- Title Pages
- Dedication
- Epigraph
- Abbreviations
- Figures
- Acknowledgments
-
1 Introduction -
2 Interlude -
3 Born in Africa (1990) -
4 Tears Run Dry -
5 Singing in the Shadow of Death -
6 Music, HIV/AIDS, and Social Change in Nairobi, Kenya -
7 Interlude -
8 Using Music to Combat AIDS and Other Public Health Issues in Malawi -
9 Visual Approaches to HIV Literacy in South Africa -
10 Ngoma Dialogue Circles (Ngoma-Dice) -
11 Interlude -
12 HIV/AIDS Poster Campaigns in Malawi1 -
13 Contemporary Uses of the Musical Arts in Botswana’s HIV/AIDS Health Education Initiatives -
14 “We Are the Loudmouthed HIV-Positive People” -
15 “C’est Le Wake Up! Africa” -
16 Singing Songs of AIDS in Venda, South Africa -
17 Interlude -
18 Aesthetics and Activism -
19 A Lady Who is an Akadongo Player -
20 “What Shall We Do?” -
21 Swahili AIDS Plays -
22 Confronting AIDS through Popular Music Cultures in Kenya -
23 Interlude -
24 Siphithemba—We Give Hope -
25 Young and Wise in Accra, Ghana -
26 Singing as Social Order -
27 “I’m a Rich Man, How Can I Die?” -
28 Interlude -
29 Kwaito and the Culture of AIDS in South Africa -
30 Positive Disturbance -
31 “EdzI Ndi Dolo” (“AIDS is Mighty”) -
32 Representing HIV/AIDS in Africa -
33 Postlude - About the Authors
- References
- Index
“I’m a Rich Man, How Can I Die?”
“I’m a Rich Man, How Can I Die?”
Circus Performance as a Means of HIV/AIDS Education in Ethiopia
- Chapter:
- (p.322) 27 “I’m a Rich Man, How Can I Die?”
- Source:
- The Culture of AIDS in Africa
- Author(s):
Leah Niederstadt
- Publisher:
- Oxford University Press
This chapter focuses on the role of circuses as a means of HIV/AIDS education in Ethiopia. Circus as a form of performance was nearly unknown when the first troupe was established in Ethiopia in 1991. Dozens of circuses now operate throughout the country, and several Ethiopian troupes have performed throughout Africa, Asia, Europe, and North America. The chapter first presents a historical overview of the circus movement in Ethiopia, as well as the country’s HIV/AIDS profile, before exploring several key performances to illustrate how Ethiopian circuses attempt to educate their audiences about HIV/AIDS. It also considers two types of educational messages provided by Ethiopian circus performances: first, they reinforce federal, regional, and state government rhetoric about the importance of ethnic diversity in the construction of a national identity; second, circus shows provide information about a range of health and development issues, and suggest how specific challenges can be resolved.
Keywords: circus, HIV/AIDS education, Ethiopia, HIV/AIDS, ethnic diversity, national identity, health, development
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- Title Pages
- Dedication
- Epigraph
- Abbreviations
- Figures
- Acknowledgments
-
1 Introduction -
2 Interlude -
3 Born in Africa (1990) -
4 Tears Run Dry -
5 Singing in the Shadow of Death -
6 Music, HIV/AIDS, and Social Change in Nairobi, Kenya -
7 Interlude -
8 Using Music to Combat AIDS and Other Public Health Issues in Malawi -
9 Visual Approaches to HIV Literacy in South Africa -
10 Ngoma Dialogue Circles (Ngoma-Dice) -
11 Interlude -
12 HIV/AIDS Poster Campaigns in Malawi1 -
13 Contemporary Uses of the Musical Arts in Botswana’s HIV/AIDS Health Education Initiatives -
14 “We Are the Loudmouthed HIV-Positive People” -
15 “C’est Le Wake Up! Africa” -
16 Singing Songs of AIDS in Venda, South Africa -
17 Interlude -
18 Aesthetics and Activism -
19 A Lady Who is an Akadongo Player -
20 “What Shall We Do?” -
21 Swahili AIDS Plays -
22 Confronting AIDS through Popular Music Cultures in Kenya -
23 Interlude -
24 Siphithemba—We Give Hope -
25 Young and Wise in Accra, Ghana -
26 Singing as Social Order -
27 “I’m a Rich Man, How Can I Die?” -
28 Interlude -
29 Kwaito and the Culture of AIDS in South Africa -
30 Positive Disturbance -
31 “EdzI Ndi Dolo” (“AIDS is Mighty”) -
32 Representing HIV/AIDS in Africa -
33 Postlude - About the Authors
- References
- Index
