printed” strips was “a strain on young eyes and young nervous systems” as well as constituting “a violent stimulant” to them [North, Sterling. “A National Disgrace”. Childhood Education. 17.1, 1940: 56. Print.]. During WWII religious and patriotic organisations conducted public burnings of ‘disapproved’ comic books in American neighbourhoods – in ironic juxtaposition of the war being fought overseas concurrently against Nazi Germany (’Comic Censorship, Part 1’).
♦️ Dr Wertham, researching
“Pop culture McCarthyite”
But it was Seduction of the Innocent that struck the strongest chord in a 1950s America “looking over its shoulder” for real or imagined enemies of society in the grip of a hysteria heightened by McCarthyism. It triggered a public outcry, prompting an investigation into the industry by a Senate sub-committee. Publicity from the hearing was damning and the fallout was devastating. Comic books were denounced by Wertham and other moral crusaders as contributing to juvenile delinquency⚉. At the height of the moral panic, comic book publishers were sometimes treated as though they were mobsters, and the cartoonists, as if they were pornographers [‘The Caped Crusader’ (Jeet Heer), Slate, 04-Apr-2008, www.slate.com; ’Comic Censorship, Part 1’].
The emasculated comic book
Threatened with both public and government censure, the comics industry choose to self-regulate, introducing the Comic Code Authority, “a censorship code that thoroughly sanitized the content of comics for years to come”. The new code (something analogous to the film world’s draconian Hays Code) was taken to ridiculous lengths, it forbade comics from showing zombies, vampires, ghouls and werewolves; words like ‘horror’ and ‘terror’ couldn’t be mentioned in the story lines; nor could criminals be portrayed sympathetically and the institution of marriage could not be seen to be disrespected (Howe).
♦️ The imprimatur of the self-censor
Comic book publishers were forced to produce ‘purified’ comics suitable for a younger market—more infantile and tamer stories, squeaky-clean but ‘dopey’ heroes replacing the previous super-overachievers—in short, “safe fantasies” for the youngest readers (’Comic Censorship, Part 1’).
The economic and human toll
The new reality of the world of comic books decimated the industry’s hitherto prosperity…between 1954 and 1956 the number of titles produced was cut by more than half – from 650 in 250 over that two-year period!✧. By summer 1954 15 comics publishers in the US went belly-up. EC Comics, up to then one of the market leaders, discontinued all its comics lines…its much-vilified publisher William Gaines switching production solely to the satirical Mad magazine. Over 800 jobs in the industry vanished more or less immediately (Howe; Hajdu). Many talented inkers and pencillers left the industry for good, many for economic reasons but others due at least in part to the stifling of their creative artistic output.
Endnote: Demise of adult comics
Both Wertham and North in their hatchet jobs on the comics genre made the error of completely disregarding the significant adult readership of comic books. The recovery of the industry, the winning back of that readership, took many years…it didn’t really happen until the emergence of ‘Underground’ comics in the 1960s with publications like Zap Comics and comic artists like R Crumb§ [‘History of Comics Censorship, Part 2, CBLDF, www.cbldf.org/].
♦️ Detective Comics, 1945
PostScript: The Wertham thesis unpacked
After it became accessible in 2010 Wertham’s research on comics books was investigated and his conclusions found largely baseless…Wertham was said to have manipulated data, overstated, compromised, and fabricated evidence. A further weakness of his work was that he used non-representative samples as the basis for his conclusions. Scorn was also poured on Wertham’s contentions that the comic character Superman harboured Nazi SS tendencies, that the Batman/Robin relationship had homoerotic overtones, and that Wonder Woman was a lesbian role model (Wertham saw this as wholly undesirable)[‘Fredric Wertham’,Wikipedia, http://en.m.wikipedia.org; Heer].
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⁕ that serious comics of the period were laden with violence, misogyny and racism, could not be disputed (Heer)
✥ Comic Book Legal Defense Fund
⚉ a sense of elitism also coloured Wertham et al’s dislike of popular comics. Wertham considered their consumption blocked children from an appreciation of literature and fine arts (Hajdu; Heer)
✧ over 100 pieces of anti-comic book legislation came into effect in the Fifties (Hajdu)
§ the fashionability of adult readership was further advanced by the advent of graphic novels
Tarzan, the Enduring, Politically-incorrect, Pop Culture Myth of a White Saviour in a Black World
⇩ Start of the Tarzan pulp fiction phenomenon
When testosterone-charged visitors to coastal Belgian towns began strolling around the shops and cafes bare-chested in 2015, locals objecting to this aesthetic blight on the landscape took to labelling the offending blow-ins “Tarzan tourists”. References to that archetypical, mesomorphic white hero of amorphous jungle habitats, Tarzan, have permeated popular culture for over a century. Since the time pencil-sharpener salesman Edgar Rice Burroughs (ERB) turned his hand to writing his first story in 1912, the aura of Tarzan, carefully cultivated by the author into a cultural icon, has extended from pulp fiction, to various media including comic strips, films (over 90!), radio shows, TV series, Broadway musicals, computer games and a raft of commercial merchandise𝓪.
Celluloid Tarzan – from urbane gent to LCD savage The phenomenal success of ERB’sTarzan of the Apes and follow-up pulp novels provided prime adventure material for a rapid transition into cinema, starting with a silent movie in 1918. Later sound film interpretations, especially those with former American Olympic swimming champion Johnny Weissmuller as Tarzan, departed radically from Burroughs’ original conception of the heroic jungle adventurer as a cultured, multilingual, erudite aristocrat (John Clayton II, Viscount Greystoke). Weissmuller’s “dumbed-down” depiction of Tarzan was as an innocent and noble savage, the “strong and silent” type given only to monosyllabic utterings (“Me, Tarzan, you, Jane”).
⇩ ERB at home in Tarzana, California
White skin, white supremacist
As successful as the books and later franchises have been, Tarzan’s character has engendered a persistent stream of controversy. ERB’s creation, from the start, was an obvious target for accusations of racism – a white boy/man𝓫 thrown into a dangerous and alien environment (the “dark continent”), who manages not only to survive but to triumph over hordes of dark-skinned peoples and over numerous wild animals. Tarzan emerges from the pages as a “consummate colonial-era adventurer” – “a white man whose novel civility enabled him to communicate with and control savage peoples and animals…using appropriate technology” to help natives who “cannot solve their own problems” [RJ Gordon in Tarzan was an Eco-Tourist … and Other Tales in the Anthropology of Adventure, (edited by Luis A Vivanco & Robert J Gordon), 2006]. The world that Tarzan creates in the jungle is in effect a “white supremacist Eden parable”, the books and films completely omit the point-of-view of the indigenous people who live in the African jungle (or the Amazonian rainforest𝓬) ‘[‘The Only Good Tarzan is a Bad Tarzan’, (Aaron Bady), Pacific Standard, 08-Jul-2016, www.psmag.com; ‘From Tarzan to Avatar: the problem with “the white man in the jungle”’, (Steve Rose), The Guardian, 06-Jul-2016, www.theguardian.com].
⇧ TV Tarzan (loin-clothed Ron Ely) in Mesoamerican climes (Source: www.nbc.com)
A white world of comfortable racial assumptions Tarzan’s brand of chivalrous “white masculinity” precludes him from engaging in sexual violence against women, but he is utterly implicated in the negative racial stereotyping of Africans, an explicit feature of the books – black men are described as “lithe, ebon warriors, gesticulating and jabbering”, Arabs are “surly looking”. Without holding back, ERB tells us, Tarzan is “a killer of many black men”, revelling, shockingly for modern sensitivities, in the act of ‘lynching’ blacks [Gail Bederman, quoted in ‘Tarzan’, Wikipedia, http://en.m.wikipedia.org].
The mystique of Tarzan: Green mascot, eco-warrior and proto-expat
Part of Tarzan’s durability as a cultural icon might lie in his versatile utility. It has been noted that Tarzan possesses an “ability to adapt to the zeitgeist of different eras”. In seamlessly managing an environment that is unnatural and unfamiliar to him, he demonstrates a flair for “ecological sustainability”, we are shown the ape-man’s apparently impeccable “green credentials” [‘The Untamed Image of the Perfect Savage’, (Bram Wicherink), Efnofoor, vol. 22, no. 2, 2010, pp.90-97. JSTOR, www.jstor.org/stable/25758188. Accessed 10 July 2020]. For Paul Theroux, who had hands-on experience of being part of the ‘invasion’ of Africa by Peace Corps Volunteers in the 1960s, Tarzan is “in the jungle, but not of the jungle”…therefore he was the “first expatriate”𝒹 [Theroux, P. “Tarzan Is an Expatriate.” Transition, no. 32, 1967, pp. 13–19. JSTOR, www.jstor.org/stable/2934617. Accessed 10 July 2020].
⇩ The first screen Tarzan, Elmo Lincoln, 1918
Tarzan as metaphor – defender of masculinity The period in which ERB wrote the first Tarzan books (just before, through and after WWI) saw the emergence of a challenge to the hegemony of white masculinity – from the Suffragette Movement…according to Robert Gordon, Burroughs’ creation of the all-conquering jungle superhero constituted a buffer against that perceived threat. This held sway again in the 1960s and 70s when the advent of women’s, LGBT and civil rights movements loomed as a threat to (white heterosexual) masculinity. Tarzan, as “the archetypal white-manhood fantasy” represented a “refuge of sorts for white audiences”. What they could observe in the story of Tarzan was an ideal of manliness, a he-man proving himself physically in the most testing of circumstances [Gordon; ‘Me, Tarzan. You, Really Still Doing This?’, (Devon Maloney), Mel, 11-Jul-2016, www.melmagazine.com.
PostScript: An attempt at a politically-corrected Tarzan The talkies motion picture era has seen a string of mostly forgettable actors taking on the role of Tarzan, as well as a TV series or two and even Disney animation versions of the vine-swinging king of the jungle. In recent decades the Tarzan phenomenon has appeared to be running out of steam, although a recent entry, a 2016 screen production, The Legend of Tarzan, sought to present a Tarzan with ‘woke’ politics and more psychological complexity. Tarzan is this time avowedly anti-colonial, taking to task the odious slave-based Congo empire of Belgian king Leopold II, and displaying his capacity for “racial sensibilities” in the endeavour. Resurrecting a Tarzan who is more nuanced is still in itself problematic for its contemporary tone-deafness – “propagating…a white saviour narrative during the charged era of Black Lives Matter” is not the most prudent or politically savvy card to play [Glenn Kenny, ‘The Legend of Tarzan’, (01-Jul-2016), www.rogerebert.com]. The hero’s mate Jane departs from her character’s standard “eye-candy” function and exhibits a “feisty proto-feminist” defiance and the film gives a nod to environmental and conservationist concerns. Unfortunately the movie got at best only mixed reviews and basically bombed at the box office [‘The Legend of Tarzan’ Falls Well Short of the Tree Tops’, (David Edelstein), Vulture, 01-Jul-2016, www.vulture.com].
Ft’note: Tarzan, very much “all-American” Oddly, in all the graphic representations of Tarzan—in films, on book covers and illustrations—he is presented as clean-shaven, always sans beard, somewhat of an anomaly considering he is almost always off the grid, cut off from all the usual paraphernalia and comforts of life.
⇧ Just your average Middle American family
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𝓪 Tarzan was “the first fictional character to be multi-mass-media marketed…the growth of a veritable Tarzan industry, with “Tarzan Clubs” rivalling the Boy Scouts (Gordon). But not just boys, famed ethnologist and world chimpanzee authority Jane Goodall was captivated by the mystique of Tarzan, his impact on the primatologist’s childhood imagination “set her on a path to Africa to work with wild animals” [‘How Tarzan created Jane Goodall and how Goodall then repaid the favour’, (Shawn Thompson), The Ethical Ape, (2013), www.news.mongabay.com]
𝓫 in the books Burroughs explains that the name given the eponymous hero, ‘Tarzan’, means (in African “ape language”) “white of skin”
𝓬 occasionally for plot variety the setting for Tarzan’s adventures diverts from the customary (vaguely) African location to Latin America and India
𝒹 apparently he was the inspiration for future adventure junkies – for many restless souls in the West who flocked to join the Peace Corps in an Africa emerging from colonialism, as well as for later devotees of the ongoing craze for adventure tourism (Gordon)
“Coronavirus’ Continuing Story: “Model Countries”, The “Second Wave”, More of the “New Normal”
Virtually from the onset of the pandemic, public health boffins around the world, mindful of the deadly follow-up wave of the Spanish Flu in the northern hemisphere autumn of 1918, were warning countries that even if they managed to suppress the virus, the danger of a second strain was incredibly real. And now it seems that second wave has come to fruition⍝. Australia, which had pretty much contained the spread of coronavirus by early June in all states and territories, has seen a renewed spike of infections in metropolitan Melbourne and a reimposition of border lockdowns by other states in the Commonwealth. In addition, another Covid cluster is currently emerging in a pocket of south-west Sydney.
Elsewhere there are even more concerning trends of new flare-ups. In Covid-19 ravaged Europe, Portugal was until recently thought to be an exemplar of sorts on how to handle the pandemic and minimise its harmful impact. While neighbours Spain and France had been beset by rapid rates of infection and steepling mortality counts in the earliest phase of the pandemic’s first wave, Portugal by April was coping comparatively well. The republic’s small population (about 10.25 million) no doubt aided the authorities’ efforts to fight the pandemic, but this was counterbalanced by inherent drawbacks – an elderly population (3rd highest population of over 80s in Europe) and underfunded health system (just 4.2 critical care beds per 100.000 people). Portugal’s centralised system of government and the early implementation of measures—locking down public places and events—was key to the country’s success in slowing the pace of infection, reflected in the comparative death rates [‘How Portugal became Europe’s coronavirus exception’, (Paul Ames), Politico, 14-Apr-2020, www.politico.com].
|
European country |
Per capita mortality from coronavirus |
|
Portugal 🇵🇹 |
3% |
|
Spain 🇪🇸 |
>10% |
|
Britain 🇬🇧 |
12% |
|
France 🇫🇷 |
15% |
|
(as at mid-April 2020) |
{Ames} |
(Source: Reuters/ Rafael Marchante / File Photo)
Portugal’s relative success at that time, 18,091 confirmed cases of coronavirus and 599 deaths, was also attributed to a unified political approach—opposition and government working towards the common goal of tackling the pandemic—and to the self-discipline of Portuguese people in faithfully adhering to the stay-at-home guidelines during the crisis (Ames). The situation in Portugal now sits at 46,818 confirmed cases and 1,662 deaths (14-Jul-2020) – the result of the reopening of economic activity and relaxation of restrictive measures [‘How Sweden and Portugal Went from Pandemic Role Models To Record Infections’, (Marina Velasco), Huffington Post, 11-Jul-2020, www.huffpost.com]. This surge in virus numbers is centred around the capital Lisbon.
Next door Spain is currently confronted with two new very serious cluster points in the north of the country. Galicia region (the northwest) and autonomous Catalonia (the northeast) have both imposed a second lockdown after the earlier easing of restrictions due to a similar upsurge in infections [‘Coronavirus: Spain imposed local lockdown in Galicia’, BBC News, 05-Jul-2020, www.bbcnews.com] . The timing of the spike is not good, especially as Spain and Portugal have just reopened their common border at the start of July.
🔺 Before the second strain: as of around 1st May Portugal had the Iberian bragging rights for best at weathering the coronavirus storm sown up (Source: www.ft.times)
Israel is another country whose fortunes with the pandemic have ebbed in recent weeks – going from “model nation fighting the novel coronavirus to a small, isolated country whose citizens face a long, deadly summer locked down”. An early, enforced lockdown saw Israel hold its fatalities to only 271 by May, with Israeli prime minister Netanyahu proclaiming it “the safest country on earth”. Two months later everything has gone pear-shaped in Israel, virus cases are spiking concurrently with a cratering economy and 23% unemployment (all adding to Netanyahu’s pre-existing political woes). The head of Israel’s public health service has quit in protest, frustrated by the government’s handling of the crisis – alleging a hesitant, disjointed, stop-start approach from the government (“six wasted weeks”), and equally worrying, a Trump-like reluctance by the prime minster to heed official public health expert advice✥. Adding his voice to the chorus of critics of the government’s approach, President Rivlin has commented that “Israel has failed to develop a clear and coherent doctrine to combat the coronavirus” [Noga Tarnopolsky, ‘“The Second Wave” of COVID Hits Israel Like a Tsunami’, Daily Beast, 10-Jul-2020, www.thedailybeast.com].
Ashdod, one of Israel’s virus hotspots (Source: www.timesofindia.com) 🔻
PostScript: “Second wave-ism”✪ and relaxed response mode⊡ In fact “second wave” contagion seems quite a global prospect at the moment. Other countries such as Germany, Singapore, South Korea and China have all managed to contain the first wave outbreak in their respective countries, only, as restrictions on movement and travel get lifted, to be hit afresh with subsequent clusters of local infections [‘New Covid-19 clusters across world spark fear of second wave’, (Emma Graham-Harrison), The Guardian, 27-Jun-2020, www.theguardian.com].
(Image: Getty Images)
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⍝ Professor Nick Talley (Australian Journal of Medicine) refutes the view that Australia is experiencing a “second wave” of the virus, contending that the current outbreak is actually the “real first wave”
✥ over a six-week period the number of confirmed cases multiplied by 499%; currently (14-Jul-2020) Israel has confirmed 40,632 cases and 365 deaths from the pandemic
✪ the concept of what constitutes a virus second wave is not a definitive or consensual one – “no precise epidemiological definition” (Harvard School of Public Health). It can be applied to “anything from localised spikes in infection to a full-blown national crisis” – so some medical experts avoid the term itself (Graham-Harrison)
⊡ epidemiologists worry that “social distancing fatigue” arising from being in lockdown for extended periods can contribute to pockets of new infections emerging
Coronavirus Responses and Patterns in Africa: Southern and West Africa
Three months ago when the COVID-19 outbreak started to move around the globe, the World Health Organisation issued a warning to the continent of Africa whose nations were just starting to feel its impact [‘Coronavirus: WHO tells African countries to ‘prepare for the worst’, Eye on Africa, 18-Mar-2020, www.france24.com]. The pandemic was late in reaching Africa and initially slow to make inroads, taking 98 days to register its first 100,000 confirmed cases but is now accelerating – only taking 18 more days to hit the 200,000 mark of cases [‘COVID-19: WHO warns of virus acceleration in Africa’, Vanguard, 14-Jun-2020, www.vanguardngr.com]. Overall African fatalities sit at 6,793 (16-Jun-2020) with just five countries (Algeria, Egypt, Nigeria, South Africa and Nigeria) accounting for 70% of the deaths✹.
Southern Africa: To date South Africa has been the nation most heavily affected by the public health emergency – over 73,000 confirmed cases and 1,568 deaths (16-Apr-2020). The Western Cape province has become the epicentre of the RSA pandemic, recording so far around 75% of the country’s fatalities. The province’s high incidence of cases has been attributed to the presence of poor, densely populated townships like Khayelitsha, a shantytown of 500,000 people. Cape Town’s thriving tourism (before the closedown) has also been advanced as contributing to the outbreak’s toll. South Africa, with a more developed economy and better health care system, has conducted more a million virus tests, while many other African countries have racked up only a few thousands. The clear implication of this is that ”the disease is spreading undetected elsewhere on the continent” [‘Cape Town becomes South Africa’s coronavirus hotspot’, (Jevans Nyabiage), South China Morning Post, 12-Jun-2020, www.amp.scmp.com].
⍐ Bulawayo, Zim. (Photo: Philimon Bulawayo/Reuters)
South Africa’s smaller, northern neighbour Zimbabwe has done surprisingly well on paper in the crisis (four deaths recorded only), but with the rider that testing for the disease—hampered by a critical shortage of health equipment and infrastructure—has been very limited…by 10th April it had tested a mere 392 people [‘In Zimbabwe, lack of tests sparks fear COVID-19 goes undetected’, (Chris Muronzi), Aljazeera, 10-Apr-2020, www.aljazeera.com].
(Image: SABC News)
West Africa: Results of the fight against the pandemic in West Africa have been mixed. Senegal began its counter-measures early in January, closing the borders, implementing contact-tracing, etc. The country was able to produce a test kit for COVID-19 costing only $1 per patient and has managed to accommodate every coronavirus patient either in hospital or in a community health facility. African countries who experienced the 2013/14 Ebola virus outbreak like Senegal put that experience to good use, prohibiting large gatherings, strict night-time curfews, banning intercity travel, etc. Côte d’Ivoire (the Ivory Coast) followed Senegal’s approach, declaring a state of emergency and trying to impose curfews in it’s main city Abidjan, but the country’s buoyant economy has taken quite a hit from the coronavirus crisis. Ghana has utilised an extensive system of contact-tracing and a “pool-testing” mechanism which follows up only on positive results [‘Why are Africa’s coronavirus successes being overlooked?’, (Afua Hirsch), The Guardian, 21-May-2020, www.theguardian.com; ‘Women unite against COVID-19 in Senegal’, Relief web, 10-Jun-2020, www.reliefweb.int].
The speeding up of coronavirus cases in a small African country like Guinea-Bissau has occurred notwithstanding it’s small population and limited testing, reflecting a reality stretching across the whole continent, the sheer incapacity of weak and under-resourced national health infrastructures to cope with the pandemic [‘West Africa facing food crisis as coronavirus spreads’, (Emmanuel Akinwotu), The Guardian, 16-May-2020, www.theguardian.com].
⍐ Kano (Photo: Reuters/Luc Gnago)
In Nigeria, Africa’s most populous country, the most worrying hotspot has been the north in Kano state and metropolis. The pandemic has gotten out of hand here because of a confluence of factors, including the state government’s early failure to admit the presence of coronavirus (which it initially tried to pass off as an upsurge in other illnesses), costing it vital lost time in the fight against the disease; the closure of Kano’s only testing centre for a week in April; acute shortages of PPE; and the pre-existing displacement of 1.8m people in the region [‘Covid-19 Outbreak in Nigeria Is Just One of Africa’s Alarming Hot Spots’, (Ruth Maclean), New York Times, 17-May-2020, www.nytimes.com].
Dakar, Senegal (Photo: John Wessels/AFP via Getty Images)
PostScript: A young and rural population Africa’s avoidance of the worse excesses of COVID-19 thus far has prompted the theory that the continent’s demographics is working in it’s favour. A study in the journal BMJ Global Health attributes this to Africa’s young, rural-based population▣ …60% of the population is under 25, cf. Europe (95% of its deaths from the virus have been people over 60). BMJ hypothesises that Africa will likely suffer “more infections but most will be asymptomatic or mild, and probably (go) undetected” [‘Africa’s young and rural population may limit spread and severity of coronavirus, study says’, (Jevans Nyabiage), South China Morning Post, 28-May-2020, www.amp.scmp.com].
↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝ ↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝ ✹ Egypt and South Africa alone account for nearly 48% of the entire continent’s corona-related deaths ▣ the study focused on Kenya, Senegal and Ghana
The Choral Powder Keg: A Health Hazard Tailor-made for the COVID-19 Crisis
When a pandemic or some similar “Black Swan” event sweeps the world, hitting many countries with great intensity, particularly in Western societies with a high degree of religiosity, comfort and solace is often sought within the spiritual “safe house” of the church. As soon as the novel coronavirus landed and spread, it was apparent the church services especially where high rates of attendance was commonplace, would pose a public health risk.
(Source: www.newslocker.com)
Yet in the US eleven state governors chose to maintain freedom of worship over community safety by exempting religious institutions from the general prohibition on public gatherings, notwithstanding that some of the states registered the biggest clusters of COVID-19. Even in other states there was a pushback by church men and women against government bans on assembly in places of worship. As a consequent 71 members of a single church in Sacramento were infected by the virus [‘Pastor who refused to close church due to coronavirus killed by outbreak’, (Rebecca Nicholson), Express, 15-Apr-2020, www.express.co.uk].
This was mirrored in overseas scenarios, in South Korea in February, one infected churchgoer infected at least 37 other members of her church on a single contact [“‘Superspreader’ in South Korea infects nearly 40 people with coronavirus’, (Nicolette Lanese), Live Science, 23-Feb-2020, www.livescience.com].
South Korean choir with face masks (Source: AP)
The choral petri-dish The holding of packed sermons in churches and other places of worship, like any close contact between confined, concentrations of people, breaches the prescribed social distancing guidelines and exacerbates the incidence of coronavirus infection. But just as dangerous and with even more potential to transmit the viral disease through communities is the choral activities of churches. The activities of choirs initially continued unabated in the early stages of the pandemic but an incident in Washington state in early March brought home how risky choir practice is. 61 people attended a choir practice at a Presbyterian church in Skagit County, within a short time 45 of the group had been infected by COVID-19 and two had died. Other choir outbreaks, some fatal, have occurred In Calgary (Canada), Amsterdam (Netherlands) and in South Korea [‘Scientists to choirs: Group singing can spread the coronavirus, despite what CDC may say’, Richard Read), Los Angeles Times, 01-Jun-2020, www.latimes.com].
Infectious diseases experts have pinpointed the obvious dangers of contagion associated with choir singing…unrestrained vocal activity at close quarters in often poorly-ventilated, confined space. The vocalists exhale and inhale deeply to sing which makes them highly susceptible to the passage of airborne particles. Through the process of aerosolisation, the virus floats freely in the air (and has been observed to survive for up to three hours) [‘Churches can be the Deadliest Places in the COVID-19 Pandemic’, (Kevin Kavanagh), Infection Control Today, 03-Apr-2020, www.infectioncontroltoday.com; Read].
Inexplicable change of stance by CDC With eyes fixed on the November elections and the need to shore up vital support from the Evangelical Christian Right, President Trump from his White House ‘pulpit’ intensified his call in May for governors to reopen religious institutions as an essential service, eliciting pushback from some governors. At the same time, surprisingly the Centers for Disease Control and Prevention (CDC) decided to drop their warnings against choral singing despite the inherent danger it poses. CDC justifies this change of position by downplaying the likelihood of airborne transmission beyond six feet⊞ [‘Behind Trump’s demands to reopen churches: Slipping poll numbers and alarm inside his campaign’, (Gabby Orr), Politico, 22-May-2020, www.politico.com; Read).
Heightening the risk of unleashing ‘super-spreaders’ CDC’s controversial move has drawn broad criticism from medical experts including specialists in bio-aerosol research who have refuted CDC’s claim, calling it “hazardous, very dangerous and irresponsible”, and that it exposes America to new waves of super-spreading from the activity of choir members (Read).
⇑ With religious singing relegated to the home, some American churches have tried to get round the prohibition on in-house congregational services by organising drive-in sermons
Fallout from the churches Although many parishes and parishioners in the US have adjusted well to the new world of online sermons, some traditional congregationalists worry that the new ‘norm’ will spell the disappearance of the in-person church experience altogether [‘How the Pandemic Will Change Us’, (Rod Dreher), The American Conservative, 13-Mar-2020, www.theamericanconservative.com].
(Photo: www.stjohnswhitchurch.org.uk)
Endnote: The economics of the choral closedown The halt to choral activities due to COVID-19 has led to a whole bunch of “knock-on” problems worldwide. Like anybody else with their income source impacted adversely by the crisis, choristers, classical musicians and organists attached to the churches affected have been deprived of livelihood. But it goes even beyond that. As the Royal School of Church Music in the UK indicated, the pandemic ”has literally ripped apart the many close-knit groups of singers and instrumentalists who (need to) spend significant amounts of time together”. Church musicians who rely on the service are especially hard hit. It is doubly hard for self-employed church organists who have lost their access to practice – unlike other musicians who keep their instruments at home, they rely on “using instruments in public buildings for the vital practice which enables them to maintain their hard-earned skill” (Royal College of Organists). [‘Pandemic has ‘ripped apart’ church choirs’, (Hattie Williams), Church Times, 01-Apr-2020, www.churchtimes.co.uk].
(Source: eBay)
PostScript: There is another side problem resulting from the non-use of organs in churches. Like the raft of airplanes grounded due to the coronavirus, complex and expensive organs require continual attention. They need “regular playing to ensure that the fragile technical components are kept in good working order“ and free from damage (Williams).
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⊞ the Washington Post states that CDC acted on a White House directive to omit the choir warning from it’s website guidance information. CDC may have also relied on earlier statements from WHO contending that “there is no evidence of transmission of the virus as an airborne pathogen”. WHO’s conclusions have themselves been debunked as “decades-old dogma that held that droplets only travel an arm’s length in the air” (Read)