ABSTRACT

Cheri Samba's "SUPER NGANGA," like his very title, straddles linguistic, cultural, and historical divides. And while Samba marks his corruption, there is an indication that this very cultural crossing may have something to do with the contamination of his healing practice. In this chapter, I want to examine two other representations of African healers confronting AIDS. One of these representations is novelistic, the other cinematic. The media of novel and, in particular, film are implicated by the figure of cultural contamination, and like the photographs exhibited in "In/sight," these works both exploit and critique Western representational practices through an ultimately undecidable irony.