CaMP Anthropology

https://www.ucpress.edu/books/the-gabriel-of-madness/hardcover

Rushnae Kabir: Urdu poets – Hindu and Muslim, past and present – are the primary interlocutors in your book. You show how contemporary political subjectivities are formed through an engagement with the “mimetic archive of Urdu poetry.” What, in your opinion, makes Urdu poetry such a productive site to study contemporary political subjectivities in India? What is the relationship between this mimetic archive and what you call the “networked public sphere”?

Anand Taneja: For me, one of the best things that Shahab Ahmed achieves in What is Islam? is to forcefully remind those of us in Islamic Studies of the centrality of poetry to the Islamic discursive tradition. In Muslim societies, poetry is  the pre-eminent medium of public intellectual discourse, and hence poets are the pre-eminent public intellectuals. Think of his Khwaja Ghulam Farid’s kafi, “ai husn e haqiqi”. As Shahab Ahmed shows in his analysis of this poem, here is a poet—considered a wali (friend of God, or saint)—presenting to us the diverse philosophical and theological approaches to God in the vast Islam intellectual/spiritual tradition, and presenting them in a melodic metrical form which an unlettered farmer living by the Indus could remember, recite, and sing along to. Or think of Ghalib who says of his own poetry that it contains masa’il-e tasawwuf, the problems/conundrums of Sufism. At the same time, this poetry is deeply personal: the subject who speaks the sh‘ers of a ghazal is an interior self expressing its questions and doubts, its  vulnerabilities and weaknesses. Like Ghalib who says, in the same sh‘er, that he would be considered a wali, was it not for his wine-drinking. So poetry, the most widespread form of discourse in Muslim societies, is both philosophical and affective, both deeply personal and entirely universal. It is also, thanks to its metrical form and rhythm, an eminently mnemonic and memorable form. So in a sense poetry has always been a mimetic archive: a concept I borrow from the work of William Mazarella. Of Urdu ghazal poetry, people often say that it is gagar men sagar, the ocean in a pot of water. It can bring you the vastness of the Islamic tradition, and express the complexity of being human, in two pithy lines. And this form and tradition continue to be central to meaning making and ethical self-formation in contemporary India, which is what my book draws attention to. Poetry has always been a mimetic archive, but when it meets the networked public sphere—a concept I take from the work of Zeynep Tufekci—the accessibility and reach of this mimetic archive becomes exponentially greater. You and I can now access live musha‘irah recordings from the 1980s on our smartphones, or read digitized 18^th century texts, or find new and exciting poets on Instagram reels. This vastly expanded access to the mimetic archive of Urdu poetry has led to profound social effects and cultural shifts, some of which this book explores.    

Rushnae Kabir: The Gabriel of Madness draws attention to an imagination of public ethics that lies outside of the State and does not draw on its coercive and disciplinary power to maintain harmony. Rather, it relies heavily on friendship between the Hindu and Muslim communities. How would you describe this conceptualization of friendship? How does it relate to the longer, historical tradition of Hindu-Muslim interactions in India?

Anand Taneja: As I think about your question, the first image that comes to my head is from the iconic movie Sholay, Veeru and Jai singing, “Yeh dosti ham Nahin torenge”: two heterosexual men singing that they will die but not give up each other’s company. I think that movie and that song highlight the importance of friendship in South Asian popular culture. Friendship is not just “light touch intimacy”, but a deeply valued and valorized form of intimacy, which has always carried the potential of crossing otherwise strictly patrolled boundaries. Inter-religious marriage may be uncommon in India, but inter-religious friendships have not been uncommon at all: I am thinking, for instance, of the warmth with which the 19^th century poet Ghalib addresses Hindu friends and shagirds in his letters. Or I think of my own experience growing up in Lucknow where I didn’t know any difference between my Hindu and Muslim friends and classmates till the growing politics of Hindu nationalism made it otherwise. That being said, inter-religious friendship as a social and historical phenomenon is quite understudied. In his book Perilous Intimacies SherAli Tareen argues that Hindu-Muslim friendship becomes problematic for certain Muslim thinkers in the colonial context because friendship challenges the claim of sovereign mastery. Friendship across religious boundaries makes it impossible to claim sovereign mastery for a religious community as it  becomes a political identity—an invention of colonial modernity—because it signals the inextricable entanglement of the self with the other. And so the rise of Hindu nationalism, and its desire for complete Hindu dominance of the state in India, has seen a systematic public campaign—through Bollywood films and WhatsApp forwards— to make suspect any form of friendship or intimacy between Hindus and Muslims.

Rushnae Kabir: Your book offers a nuanced vision of secularism. It is one that is not devoid of religiosity, but rather religiosity forms the common ground through which morality is expressed. In developing this argument, how do you draw on (and challenge) previous critical studies of secularism in anthropology?

Anand Taneja: For me, one of the most trenchant critiques of state secularism comes from Saba Mahmood, who writes in the conclusion of  Religious Difference in A Secular Age, that  “Secularism as a statist project exerts inordinate power on our political imagination, most evident in our inability to envision religious equality without the agency of the state… how can we expect the modern state to ameliorate religious inequality when… its institutions and practices hierarchize religious differences, enshrine majoritarian religious and cultural norms in the nation’s identity and laws, and allow for religious inequalities to flourish in society while declaring them to be apolitical?” Mahmood asks us instead to turn towards a “critical practice of pluralism.” This is the move I make in my book, moving away from secularism—a concept that has been thoroughly interrogated and critically unpacked by scholars such as Hussein Agrama and Mayanthi Fernando—to thinking about the grounds of a flourishing, religiously plural society without the agency of the state. I made this move guided by my Indian Muslim interlocutors, who were living with the failures of state secularism, and also saw no contradiction between being deeply religious and yet committed to a religiously plural society. Their subject positions, and the poetry and scripture they quoted, guided me back towards Mughal political theory, where it is not the power of state that is the guarantor of multi-religious flourishing, but rather, the work of ethical cultivation that is done to make selves who are not just tolerant towards religious difference, but deeply welcoming of diversity. This work of ethical cultivation, of course, brings us squarely into the domain of religion.

Rushnae Kabir: Your book draws attention to the openness of the Islamic tradition, which has provided your interlocutors with various capacities: of non-national belonging, of non-conventional religiosity, and of friendship in the face of difference. Often, you show us how common people develop their own, deeply private yet publicly engaged, imaginations of Islam. How are these engagements with Islam shaping new forms of religious authority in contemporary India?

Anand Taneja: In the book I quote a poet who says that I used to be afraid of God, but after reading Ghalib I truly came to faith. In that same chapter, I quote a religious leader who says that audacity and boldness are valuable, even desirable qualities in religious life. All of this tracks with Shahab Ahmed’s observation that there is a vast exploratory dimension to Muslim religious life that has become quite invisibilized in Islamic Studies because of dominant understandings of the tradition as primarily prescriptive of behaviour and norms. The openness of the tradition, for individuals living their lives as Muslims (especially through their engagement with poetry), is a longstanding part of the tradition. What is new is how the networked public sphere, and the particular circumstances of living under a deeply Islamophobic regime, are driving changes in the public, prescriptive life of the tradition. In Chapter 6 of the book, I explore how the social-media driven activism of young Muslims interacted with the strategic silence of traditional ‘ulema to bring about the novelty of joint Shia-Sunni prayers as a way of unifying the community.  The exploratory, personal dimension of faith is interacting with prescriptive forms of authority in new, more public ways, and these interactions are not necessarily or always antagonistic.  

Rushnae Kabir: In Chapter 3, you show how the networked public sphere has restructured gender relations in India and allowed women to take up greater space in both public and private capacities. What drew your attention to women’s engagements in the public sphere? How did these engagements culminate in the women-led Shaheen Bagh protests, which you engage with in great depth?

Anand Taneja: As a young college student in Delhi, and one not familiar with Urdu literary culture, the Urdu poets I encountered were all men: Ghalib, Iqbal, Faiz, Nida Fazli. It was when I started doing fieldwork in Delhi in 2018 that I started encountering women poets, many of whom I write about in the book: Aleena Itrat, Gouri Chugh, Pooja Bhatiya, Sabika Naqvi, Samina Tabassum. All of them came into public view through the internet and social media. So in a certain way the networked public sphere allowed for women to bypass (even if unconsciously) the patriarchal gatekeeping of publishing and patronage and to gain more visibility. I do not think that there is a directly causal relation between the growing visibility of women poets and the women-led protests in Shaheen Bagh. However, the potentialities created by the networked public sphere—the ability of women to network and dialogue even without access to (male dominated) public spaces, the networks and connections between men and women, the openness all of this created towards being more receptive to women’s voices and presence—certainly went a long way, in my understanding, to making something like Shaheen Bagh possible.

Rushnae Kabir: Different temporalities play an important role in enabling the political imaginations at the heart of your book. The past offers traditions of coexistence, the present is a time of wehshat that leads to  junun (divine love-madness), while the future offers radical possibilities, as glimpsed in Shaheen Bagh. Could you comment on each of these threads? How do these temporalities shape the vision of love, politics, and belonging you have examined?

Anand Taneja: One of the most beautiful expressions of the temporality of poets and poetry is by Nosheen Ali, who writes about the relationship of contemporary poets in Pakistan to (what linear time would conceive of as) the past thus: “Indeed, “contemporary” poets conceive of themselves in conversation with the living word of poets, deceased or alive. A poet goes back and forth, back and forth, not across vast swathes of time — as we often hear — but within eternal time, in a manner as freeing and constrained as a child on a swing.”  Nothing new happens in the Urdu poetic universe, I’ve been told in Delhi, it just happens to new people. So muhabbat, wehshat, and junun are not temporal stages, but affective/ethical/spiritual cycles we all have to go through, individually and collectively. When Ghalib wrote Azadah rau hoon aur mera maslak hai sulh e kull (I am free countenanced and my religious path is peace with all), the philosophy of sulh-e kull was not a bygone relic of Akbar’s court from three centuries before, but a living reality for him. This is the magic of poetry: that despite the destructions of colonialism and post-colonial nationalism, those ethical orientations are alive and palpable and accessible for us even today: To quote William Faulkner, “The past is never dead. It is not even past.” For me the poetic orientation where there is no telos, no end of history, is ethically empowering. We have to struggle like every generation before us has struggled. Every generation has the resources of muhabbat, of building love between individuals and communities. In every generation this is challenged by forces of hate and division, leading to the feeling of frenzy and savagery, of wehshat. Every generation must rise to the challenge of transcending this through junoon, through divine love madness, ignoring the calculus of expediency and caution to reimagine and rebuild the world anew. For junoon, as a wise man said to me, is the extreme limit of muhabbat, of love. And so the cycle repeats.   

https://www.dukeupress.edu/without-masters

Katie Hejtmanek: As succinctly as possible can you explain autogestión? And why is it so important now?

Livia Stone: Autogestión can mean different things in different contexts, but it almost always refers to non-hierarchical, autonomous, and non- or anti-capitalist organization. An autogestive factory is one in which the workers themselves organize production and compensation without any bosses (Without Masters!). An autogestive collective in Mexico City generally refers to a group of people who are doing some productive activity together like making art, publishing zines, making music, or organizing a community center in a non-hierarchical way and completely autonomously from any governmental or commercial entity. It generally appears in English as self-management, but it’s not a great translation.

It is important now, and for an English-speaking audience, for a few reasons. First, because non-commercial self-organized activities are rarer and more precious than ever before. Young people especially are looking around for real human (and analog) connections with others and doing things that are personally and politically meaningful outside of a framework of consumerism or political parties.

Second, because I believe autogestión is one of the points of convergence of the contemporary political right and left, especially in the era of Trump in the United States. The idea of local, self-organized and self-governing initiatives whose primary purpose is to uplift and strengthen local communities is as attractive to an anarchist in Chicago as it is to a Trump-supporting farmer in a rural area. It is an unambiguously radical concept, but also incredibly, and foundationally, able to transcend partisanship.

Last, I think that it is a significant political and ethical concept that unfortunately we missed in the English-speaking world because of some poor translation choices of the 1960s!

Katie Hejtmanek: Your book is part history, part ethnography – can you tell us how and why that came to be?

Livia Stone: It began as an ethnography of colectivos autogestivos (autogestive collectives) in Mexico City, but in trying to put together the history of autogestión as background for the project, I realized that the literature is wildly inconsistent in its use of the term. Also, shockingly, I found no evidence that the commonly repeated origin story for the term was accurate. Basically, I ended up writing the background book that I wished had already existed! I hope that it will now be useful to others.

Without Masters makes clear what I believe to be the origins of the concept of autogestión in the Algerian revolution in the 1960s, and its pathway through the French student movements of the late 1960s, the punk movement in Mexico City in the 1980s, Zapatista student networks in the 1990s, and finally to the colectivos autogestivos in the first few decades of the twenty first century. It is a history that starts quite general and that I hope to be useful and interesting to anyone interested in autogestión in any context, and then zooms in specifically to the Mexico City context, that in itself has been broadly influential throughout the world in anti-capitalist and anti-neoliberal activist networks.

Katie Hejtmanek: Building on that: Can you tell us about where and with whom you did your fieldwork? How many years is this book in the making and how do you incorporate such non-fieldwork into your fieldwork?

Livia Stone: Without Masters is a project that took more than a decade to write. I am a cultural anthropologist, but because of my interest in what is sometimes called cultural production (film, music, art), and my intensive engagement with Women’s, Gender, and Sexuality Studies and Latino/Latin American Studies, both of which are heavily interdisciplinary, I am comfortable in an interdisciplinary space between the humanities and the social sciences. Without Masters is reflective of that.

The research for Without Masters began as ethnography: hanging out with and interviewing people in Mexico City involved in self-identified colectivos autogestivos and anarchist federations (these are mostly two different populations). As the project leaned backwards in time, I began to do more oral history of the 1980s and 1990s with people in Mexico City’s punk scene and who were involved in the important 1999-2000 student strike of the national university system.

The 1960s portion of the book was formed primarily out of the activist and academic writing of French and Algerian Trotskyists and anarchists who were involved with the Algerian revolutionary movement and Algeria’s early Socialist phase of independence.

The 1980s and 1990s portions of the book are triangulated and supported by quite a lot of work with some informal, but extensive private archives. I had the great honor of having access to the collections of a few people who kept lots of political pamphlets, zines, posters, and other materials from organizing in the 1990s in Mexico City and who were activists in the important 1999 student strike. I also examined hundreds of Mexico City area punk zines from the 1980s and 1990s that are held in a few different repositories.

The result is a kind of scrappy, queer, people-centered, immersive, anthropological history of autogestión.

Katie Hejtmanek: Tell us why Mexico City is the center of the world, and Indigenous Mexico City at that.

Livia Stone: I’m not sure that I say in the book that Mexico City/Tenochtitlan is the center of the world, but I do dedicate a chapter to working through its simultaneous ubiquity and invisibility in the social sciences. We tend to be very myopic in the United States and focused on the short-term. For a non-specialized US-based audience, anything having to do with Mexico tends to be burdened with this shallow perspective. The truth is that Mexico City/Tenochtitlan has been a crucial center of global politics and culture since the sixteenth century.

Europeans were fascinated with the wealth and power of what they thought of as the Aztec empire well before the Enlightenment. As a result, there are bits and pieces of indigenous Tenochtitlan embedded in everything we do in the social sciences, and especially in anthropology. The entire field of anthropology, for example, was more or less invented after Edward Burnett Tylor spent a few months in Mexico in the 1850s. Foundational political writings of Marx and Engel are inspired by Lewis Henry Morgan’s very pointed ideas of indigenous “communism in living” in the Valley of Mexico. The Mexican Revolution of the early twentieth century was defining for any even slightly Marxist social theorists of the twentieth century. In part because of this revolution, it was a crucial site of political culture throughout the twentieth century. It is where people fled in exile from Franco’s Spain, where Fidel Castro and Che Guevara met, where Leon Trotsky was exiled and spent his final years. There is very little that has happened in the world in the last five hundred years in which Mexico City/Tenochtitlan has not played a role.

Katie Hejtmanek: One of the most compelling aspects of your book is how you take on social theory. Can you explain how you came to do this and what significance it has on what we know and how we think we know it/who we give credit for knowledge production to? Or what are the bodies and where are they buried?

Livia Stone: Without Masters is an anthropological history of a small piece of radical social theory, the concept of autogestión. It is an activist and ethical principle to be sure, but it has the same pedigree as the vast majority of the prestige social theory that we use in the social sciences surrounding the mid-century French Marxists like Michel Foucault, Pierre Bourdieu, Gilles Deleuze, Henri Lefebvre, Guy Debord. As such, the story of autogestión is an insightful window into the production and dissemination of our shared theoretical tradition in the social sciences.

There are two corpses that I talk about being unearthed by the story of autogestión. The first is the ubiquitous, yet nearly invisible role of Mexico City/Tenochtitlan that I’ve already mentioned above. One simply cannot have a full understanding of social theory in anthropology without understanding the role of Mexican indigenous peoples in its creation.

The second corpse has to do with the activism of the mid-century French Marxists, like Michel Foucault, Gilles Deleuze, Guy Debord, Henri Lefebvre, and some lesser-known figures such as Raoul Vaneigem and Daniel Guérin, especially as relates to Algeria, one of France’s most important colonies that gained its independence in the early 1960s after a long and bloody war for independence. We often downplay the role of activism, both on the formation of our academic greats, and the roles of their own activism in the formation of their thoughts. 

Without Masters does not use these well-known figures as thinkers who have helped me understand ethnographic and historical data. The book instead sees them as actors in our collective political and cultural struggles, who also wrote some things, just like influential organizers of the punk scene. I think that cultural anthropology is due for a re-thinking of the way we generally separate our ethnographic data from our theoretical frameworks. The distinction is an artificial one that doesn’t always serve us well.

Katie Hejtmanek: What does any of this have to do with punk?

Livia Stone: An excellent question! I did not set out to write a book about punk. I didn’t know that the book had anything to do with punk when I began. But an early research question that drove my curiosity about autogestión was why there were all these people in Mexico City intensively engaged with what I thought of as an anarchist principle who vehemently denied having anything to do with anarchism? People told me they were drawing from Zapatismo and the 1999 student strike, but the EZLN has never used the language of autogestión to describe themselves and the usage of autogestión in the official strike materials of 1999-2000 was very thin. You’ll have to read the book for the full story, but the short answer to the question is that it was Mexico City’s anarcho-punk scene that redefined the term according to a uniquely punk sensibility and then popularized the term to the point that no one even realized it was coming from punk. The student strike and Zapatismo are very important to the story, but in unexpected ways.

Katie Hejtmanek: How is a concept of the self implicated in the book? What does it have to do with transnational flows of knowledge and production?

Livia Stone: I think there is a popular conception of anarchism that links it to violence and chaos. However, adherence to anarchist principles, whether one identifies as anarchist or not, takes an incredible amount of discipline. How do you extract coercion and hierarchy from your most intimate relationships and friendships to make them truly egalitarian? How can a group of people come together and create something together without anyone imposing their will on the others? These are very difficult processes that take an enormous amount of self-discipline and intense purposeful engagement in collective processes. These are questions about the individual self: what it means to be human, and even trying to purposefully change what it means to be human in an intensely capitalist and oppressive world.  At the same time they are about our collective selves: what would the social, political, and cultural consequences be if we all maintained a fierce interpersonal commitment to a life without masters (meaning both without domination and without adherence to an established form)?

Susan Seizer was a luminescent bundle of irreverent energy and one of the many ways she transformed the world was by co-founding this blog. In her honor, we are posting people’s recollections of how she made all of our lives better. May her memory be a blessing.

How to Apologize by Ellen Bass

Cook a large fish—choose one with many bones, a skeleton
you will need skill to expose, maybe the flying
silver carp that’s invaded the Great Lakes, tumbling
the others into oblivion. If you don’t live
near a lake, you’ll have to travel.
Walking is best and shows you mean it,
but you could take a train and let yourself
be soothed by the rocking
on the rails. It’s permitted
to receive solace for whatever you did
or didn’t do, pitiful, beautiful
human. When my mother was in the hospital,
my daughter and I had to clear out the home
she wouldn’t return to. Then she recovered
and asked, incredulous,
How could you have thrown out all my shoes?
So you’ll need a boat. You could rent or buy,
but, for the sake of repairing the world,
build your own. Thin strips
of Western red cedar are perfect,
but don’t cut a tree. There’ll be
a demolished barn or downed trunk
if you venture further.
And someone will have a mill.
And someone will loan you tools.
The perfume of sawdust and the curls
that fall from your plane
will sweeten the hours. Each night
we dream thirty-six billion dreams. In one night
we could dream back everything lost.
So grill the pale flesh.
Unharness yourself from your weary stories.
Then carry the oily, succulent fish to the one you hurt.
There is much to fear as a creature
caught in time, but this
is safe. You need no defense. This
is just another way to know
you are alive.

Susan Lepselter: If you asked anyone even tangentially connected to any of her many worlds, Do you know Susan Seizer? The answer was always :Of course! OMG I love her!

How could you not know her? Susan was a force of nature. The blue and purple and bright white hair rolling towards you, the vividly colored cotton clothes and silk scarves, the glittering earrings and nose stud, the hand stretched out to grab yours, the beaming grin with full eye contact, the force radiating from Susan that seemed to channel the playful energy of the universe.

How ya doin Leppie! I can hear her. In our small division of the now defunct department we both started in at IU, we called each other Seizy and Leppie to manage the two-Susan confusion, and the nicknames stuck.

Everything Susan encountered charmed her.  This ethnographic superpower made her a brilliant, celebrated anthropologist and it also was just part of her sensibility, almost an essence: being delighted by the way things in the world were both different from and alike to her. Instinctively inclusive, she did not categorize people, there was never a hierarchy, she didn’t understand snobbery. She loved high scholarship (if it wasn’t dry and stuffy) and middle brow mainstream Hollywood movies and raunchy comedy (as long as it wasn’t punching down.) If a performance was expressive, she grooved on it.

As kind of an introvert, I never really understood the gorgeousness of extroversion til I understood Susan’s brand of it: she was in love with people and their worlds in all their singular variation, and she pumped them full of that love, which made a loop back to her. Some people make themselves feel important by deciding that the accomplishments of others are not really all that. Susan was of the opposite school: Everyone is fabulous!

Susan loved so much and she is so much loved.

Little by little, then all at once. Even as we witnessed the difficulty of Susan’s physical decline over the last couple of decades, she was the most embodied person I’ve ever met. She had of course been a full-time dancer in her 20s. Her body was herself, even when her body wasn’t working  — frustrating her and pissing her off. She swam daily, she walked on the treadmill religiously, she was meticulous about her diet and when she couldn’t move her lower half, when her feet were swollen and her legs didn’t  attach to her brain, she danced with her arms.

But – let me mention her family. Catherine, Keith, Forrest. All parents love and worry about and are proud of their kids. Susan of course loved and worried and kvelled, but what struck me was how immersed she was in discovering who these specific boys were, not projecting her fantasies for who they should be, or her wishes for what they should do, as many parents can’t help, but always just trying to see them and help them become themselves, her intensely adored Keith and Forrest.

And Catherine: her rock, her partner in adventure, the love of her life.

She also made family everywhere. She was so eager to connect. The downtown NYC 80s avant-garde performance and dance scene, with Jennifer Miller, here,  the road comics in the dives and humble motels of the Midwest,  folks in the French Pyrenees village where, during a post-college Europe backpacking trip, she found herself again immersed and connected, and wound up living there in Marcevol for a year – and then reconnecting half a century later, finding the people there still missed her and didn’t skip a beat catching up. And of course, her Tamil Nadu family, over generations, of special drama performers.

Susans huge generosity was part of her expansiveness –   generous with time, energy and solidarity in her friendships, her many commitments to activism, to volunteering and community. But  she also was generous materially.  Most anthropologists maintain professional boundaries that mean they don’t get involved with solving people’s material problems in the ethnographic relationship. Susie didn’t bother with those kinds of conventional academic limits. For her friends in Tamil Nadu who were poor because of structural inequities, she simply decided they needed things she could give.  She paid for the educations of children from families with whom she had built enduring multigenerational relationships. She financed building houses for families there, paid for weddings and cleared debts. She paid for a daughter’s startup in special drama, financed the costumes and materials needed to get a boost in the career, so the girl wouldn’t have to abandon her legacy tradition just to earn an alienated living in some other way. Susan valued this special drama tradition despite its stigma and discrimination, she valued it as an art form; she valued – and encouraged — the performers’ own valuing of it for themselves, and as an anthropologist she celebrated its value to the wider world. She continued to look out for her family in Tamil Nadu and to lift them up in a situation where many special drama actors resort to suicide under the weight of impossible debts.

Closer to home, I can’t count how many times I was refreshed and lifted up by Susan’s amused energy,  chatting and laughing alongside her wheelchair in the accessible city park she favored, sitting on her deck, or walking the garden paths in the home orchard that Susie and Catherine created to literally share the fruit. Susie would say, you’ve got to take home these tomatoes — no take more of them,  you have to taste this berry, have you ever tasted anything like it! Right? She took my daughter under her wing, both in Bloomington and L.A., modeling a queer disabled feminist joyful life when that’s what my daughter needed. Susan modeled a similar thing for the whole field of anthropology with her trailblazing early article about her own queer identity as an anthropologist, where her personal forthrightness inspired an entirely new way to acknowledge being a real human being in fieldwork.  She didn’t do discretely holding back your true self for anyone. She encouraged her students to open up and explore the rich entanglements between their ideas and their lives without judgment, made them feel heard and seen in the classroom, had a blast with them and sometimes became their very good friends forever. The close community that could develop in and beyond her classrooms was astonishing.

Susan was ambitious and worked hard, draft after draft of writing, both in a groove, and revising with collaborative comment-seeking from her academic buddies. She needed to know how everything worked and didn’t gloss over anything. She asked a lot of questions, in every context imaginable. And she hung out with profundity. She was self-revealing, direct, even blunt. She wanted to share real things. Trying her hand at the stand-up comedy she’d been documenting in her ethnographic film, she had the audience screamlaughing over a graphically hilarious depiction of her own copious misadventure in perimenopause. People still talk about that comedy act. She never took on the discreetly indirect language of her adopted Midwest, but her Hoosier friends who did that got her: her directness and honesty just revealed such a damn good heart.

Susan grew up in a background of mid-century TV royalty in Beverly Hills, where over the past few years she stayed for months at a time, telling me often she wanted to get as much quality time as possible with her mother Fern, who she so respected as well as adored. Here too she and Fern welcomed visiting and local friends into her childhood home. Her beloved father Bob had died in 2024. She had close relationships with her brother Steven and sister-in-law Claudia and maintained lifelong childhood friendships in L.A. There’s a stereotype of women from privileged backgrounds which flies in the face of this surreally unsnobbish, metaphorically omnivorous, down-to-earth woman. It’s not that Susan didn’t feel privileged, in fact she felt always entitled to being treated with great care and wasn’t afraid to speak up when she wasn’t. But she thought everyone was entitled to being treated with great care, in large and small ways, and was baffled when folks didn’t extend themselves fully to others.  

She certainly did.

Luminous, hilarious, generous, curious, brilliant, adventurous Seizy, I will always feel you as full of color and devouring life. Thank you for being my and my daughter’s dear friend for 19 years. I can’t imagine the world without you, and I miss you so much already. I know we all do.

(Thank you to Catherine Brennan for collaborating on this eulogy.)

Teri Silvio: Susan Seizer was dazzling.  Meeting her at the University of Chicago was like running into Oscar Wilde in the aisles of an Ikea.  We had an absurd amount in common – how on earth did the department let in not one, but two queer Jewish women who wanted to study marginalized actresses in Asia?  Of course we became friends and comrades in arms, how could we not?

Some of my favorite memories of Susan:

About a week after we first met, she just started talking to me like of course we were both lesbians, and of course we both knew it.  Completely bypassed the hesitance and trauma of coming out in the late 1980s.  No one had ever talked to me like that, it was a revelation, like discovering that all it took to relieve your persistent back pain was a new pillow. 

When we went to see Spike Lee’s Do The Right Thing at Doc Films, and she was so excited by Rosie Perez’s opening dance, and we spent hours over diner coffee afterward talking about Brecht and Labanotation and comparing Chicago and New York. 

When we decided to form a guerilla street theater troupe, the TWAT team, to protest the first Gulf War, and Jennifer Miller flew out to Chicago to help us write our scripts, make props, and rehearse.  Susan and Jennifer taught me how to juggle, and Susan taught us a song from the Greenham Common Women’s Peace Camp, where she’d spent some time (of course).  It became our theme song — “We’re shameless hussies and we don’t give a damn, we’re loud, and raucous and we’re fighting for our rights, and our sex, and our will to be free!”  We were very angry and very sad – it wasn’t just the pointless murderous war, it was also the height of the AIDS epidemic and all the people with power were callous psychopaths.  But we also had a hilarious, wonderful time.  I was in awe of Susan’s fearlessness.  She’d get up right in the face of any cop who tried to intimidate us, and brushed right past anyone who was bogging down the organizing work with impromptu lectures on Gramsci or Robert’s Rules of Order.

When Susan and Kate and I would drive up to Devon once a month when the Tamil community there rented out a theater, and we’d watch a 4 hour long Tamil movie and she’d patiently whisper to me what was happening on screen, and then we’d go out for sambar and idli at a restaurant where, of course, the whole staff knew her. 

Visiting Susan and Catherine in Silverlake in, I think, 2005.  I think it might have been the first time I met Catherine, but I might be mixing two different trips.  Anyway, Keith had just started to crawl.  We didn’t go anywhere exciting, mostly just took walks in the neighborhood and sat in the sunny living room dishing over tea.  I remember Catherine trying to convince me that Canberra isn’t boring, and Susan catching me up on what our classmates had been doing, and both of them being hilarious about the joys and tribulations of parenthood.  It was the only time I’ve ever felt at home in LA. 

When Susan came to Taiwan in 2013 for a theater conference a friend of mine had organized.  When she arrived, I’d figured out how to rent a wheelchair, but I still had a lot to learn – like I forgot to make a map of where the elevator entrances to the MRT were at each stop, so it took us ages to get around.  But Susan was patient and good-humored.  The students at the conference were absolutely dazzled by her, I think she completely upended their ideas about what a professor had to be. 

Susan was my best friend during one of the most stressful, but most exciting, times in my life, and she kept my chin up through all the job applications and breakups and book writing after.  I miss her more than I can say.

Jean Comaroff: I am saddened by the news of Susan’s passing, but full of gratitude for having had the joy of being her advisor during her time at U Chicago. Truth told, the mentorship went both ways. Susan was a luminous presence in the often-austere intellectual atmosphere of Chicago Anthropology of those years, being unusually at home in her own physicality, intensely alive, playful. She saw the vibrance and poetry in the often-ribald Special Drama she studied in Madurai, a genre often spurned by scholars of more respectable traditional culture in India. I think her defiant spirit resonated with the transgressive creativity of these outcast players , whose world she described with such uncommon imagination. When I myself was stricken with serious illness, she offered insight, empathy, but also an example of a stubborn refusal to give up on the beauty and absurdity of existence. I wish her family long life. May her memory be a blessing.

Dick Bauman: Endings have a way of taking you back to beginnings. I first met Susan in connection with a job search I was chairing for our fledgling department of Communication and Culture (CMCL) at IU. The department had three areas of concentration: Rhetoric and Public Culture, Media Studies, and Performance and Ethnography. P & E, as the latter concentration came to be called (later, the P & E’s morphed into the homophonous “Peonies”), was made up of anthropologists who looked to performance as a vantage point on expression and to ethnography as a method.

Susan’s letter of application was intriguing—a former dancer, a student of South Indian popular theater, an experienced teacher of anthropology—but our interview conversation at the AAA meetings was a true pleasure. CMCL had a number of impressive candidates for the position we advertised, but Susan was head and shoulders above the rest: richly insightful, vividly expressive, deeply engaged with the performers to whom she devoted her research and, for the rest of her life, her resources, and her spirit. Her campus visit was fully as impressive as the AAA interview and we lost no time in inviting her to join our bouquet of Peonies.

CMCL, alas, was eventually broken up in a fit of misguided budget cutting and consolidation from on high and the Peonies migrated to the Department of Anthropology. Through it all, Susan was a spirited presence, introducing us to road comics, scooting across campus on her Segway with her tutti-frutti hair flying, showing up faithfully at demonstrations for Palestinian rights, even as her physical condition became ever more difficult. She was a beautiful and inspiring friend and colleague. Now, to our sorrow, she’s gone. We will miss her deeply.

Kate Graber: I read Susan’s book in graduate school at the University of Michigan, in a seminar on performance with Alaina Lemon, so I was delighted and a little awed when we became colleagues at Indiana University several years later. Susan was always fabulous. I learned loads by observing her in the classroom, in meetings and talks and hallway conversations, and just going about the daily life of a faculty member. One of our last conversations was after she had retired, at a protest. We talked about the protest grounds as a performance space (because of course we did), about the relative power of different embodied actions, and about the unique power of her own wheelchaired body. I think of that conversation often because it felt vulnerable and dangerous; she was weighing risks that most people would not be willing to take, and our theoretical positions suddenly became visceral. As we parted ways, she said “thank you,” as though I had empowered her—which I remember thinking was odd, because she had been empowering me, not just in that conversation but in so many other ways besides. I think that was one of her unique gifts, and something that I wish I’d had more time to learn from her: Susan made people braver, by being brave herself, but she acted like we’d been the brave ones all along.

Jane Goodman:

I wrote these remarks on the occasion of Susan’s retirement from Indiana University in 2022.

Susan Seizer had a rich career as a preeminent scholar of theater, stigma, and stand-up comedy. Susan joined Indiana University in 2006, after 8 years at Scripps College, where she served as chair of Anthropology. At IU, her first appointment was in the interdisciplinary Department of Communication and Culture, where she was part of the “Performance and Ethnography” group. In 2015, she moved to the Department of Anthropology, where she helped found the CaMP (Communication, Media, and Performance) area of the department.

Many anthropologists end their careers by reflecting on their fieldwork. Susan is perhaps unique in that she began her career with a frank, moving, and for its time, risky account of an aspect of her own fieldwork in India. In 1995, while still in graduate school at the University of Chicago, she published an article titled “Paradoxes of Visibility in the Field: Rites of Queer Passage in Anthropology” (Public Culture 1995 8:1). The piece made a mark for many reasons, not least among them Susan’s open acknowledgment of her queer identity alongside her reflections on the ways that women in India developed homosocial relationships even as the category lesbian was not, at the time, societally recognized. This early article allowed her to reflect on the power entailed in naming (and in not naming) a social formation. It also opened up new conversations in the field, serving as a courageous example for future LBGTQ ethnographers, to whom it offered both inspiration and methodological guidance. Few anthropologists see their very first publication become so influential.

Susan’s reflections in that early piece came out of her extended ethnographic research in South India, where she was working with theater artists engaged in bawdy improvisational comedy – an art form looked down on by the larger society. She studied ethnographically the ways these female artists used humor and linguistic play to address social stigma. Her book Stigmas of the Tamil Stage: An Ethnography of Special Drama Artists in South India (Duke University Press, 2005) won the prestigious A.K. Coomaraswamy Book Prize in 2007, and was subsequently reissued by Seagull Press in India, reflecting her commitment to making her work available to Indian publics.

The intertwined issues of humor, laughter, and stigma would go on to infuse Susan’s subsequent project – an ethnography of road comics in the Midwestern United States. For this research, she took to the road with three comedians. To bring the research alive and make it accessible to a range of audiences, she made the decision to produce a documentary film – bucking the academic tendency to view print culture as the primary measure of success. Her 2012 film Road Comics: Big Work on Small Stages follows the road lives of the three comedians as they performed in venues across the Midwest. In the ethnographic spirit that informs all her research, Seizer focused on comics who have performed in some of the more off-beat, out of the mainstream spaces – those spaces in which stand-up comedy flourishes in Middle America outside the gaze of scholars, journalists, and critics. In subsequent pieces, Susan took up questions of bigotry, obscenity, joking, domestic violence, and gender, always managing to strike a compelling balance between textured ethnography and her own personalized and deeply human writerly voice. Her work has appeared in venues including American Ethnologist, Cultural Anthropology, Anthropological Quarterly, and the Journal of Humor Research, among others.

Across all of Susan’s research, her commitment to cultivating ongoing relationships with her interlocutors is palpable. Before the pandemic, she initiated a project with the next generation of Special Drama artists in India, working with the children of her initial interlocutors in a relationship spanning three decades. Her 2016 essay “Heredity Abandoned: Kannagi’s Courageous Decision to Act in Special Drama” came out of this return fieldwork in Tamilnadu, and she continued to work on an ethnographic memoir of her multigenerational relationship with these interlocutors (who have become part of her extended family). To this end, she also convened a conference at Indiana University titled “Love, Money and Reciprocity in Long-Term Ethnographic Relationships,” bringing together experts from around the country.

Teaching has been an equally vibrant part of Susan’s trajectory. Her fortunate students have benefitted over the years from her signature course “Stigma,” which speaks to the ways marked categories of persons are culturally created, socially maintained, and hopefully also transformed and/or transcended. In the wake of her road comics project, she developed “Humor in Use,” which explores how humor helps to navigate complex social issues that are not as easily addressed outside of comedy.  In her course “India Lost & Found: Diasporic South Asian Feminist Filmmakers,” she introduced students to prominent films and filmmakers that they otherwise would never have encountered. Susan subsequently developed a fascinating course on ethnographic memoir, again bringing her research directly into the classroom.

Susan was beloved among her students and her colleagues. We have all drawn inspiration from her intellectual vision as well as from her active engagement in helping to build a collegial and generous community, whether in the classroom, around a seminar table, at a faculty meeting, or at the Bloomington Faculty Council. She will be deeply missed.

Located near the end of Chapter 2, Page 99 of my dissertation features an interview with Director Byul Yun, a prominent K-pop music video director. This conversation highlights a central puzzle from my fieldwork in Seoul: while the term A&R (Artists & Repertoire) was on everyone’s lips, particularly among the young aspirants at the private production academies that served as my primary fieldsite, very few people actually hold this formal job title in the industry. What, then, does the A&R represent?

My dissertation argues that A&R functions less as an official job title and more as a vital conceptual anchor for K-pop’s complex, high-stakes production pipeline. To bring an idol album to life, every creative professional, from songwriters to cinematographers, must embody a panoptic A&R lens to align their specific labor with the overarching vision.

On Page 99, Director Yun illustrates this production reality beautifully. She recalls stepping far outside her directorial expertise to help develop original choreography, ensuring the movement fit the video’s narrative vibe. My research shows this experience is prevalent across my interlocutors. Whether a graphic designer or a lyricist, K-pop creatives must constantly weave between the local view of their discipline and the global view of A&R. Diffused throughout the pipeline, this characterological figure forces specialists to become both the proverbial jack of all trades and the master of all. Alongside the fan and the idol, the A&R stands as one of the three mythical figures motivating K-pop as an art form, embodying the creative economy’s intense demand for simultaneous technical breadth and depth.

Reflecting on this at the end of my dissertation fieldwork, I realized that this impossible expectation of maintaining both technical breadth and depth is precisely where the modern A&R parallels the modern anthropologist.

Anthropologists studying contemporary life face a strikingly similar mandate. We, too, are tasked with the near-impossible challenge of cultivating extraordinary thematic depth while analyzing multi-scalar global industries. Both the A&R and the anthropological paths force us to contend with the persistent anxiety of never having done or been enough to produce meaningful work, all while trying to secure basic upkeep in hyper-competitive, tightening job markets. Like the aspiring K-pop producers I met in Seoul, anthropologists peer behind the emerald curtain, witness the industry’s impossible standards, and choose to traverse the path anyway.