Abstract: This paper attempts to contribute to thinking about the ethical responsibilities of the psychoanalytic profession in the context of the Gaza genocide. In a world inured to mass suffering, and paralyzed by a sense of impotence, the crisis in Palestine has had a unique impact on the collective consciousness and conscience, engendering unprecedented mobilizations across society. A situation with such devastating consequences for the physical and psychological well-being of a whole society confronts health professionals with pressing questions about their response, as citizens and as members of civil society institutions, made more urgent by their location, more often than not, within societies that have participated in the genocide. The approach is idiosyncratic. The paper explores a perceived split between an acceptance of moral responsibility matched with a sense of agency where harm is perpetrated in the domestic and private setting, as against the denial or avoidance of a recognition of being implicated in analogous situations in the public realm. It does this through an overlapping discussion of two issues, one from each sphere: pedophilia/child sexual exploitation, and settler colonialism. With an eye to the relevance of this to the ethical life of psychoanalysis, this author argues that the basis for inaction—a performative commitment to human rights accompanied by a tenacious passivity or paralysis—is ripe for revision, to bring the profession into line with long-established medical ethics.





Abstract: Iron Maiden’s “Run to the Hills” (1982) tells a story about the history of genocide that is often erased from settler histories about westward expansion and, because of its frank depiction of settler violence against Indigenous communities, the song has been cited as an influence by Indigenous bands like Testify and Testament and by solo artists like Tanya Tagaq. Despite its enormous popularity among fans, critics of the song point to a central paradox: while the song’s lyrics seem to empathize with the plight of the Indigenous communities to which it alludes, every character in the song, including a fictional Cree man who vanishes from the narrative after the introduction, is performed by a settler vocalist (the band’s lead singer, Bruce Dickinson). This contradiction is reflected in the song’s video, which portrays settlers as hapless fools, but which also features white actors in redface whose performances merely reinforce racist stereotypes of the wily or bloodthirsty “Indian.” In 2018, Inuk singer Tanya Tagaq teamed up with punk vocalist Damian Abraham to rework the song in a way that would allow each musician to provide a different perspective on the story. In terms of vocal timbre, Tagaq’s vocal practice depicts what Kateryna Barnes (2021) calls the sounds of Sila, or Mother Earth, while Abraham’s growling gut voice represents what David Pearson (2019) describes as the “(in)humane” sounds of industry. With these sonic contrasts, and a reworking of the song that retains the Indigenous voice throughout, I will argue that the 2018 cover of “Run to the Hills” presents its listener not only with a story about the genocide of Indigenous peoples, but also with an apocalyptic warning about the killing of Sila by settler industrialization.




Archives

stats for wordpress