Visual Anthropology

У овом ра ду пред ста вље не су па ра ле ле из ме ђу ан тро по ло шких му зејских по став ки и ет но граф ског фил ма као мо де ла ре пре зен та ци је ко ји се засни ва ју на до ми на ци ји ви зу ел ног као спе ци фич ног об ли ка зна ња о све ту кроз ко је се објек ти тих ре пре зен та ци ја про из во де. Про ме на па ра диг ме антро по ло шке ди сци пли не осам де стих го ди на про шлог ве ка, кри ти ка ве ли ког "мо дер ни стич ког устрој ства" и до ми на ци је ви зу ел ног као па ра диг мат ског "чу ла са зна ва ња" има ла је ве ли ког ути ца ја и на му зеј ске ку сто се и на ауто ре ет но граф ског фил ма ко ји су у про те кле две де це ни је на раз ли чи те на чи не по ку ша ва ли да на ту про ме ну од го во ре. У ра ду су п ре д ста вље ни и кри тички ева лу и ра ни не ки од по ку ша ја де кон струк ци је и по нов ног ус по ста вља ња му зеј ске и филм ске ан тро по ло шке прак се. Кључ не ре чи: ет но граф ски му зе ји, ет но граф ски филм, ви зу ел ни ре жими зна ња. Гласник Етнографског института САНУ LVIII (1)

The paper analyzes the complexity of identities in the Serbian medieval state from the 13th to the middle of 15th century. Examples of Vlachs and Saxons can illustrate the interweaving of different types of identities. The Vlachs, as herders, undoubtedly represented a special social group, but it is uncertain that they lost their ethnic distinctiveness due to slavization. It is certain that in the 15th century they become more closely tied to the land, but even under the Ottomans a large number of people had the status of Vlachs. The Saxons settled in Serbia as miners in the middle of the 13th century and acquired a special legal status. Over time, they disappeared as an ethnic category. However, even in the 15th century, the term “Sas” persisted as a designation of the legal-social identity of certain people in mining towns.

Der hier einsehbare Text aus dem Buch Macht und Makel der Bilder (DKV de Gruyter, 2024) macht das Inhaltsverzeichnis, die Einleitung sowie Ausschnitte aus zwei Kapiteln zugänglich. Das Buch geht kulturgeschichtlich dem Verhältnis von Kunst, Bilderverboten, Kultkontroversen und Erinnerungskultur nach. Denn Bilder machen seit je her einen Unterschied: Kunst als Trägerstoff von Emotionen religiöser, kultischer oder kollektiver Art kommt eine wichtige Rolle bei der machtvollen Verwandlung von Welt zu. Vom Makel des Kultes oder des Götzendienstes behaftet zu sein oder durch die Inkarnation von Ideen und des Transzendenten erst das Leben und Kunstwerke zu ermöglichen – in dieser Spannung geht bis heute der Streit um die Macht der Bilder. Sie rufen den Schrecken und das Heilige hervor und bannen beides zugleich. Auf zahlreichen Leinwänden von der Antike bis zur Moderne wird diese Spannung in religiösen und weltlichen Lebenszusammenhängen bis hin zur Shoah kritisch anschaulich. Von antiken und jüdischen Fundstellen handelnd sowie christliche, islamische und bürgerliche Belege aufsuchend, wird der Bogen bis in unsere demokratisch oder autoritär geprägte politische Gegenwart geschlagen.

Depuis les années 1970, il a été érigé des politiques publiques dans le souci d'assainir l'environnement congolais. Jadis appelé « Kin -la-belle », cette appellation est loin d'être une réalité aujourd'hui. « Kin-la-belle n'est qu'un lointain souvenir dans le langage du kinois », Déjà à l'époque coloniale, il se note que la question de salubrité des habitations et leurs environs au Congo Belge était de rigueur au point où plusieurs arrêtés et ordonnances ont été mis en place pour assurer le respect de l'hygiène et de l'assainissement public. Avec l'avènement de l'indépendance, ces lois sont tombées en obsolescence. Lors de la deuxième République, le président MOBUTU a eu à lancer une opération d'assainissement dénommée « Salongo », travail collectif inventé par l'administration Mobutu (travail d'intérêt général). Cette politique publique officialisée en 1972 était pour les Zaïrois de l'époque un impôt sous forme de travail d'intérêt général, pour l'embellissement et l'assainissement de la ville. Il était assuré par l'ensemble de la population, chaque samedi après-midi. Il existait la présence d'un service de gestion des déchets et la ville disposait des poubelles partout pour que chaque déchet y soit jeté. 1 Soucieux d'assainir la ville de Kinshasa, le président de la RDC, Félix TSHISEKEDI a lancé en octobre 2019 la politique publique « Kin bopeto » évaluée à 365 millions USD.

This chapter proposes that ethnographic drawings in the form of technical illustrations can serve an important communicative function in material culture studies. Using examples of illustrations of clothing that I produced as part of an ethnographic study of a community Buddhist festival in Bhutan, it demonstrates the productive potential of using technical illustrations as a counterpart to text. The chapter is framed around the concept of visual literacy, defined as the human capacity acquired through socialization in specific cultural contexts to make sense of or ‘read’ the visual environment by seeing and interpreting it. I show how technical illustrations not only have the potential to reproduce emic visual literacy, but can also be designed to break down the layers of visual knowledge and meaning contained in items of material culture and communicate them to visually non-literate readers.

Edited by Emma Martin, Trine Brox and Diana Lange, the book 'Among Tibetan Materialities' makes an intervention into Tibetan studies by critically engaging with material culture. It opens up new sources, methodologies and frameworks for studying, thinking and writing about material culture, materials and materiality in Tibet and the Himalayas. It highlights novel ways that Tibetan and Himalayan worlds can be made relevant beyond their local contexts. Spanning historical and contemporary contexts this collection of ongoing research disrupts current approaches to Tibetan and Himalayan materiality by considering socially constructed materiality and the materials constituting things, from their conception and production to their end of life and afterlife.

Cinema, radio, television, video, the Internet, and other visual mass media have found niches in the dense creativity of twentieth-century urban life, altering social practices and cultural encounters worldwide. Yet, without cities where producers and audiences have congregated, mass production, texts, distribution, and reception lack human foundations. TTiis symbiosis demands careful ethnographic analysis of media within concrete urban histories. We illustrate this approach from work with film and viewership in two cities. Hong Kong has gained global fame for its films, often scrutinized for clues to its identity; we examine how moviegoing itself and the contexts of transnational spectatorship define a changing city. Philadelphia, by contrast, has rarely controlled its film images; here, it is useful to contrast the production and reading of visual images about the city with images produced through narrowcast media that speak to urban social issues. In both cases, urban visual cultures highlight contestation and creativity in local and global frameworks, [film, grassroots media, urban imagery,

El presente documento, constituye un breve intento de aproximacion al tema de la renovacion urbana, y particularmente a la alternativa de plantear a su interior programas y proyectos de rehabilitacion habitacional que contribuyan a un cambio de la estructura de tenencia de la tierra y de las edificaciones urbanas, en beneficio de la elevacion de los niveles de vida de los sectores de bajos ingresos.

1Programa de Mestrado e Doutorado em Educação Física, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil. 2 Programa de Mestrado e Doutorado em Neurociências e Neurologia, Universidade Federal Fluminense, Niterói, Brasil. 3 Instituto de Biofísica Carlos Chagas Filho, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil. 4 Laboratório de Mapeamento Cerebral e EEG, IPUB, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil. 5 Centro Universitário Severino Sombra, Vassouras, Rio de Janeiro, Brasil 6 Programa de Mestrado em Ciências da Reabilitação UNISUAM

Este artículo analiza la producción de la diversidad biocultural entre los ayuujk de la Sierra Mixe, a partir del examen de interacciones que tienen lugar entre una dimensión natural y una sociocultural. Se examinan dos categorías espaciales locales —yukjotp (monte) y kämjotp (milpa)— para entender cómo se generan relaciones simbióticas entre humanos, no humanos y el entorno. A partir de dichas categorías, el artículo explora prácticas agrícolas, alimentarias y rituales junto a la figura de los xëmaapyët (especialistas calendáricos), cuyas prácticas articulan relaciones entre el espacio, el tiempo y la biodiversidad.
El texto revela que la visión ayuujk concibe el territorio no como un entorno estático, sino como una red dinámica de comunidades humanas y extrahumanas, donde las prácticas culturales se transforman en la relación socializada con la naturaleza y sus agentes. Se resalta la integración de sistemas de conocimiento tradicional y su relevancia para repensar las relaciones humanas con la naturaleza en contextos contemporáneos. Esta perspectiva, centrada en la multiplicidad y la transformación, aporta una lectura crítica de la diversidad biocultural y sugiere nuevas formas de abordar las interacciones socioambientales, más allá de las dicotomías convencionales entre cultura y naturaleza.

s article considers the underexplored phenomenon of the animated propaganda film of the 1920s in the context of Soviet film production (more particularly, China on Fire from 1925, directed by Yu. Merkulov). The animated propaganda film is studied as a kind of “revolutionary manifesto” in the context of the “cultural revolution” and the processes of nation-building in the USSR. The aim of the work is to examine the Soviet agitation cartoon film of the 1920s with an “international” vision as a special visual and anthropological source that helped construct an ideological image of the USSR in the world. The research methodology is based on historical-anthropological and visual methods, using a constructivist approach, which involves the study of the creation/construction of the visual image of China in Soviet animation. The research draws upon the little-known data of scholarly and theoretical works in the field of early Soviet animation of the 1920s–1930s, as well as materials of the cinema periodicals of the period. Also, the article considers the characteristics of the first cartoon laboratories in the USSR and the process behind the production of animated propaganda films. Particular attention is paid to underexplored issues related to the scholarly and theoretical search of the well-known Soviet film-makers (A. Bushkin, D. Vertov, N. Vano, A. Ivanov, Yu. Merkulov, A. Ptushko, N. Khodataev, M. Tsekhanovsky) in the field of cartoon propaganda films. It is concluded that in theearly Soviet animation, there was a pronounced interest in topical political plots in foreign countries with the non-capitalist way of development and, primarily, China. The cartoon China on Fire (1925) is analysed as a special visual and anthropological source with various techniques used by filmmakers in order to demonstrate traditional China and modern China on the screen. The author claims that China on Fire as the first full-scale propaganda animated film in the USSR is characterised by attention to the political situation of the time associated with the colonialists from different countries, their exploitation of oppressed peoples, a caricature on the European lifestyle, and the image of a “modern” socialist everyday life, ethnic and national development, as well as representation on the screen of a new socio- international community born of a revolution.

Resumen Este artículo plantea una aproximación a la racionalidad-sensibilidad de la nación indígena Shipibo-Konibo, de la Amazonía peruana, a partir de la traducción de dos poemas-cantos y se analiza la aproximación metodológica que guía el proceso, explicando los motivos de la selección léxica para dar cuenta del campo racional-afectivo de la poética amerindia de la artista plástica, poeta e investigadora Chonon Bensho. Para ello, primero se discute la condición del paso de una lengua oral indígena amazónica a la escritura alfabética. Luego, se analizan el establecimiento del alfabeto y las posturas ideológicas que lo impulsan. A continuación, se da cuenta de los elementos que en una traducción/traslación del shipibo deben considerarse para que el texto meta exprese las ontologías, epistemologías e inclinaciones estéticas de esta lengua. Asimismo, se explica por qué el procedimiento adecuado consistiría en una traducción poética.

A tese aqui apresentada se dedica à formulação do conceito de historiografia de artista, elaboração teórica que responde a determinadas práticas do teatro contemporâneo, considerando espetáculos criados nos primeiros anos do século XXI, que articulam produção de saber histórico e experiência estética na realização de uma crítica historiográfica encenada. A historiografia de artista é pensada como um desdobramento do teatro documentário, gênero criado na década de 1920 por Erwin Piscator, que passou por transformações significativas ao longo do último século, mas que nesta tese não é tomado como uma forma de regras rígidas e sim como categoria expandida. O teatro documentário contemporâneo é analisado aqui principalmente a partir dos estudos de Ileana Dieguez, Carol Martin, Janelle Reinelt e Diana Taylor, mas também em diálogo com a teoria dos afetos, especialmente os estudos de afeto público de Teresa Brennan e Sara Ahmed. A historiografia de artista, assim como o teatro documentário, pode ser considerada uma prática corporalizada da história pública, história feita com o público e pelo público, em regime de autoridade compartilhada. Essa prática artística também pode ser aproximada dos estudos de descolonização do pensamento, considerando questões discutidas por Silvia Rivera Cusicanqui, María Lugones, Zulma Palermo, Boaventura de Sousa Santos, Aníbal Quijano e Walter Mignolo, bem como pode ter uma proximidade com a pedagogia das encruzilhadas, como apresentada por Luiz Antonio Simas e Luiz Rufino. O conceito de historiografia de artista é colocado à prova na análise de espetáculos de diferentes países como Brasil (em peças criadas no Rio de Janeiro, em São Paulo, Salvador e Natal), Argentina, Portugal, Espanha e Líbano, especialmente nas experimentações com o formato da palestra-performance. Faz parte da pesquisa a criação do espetáculo Há mais futuro que passado – um documentário de ficção, dirigido em 2017 pela autora da tese.

lusófona. Como vimos dizendo, o desafio é mostrar continuidades e rupturas; histórias comuns e separadas; historicidades afinadas, mas também dissonantes. O panorama é, pois, alvissareiro contanto que crítico e reflexivo e em processo contínuo de feitura e reelaboração.

Based on ethnographic documentation of the Yupik - Chukchi seashore settlement New Chaplino, Providensky district, Chukotka, it is elucidated how the particular forms of brotherhood, originally embedded in the local kinship system and the institute of “a hunting crew”, have further evolved in the Soviet and, in particular, in the post-Soviet state regimes. The ethnographic parallel cases – oral memories on the resettlement campaign of 1958-9, hunting industrialization in 1970s and the village overhaul at the beginning of 2000s; original indigenous dance dedicated to the WWII front and the local participation in the Vechnyj polk parade in the recent years; and the shift in the perspectives on manhood and masculinity in the 1990s and in the present times – serve as examples of the entanglements of privatised violence with that of state institutions. Although the state policies were not always imposed in a top-to-bottom authoritative fashion, I aim to show what impact they had on the ways the state power entered the kin or the families. One obvious example are various fraternal metaphors used in the informal settings. In fact, they are the ways how the state manages local spaces of resistance and collaboration. Another example are the symbolic actions as metonymia for local masculinity that are always called upon to compensate the “presence of absence” (Derrida, 1986:9) with tireless symbolic work of reproduction existing signs and iconic actions (Oushakine, 2002: 21). The affinity towards machinery, physical strength, service to the state etc. correspond with the expectations of both the state and the kin. Emancipation from any domination is thus viewed primarily as a betrayal of such kinship obligations. Hence, on the individual’s decision-making, the shift from the four-wheeler to the tank, power to violence, and service to combat may not seem perplexing.

Addiction is a poorly known and not yet fully accepted pathological phenomenon in today’s society. People with experience of addiction are, due to society’s prejudices, often a stigmatized part of the population, since the society is not aware of the fact that the causes of addiction stem precisely from the fundamental cell of society - the family. By consuming the substances that lead to addiction, people seek substitutes which would satisfy their unfulfilled childhood needs. These substitutes offer comfort, a sense of power and control, as well as freedom to the individual. Each family is a system. Members inside of the system influence each other and maintain the balance of the family system through their interaction. In families with experience of addiction, the attention is mostly directed towards the person who experienced addiction. Other members, especially siblings, remain ignored. The theoretical part describes the functioning of family as a system. Part of the thesis focu...

Água que nasce na fonte/ serena do mundo/ e que abre um/ profundo grotão. Água que faz inocente/ riacho e deságua/ na corrente do ribeirão... Águas escuras dos rios/ que levam/ a fertilidade ao sertão. Águas que banham aldeias/ e matam a sede da população... (...

Resumo: Neste artigo, fundamentado nos campos da História e da Antropologia, com destaque para os Estudos Culturais, Pós-Coloniais e Decoloniais, assim como para a Antropologia Interpretativa e Visual, cartografo repertórios de narrativas escritas, imagéticas e orais sobre viveres e lutas interculturais, pelo regime das águas, de populações marajoaras de matrizes afroindígenas, procurando analisar saberes, práticas de trabalho, modos de habitar, acreditar e se relacionar de humanos e não-humanos. Para tanto, exploro vivências pessoais pelos Marajós em suas complexas fisionomias de campos e florestas, leituras em obras de cronistas, viajantes, literatos, historiadores e antropólogos, cruzando com fotografias produzidas, tanto em pesquisa de campo, realizada em agosto de 2008, quanto extraídas dos livros do etnólogo Nunes Pereira, do cineasta Liberto Luxardo e do padre Giovanni Galo, que, entre as décadas de 1950 a 1980, dedicaram-se a registrar e narrar cenas dos modos de viver no gr...

Cilj je ovog rada kroz kulturnu geografiju pružiti novi pogled na pojmovne odrednice mjesta, prostora, spomen-mjesta, nemjesta i javnih prostora, koje se u danasnjem globalizacijskom i tranzicijskom drustvu sve vise preklapaju, otežavajuci tako jasnu klasifikaciju. Trgovacki centar, jednom tipican primjer Augeovog nemjesta, s popularizacijom kapitalizma i konzumerizma ulazi u sferu javnih događanja i iskoristavanja slobodnog vremena, cime stjece dodatne odrednice pogodne za analizu i istraživanje. Na primjeru Arene Centar Zagreb istražit ce se i predstaviti odrednice suvremenih trgovackih centara, u odnosu na one javnog prostora, mjesta i nemjesta.

Présentée en 1839 par Arago comme une invention indispensable à la confection de collections d'images archéologiques et artistiques (ROUILLE, 1989 : 36-42), la photographie acquiert, dès son invention, un grand prestige auprès des scientifiques. Dans la seconde partie du XIX e siècle, et surtout au XX e siècle, rares sont les domaines du savoir qui échappent durablement à l'élaboration, sur papier glacé, d'une mémoire visuelle (BARTHES, 1980). Dans le cas de la photographie anthropologique, c'est Etienne Serres qui introduisit en 1842 la technique au Museum d'histoire naturelle de Paris en achetant un appareil de Daguerre, afin de réaliser des portraits ethniques. Dès 1865, Paul Broca -fondateur de la Société d'anthropologie de Paris -en recommande l'utilisation, et donne une méthodologie minimale mais précise pour la prise de vue : prendre le visage de face et de profil et le corps de face, bras tendus. Pour en faire un objet de science, il préconise l'utilisation d'échelles pour retrouver les mesures véritables du corps ainsi que « l'accoutrement caractéristique de la tribu » (BROCA, 1865 : 8). Ainsi, le désir de connaissance anthropologique passe-t-il par la constitution de collections d'images qui doivent donner à la fois des renseignements sur la dimension naturelle de l'homme mais aussi sur sa culture. Le développement de la colonisation s'accompagnera de la mise en place de corpus photographiques assez systématiques dans les empires coloniaux afin de « recenser » les ressources naturelles et de « cataloguer » les collectivités humaines -tout ceci dans une évidente dynamique de valorisation de l'« oeuvre » coloniale. Les preneurs d'images furent tour à tour des explorateurs, des militaires, des missionnaires, des savants ou des photographes professionnels (comme Geiser à Alger ou Fortier à Dakar). Une histoire de la photographie dans le contexte colonial a déjà été ébauchée dans de nombreux travaux Photographies anthropologiques et politique des races

Livia K. Stone's Atenco Lives! Filmmaking and Popular Struggle in Mexico is an ethnography of activist film making production and distribution. Stone argues that filmmaking is a tool to advance social change, but not in the ways mainstream technophilic fantasies prime us to expect. Activists use the process of media production, exchange, and distribution as a means to practice the kinds of ethical and nonhierarchical social relations they want to enact more broadly. Forgoing efforts to change or upend state structures, which they experience as hopelessly unjust, these activists instead aim to transform themselves and their communities into ethical collective political subjects. In documenting and analyzing how people use and understand media production as a political tool, Atenco Lives! uncovers how popular activists in Mexico in the first decade of the twentieth century imagined, negotiated, and sought to build nonhierarchical collective power.

This article argues that a visual focus on suffering bodies can obscure the power relationships that result in inequality and injustice through (1) obscuring the mechanisms and perpetrators of violence, ( ) not disrupting dominant conceptual frameworks, and (3) not leaving room for solutions. I use a corpus of films made about and by a Mexican social movement in San Salvador Atenco to ask a practical question: How might we represent issues of structural violence without focusing on images of suffering and victimization? The solution that these films present is a focus on what I call "scenes of confrontation." [Atenco, documentary film, Mexico, social movements, structural violence] bs_bs_banner

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В статье анализируются собрания областных, районных, сельских и школьных музеев Омской и Новосибирской областей, Алтайского края и Республики Алтай. Делается вывод о том, что современное казахское сообщество Западной Сибири, наращивая опыт межэтнического сотрудничества, сохраняет основы самобытной культуры. К музейным собраниям оно обращается как к своеобразным ресурсам культурной и исторической памяти. Значение музейных коллекций возрастает в контексте социокультурных трансформаций современной России в ходе нивелировки традиций; при этом ряд элементов аутентичной казахской культуры (например, юрта) приобретает характер общеэтнических символов.

By using participant-led photography, we examine the complexity in which Black and mixed-race masculinities are imagined and negotiated vis-a-vis interactions and intimate relations with foreign women, in the context of global tourism and transnational intimacies in the South Caribbean littoral of Costa Rica. Photographs were used to reposition local young men, who are often racialized in the tourist imagery, as "takers" of images of their daily lives. We argue that their photographs serve to situate and critically to challenge some of the most common local tourist narratives that portray local men as mujeriegos or "hustlers" who "sponge" off tourist women. Puerto Viejo de Talamanca, which is also known locally as Puerto and Wolaba, is a small Afro-Caribbean tourism town located in the South Caribbean littoral of Costa Rica, renowned for its stunning beaches, surfing waves, party tourism, and transnational romance and sex. 1 On the last evening of my fieldwork in this locale I pushed myself to go out to a popular bar where a "photograph CAROLINA MENESES is a Costa Rican researcher who holds a MA in Anthropology from the University of Manitoba, Winnipeg. She currently works as a research assistant with Susan Frohlick at the University of British Columbia in a research project called "Afro-Costa Rican Young People and Global Tourism: Transforming Youth and Imagining Life Projects through Intimate Exchange Relations with Tourists.

How Aboriginal acrylic painting came to be reframed as “high art” is an interesting ethnohistorical question. Scholars have traced the increasing frequency of the exhibition of Aboriginal Australian acrylic painting and the increasing emphasis on the framework of fine art and contemporary fine art in these exhibitions. Individual artists come prominently into attention, both in the press and also—eventually—with one‐person exhibitions. In this article I delineate the collecting practices and ideologies that lie at the foundation of two of the important early collections of acrylic painting in Australia—that of Tim and Vivien Johnson (which was gifted eventually to the Art Gallery of New South Wales) and that of Dame Margaret Carnegie (some of which was gifted to the Art Gallery of Victoria). My aim is to explore the differences in their understanding of the art and its importance as part of a more concrete analysis of the forms of cultural convergence between Aboriginal culture and ...

Shalom Almond's film My Long Neck is a gift to tourism scholars and teachers who want to raise social justice, social inclusion and empowerment in our work. Filmed in 2013 and resulting from the filmmaker's tourist visit to the Mae Hong Son area of Northern Thailand, this film turns the tables on understanding an area that has been subject to recent scrutiny as a site of 'human zoos'. The result is a documentary where the potential 'object' of the film, Maja, becomes a co-filmmaker and agent of interpretation of human circumstances. In this paper, we explore how the film provides both a 'voice' for a marginalised people as well as a more nuanced exploration of the lived experiences of a young woman trying to negotiate circumstances that impinge on her freedom and self-determination.

Kidnapping as a crime of (im)mobility can be understood as a social act of mutuality and reciprocity, where the interaction between kidnappers and kidnappees shapes a broader system of connected activities of surveillance, intimacy, control, and consent. This article argues that during situations of long-term kidnapping, novel forms of social interaction emerge as a result of mutual surveillance practices between surveillance agents (kidnappers) and surveillance objects (kidnappees). It focuses on analysing how members of The Revolutionary Armed Forces of Colombia (FARC) (the kidnappers) and Colombian politicians, police, and army personnel (the kidnappees) conducted mutual practices and activities of surveillance during their lengthy cohabitation inside jungle kidnapping camps. It presents the results of thirty-three semi-structured interviews with victims of long-term kidnapping in Colombia and eleven structured interviews with FARC ex-combatants who were involved in kidnapping operations. The article demonstrates that the senses of mutuality, reciprocity, and intimacy were crucial to creating an unconventional surveillance regime inside jungle kidnapping camps in Colombia.

Even though not all had formal anthropological training, they stood out for their creative achievements and theoretical approaches to accomplish an intersection between cultures, dance, education, social justice, and racial equality. As a female researcher in the anthropology of dance and the body, I find it particularly interesting to reconsider their innovative forms of ethnographic research and applied methodologies, including actively incorporating their bodies, creative ethnographic writing, and producing visual material challenging the anthropological canon. The aim is to delimit each ethnographer's key contributions and propose a strategy to provide a valuable base to develop post-colonial approaches for dance research, particularly on popular dance practice. I emphasize the innovative proposals regarding ethnographic fieldwork, documentation, visual anthropology, and a highly reflexive perspective combined with auto-ethnographic methodologies, which, at that time, were not considered in science or had yet to be developed. This contribution reinforces that these female anthropologists were visionary, and their approaches should be revalued.
В статье исследуются жизнь и творчество пяти женщин, внесших вклад в исследовательскую сферу антропологии в середине XX века, прежде всего, в субдисциплину антропология танца. Речь идет об афроамериканской танцов-щице и антропологе Кэтрин Данэм (Katherine Dunham, 1909–2006), об амери-канской танцовщице, хореографе и антропологе Перл Примус (Pearl Primus, 1919–1994), афроамериканской писательнице, фольклористе и антропологе Зоре Нил Херстон (Zora Neale Hurston, 1891–1960), о еврейско-украинском режиссере  экспериментального  кино  Майе Дерен (Maya Deren, 1917–1961) и об американской танцовщице и танцтерапевте Франциске Боас (Franziska Boas, 1902–1988). Не все из них получили формальное антропологическое об-разование, но их творческие достижения и теоретические подходы весьма значительны и важны для понимания взаимосвязи между танцем, культурой, образованием и социальной справедливостью. Автор, исследовательница ан-тропологии танца и тела, обращается к инновационным формам этнографи-ческого исследования и методам прикладной антропологии, в том числе изуча-ет телесную вовлеченность, творческое этнографическое письмо и создание визуальных материалов, бросающих вызов традиционному этнографическому канону. Цель этого — расширить границы понимания того вклада, который каждая из исследовательниц внесла в постколониальную этнографию танца, и прежде всего, в изучение популярных танцевальных практик. Автор анали-зирует их новаторские подходы к этнографическому полевому исследованию, документации, визуальной антропологии, к рефлексии и авто-этнографии — научным методам, до недавнего времени не считавшимся достойными внима-ния, да и в настоящее время нуждающимся в развити.

"Cultura visual en Japón: once estudios iberoamericanos" reúne un conjunto de trabajos que arrojan luz sobre las implicaciones de las diferentes estrategias metodológicas interdisciplinarias contenidas en el enfoque de la cultura visual. Asimismo se incluyen textos de autores que han incorporado en su metodología de trabajo el análisis de la construcción y la legitimación visual de los procesos socioculturales, así como las prácticas cotidianas de producción de significados culturales a partir de la visualidad. La diversidad de los temas abordados en "Cultura visual en Japón", y la pluralidad de las perspectivas teóricas de los autores, permiten que esta obra sea una muestra representativa de los estudios sobre cultura visual de Japón que se llevan a cabo en el contexto académico iberoamericano. Este libro es el resultado del Primer Simposio Iberoamericano sobre Cultura Visual de Japón, evento concebido no sólo para difundir el importante trabajo de los especialistas iberoamericanos en un campo de estudios que continúa preterido en muchas universidades, sino también asentar las problemáticas en torno al conocimiento, la enseñanza y los imaginarios de las culturas no occidentales. El volumen reúne tanto los textos correspondientes a las ponencias presentadas en el simposio, como trabajos posteriores de investigadores invitados.

1973-ban született református lelkészcsaládban. Jelenleg az MTA BTK Néprajztudományi Intézetének munkatársa és a Sárospataki Református Teológia tanára. Lényegét tekintve a háta mögött álló Istent kereső néhol fotográfus, máskor református teológus, esetleg kulturális antropológus vagy kommunikációkutató, de leginkbb mindegyik egyszerre. Köztes és talán közvetítő létező, s ekként hagyott rajta mély nyomot, amikor alig egy éve Visky Andrással személyesen is találkozott. A legtöbb vallásnak megvannak a maga szakrális terei és tájai, vagyis a fizikai térnek azok a jól kijelölhető terrénumai, melyeket az adott vallás szerint a transzcendens magának kijelöl, melyeken megmutatkozik, illetve amelyekben az adott vallás követői a transzcendens mutatkozását felismerik. Ezek a terek és persze tárgyak, melyek valamilyen módon magukon hordozzák a transzcendens nyomát, általában fontos szerepet töltenek be az adott vallás gyakorlatában, rítusaiban, és olykor mindennapi életében is. Nyomot hagynak a közösségen -ugyanakkor az őket használó közösség is nyomot hagy rajtuk. Ezek a szentnek tekintett terek és tárgyak így egy különleges kapcsolatot jelölnek a transzcendens és a közösség, illetve annak tagjai között. A református teológia -szemben például a római katolikusokkal -az ótestamentumi szent sátor, illetve az annak örökébe lépő jeruzsálemi templom kivételével tagadja annak lehetőségét, hogy az ilyen terek és tárgyak folyamatosan a transzcendens mutatkozásának médiumai lennének. A gyakorlat azonban ezen a téren is különbözik az elmélettől. A református felekezeti identitásnak ugyanis több olyan territoriális eleme van, melyekhez a gyakorlatban úgy viszonyulnak az egyes közösségek, mint amelyek a transzcendens mutatkozásának állandó hordozói. Ezek a terek és tárgyak ugyanakkor szoros kapcsolatban állnak az adott közösség történetével, identitásával is: olyan identitásszimbólumok, melyek sűrítik a történeti tapasztalatot, s ekként a közösségi emlékezet helyeiként is működnek. 3 Az egyik legismertebb ilyen tárgy Kossuth Lajos széke a debreceni református Nagytemplomban, me-

En el marco del VI Congreso de Antropología Chilena titulado «Antropología aquí: Miradas desde el Sur» y del llamado del simposio de Antropología Visual «Registros y relatos visuales sobre la alteridad», que invita a realizar ponencias «sobre el modo de expresión visual como alternativa a las formas escriturales dominantes en la disciplina antropológica», proponemos una ponencia que reflexione brevemente sobre los términos «Video Antropológico», «Video Etnográfico» y «Antropología Visual», y su desarrollo en el medio chileno. Este último tema, será abordado en profundidad a partir de la experiencia desarrollada en los proyectos Fondecyt n° 1030029 y nº 1060681.

La representación visual indígena en el área Centro-Sur andina sufre un importante cambio con la emergencia de la fotografía etnográfica de principio del siglo XX. Práctica científica que integra las exigencias de la teoría antropológica, con la composición estética-documental y una aproximación prudente y cortés con las comunidades indígenas; configurando una práctica más profunda, humanitaria y artística. Rompiendo el imaginario indígena para el altiplano boliviano heredado del naturalista Alcides D'Orbigny (1847) con su mirada fisiognómica que invisibilizó al indígena, relegándolo a un lugar marginal o pintoresco. También, rompe con el costumbrismo de George Squier (1877) y Charles Wiener (1880), que consolida un imaginario indígena lleno de imponentes ruinas arqueológicas como Sillustani, Tiwanaku y las chullpas de los Carangas, entre muchas. Y, por último, rompe con el modelo antropométrico y su mirada fragmentaria, preocupada del cuerpo como contenedor de sentido e identidad; practicada por la misión Créqui-Montfort (Chervin 1908) y Arthur Posnansky ( y 1918)). Giro representacional que se evidencia en la fotografía etnográfica de Alfred Métraux entre los chipaya de Carangas (1931), donde la imagen jugó un rol activo en la reactivación de procesos de memoria e identidad que reconfiguraron del imaginario indígena en los Andes Centro-Sur.

'We want bread, education and freedom' is an ethnographic experiment that traces and weaves together the unfolding of multiple crises in Greece in the mid-2010s. An ethnographically informed snapshot of a visit to the squatted hotel City Plaza in Athens, the piece unfolds by exploring the polysemy and versatility of the 1973 slogan 'Bread, education, freedom' and how it has been reappropriated and re-signified over time to make sense of the 2010 economic crisis and later, of the so-called refugee crisis. While the text pulls together historical events, political discourses and personal reflections, the graphics capture the Hotel City Plaza's dense affects and lay bare those tensions, ambiguities and ambivalences that are often hard to verbalise and make sense of. Altogether this piece configures an unfinished, raw and sensorial journey through the struggles of reconciling political belonging, positionality and intellectual commitment to anthropology.

Le concept de « rapport affectif à la ville » tel qu'il est défini et expérimenté dans cet ouvrage prend comme point de départ l'individu, sa relation intime avec l'espace habité. Si l'on s'intéresse aux valeurs positives ou négatives associées à la ville, un autre point de départ est celui de l'imaginaire collectif, celui des idéologies, des systèmes de croyances, de symboles, de mythes, de valeurs et de signes qui constituent une représentation sociale au sens durkheimien 1 . L'hypothèse à l'origine de la réflexion que nous proposons sur la « ville malaimée » est que dans la relation qu'un individu tisse avec la ville, les deux dimensions, intime et collective, interagissent, la deuxième étant le plus souvent sous-estimée. Notre ambition dans cet article n'est pas d'affronter la difficile question du passage des représentations collectives aux représentations individuelles et réciproquement mais de montrer l'intérêt d'approfondir l'entrée par les représentations idéelles de la ville que nous privilégions pour mettre en dialogue deux manières distinctes d'aborder la même question théorique : comment conceptualiser le passage entre l'idéel, l'affectif et le réel, entre l'imaginaire urbain et les pratiques collectives et individuelles ? En effet, dans la mesure où ces représentations ont une puissance d'effectivité avérée sur la sphère de l'action politique et de la recherche 2 , en approfondir les valeurs 1 « Mais les états de la conscience collective sont d'une autre nature que les états de la conscience individuelle ; ce sont des représentations d'une autre sorte. […] En effet ce que les représentations collectives traduisent c'est la façon dont le groupe se pense dans ses rapports avec les objets qui l'affectent. », Durkheim Émile, Les règles de la méthode sociologique, Paris, Presses universitaires de France, 1937, p. XVII. 2 Salomon Cavin Joëlle, Marchand Bernard (dir.), Antiurbain. Origines et conséquences de l'urbaphobie, Lausanne, Presses polytechniques et universitaires romandes, 2010. c h a p i t r e 5 2 pourrait favoriser l'identification de leur effet -moins perceptible et analysable -sur les sociétés et les individus. Il nous apparaît que ce type d'approche peut contribuer à clarifier le rapport entre ville aimable et ville durable, le poids de l'idéologie du développement durable sur le rapport affectif à la ville, et les modes d'habiter qui constituent un des objectifs de l'ouvrage. Notre entrée privilégiée dans les représentations sociales de l'urbain est le désamour de la ville 3 qui avait été esquissé dans l'analyse des représentations du rural et de la montée de la représentation de l'anti-ville à partir des années 1970 en France 4 . À l'intérieur de l'appellation générique de « la ville mal-aimée », nous nous intéressons à la sphère collective des idéologies antiurbaines en laissant provisoirement de côté la sphère individuelle du désamour de la ville. Ces sphères, loin de se superposer l'une à l'autre, s'interpénètrent. Les idéologies antiurbaines, synonymes d'urbaphobie ou d'antiurbain pour coller au concept anglosaxon de anti-urbanism 5 , peuvent vraisemblablement influencer la valeur que chaque individu accorde à la ville 6 , mais elles appartiennent à un imaginaire commun, indépendant et englobant pour ainsi dire l'expérience individuelle. Le désamour qu'éprouve un individu pour la ville et/ ou une ville est un complexe mélange entre événements biographiques et imaginaire collectif, mais sans que, pour ce dernier, aient été approfondis la part et les sens de l'idéologie antiurbaine.

Silas de Paula "CULTURAS DO SILÊNCIO" - Ressonâncias Imagéticas de uma Etnogênese Indígena: "Dizer a palavra não é um ato verdadeiro se isso não está ao mesmo tempo associado ao direito de autoexpressão e de expressão do mundo, de criar e recriar, de decidir e escolher e, finalmente, participar do processo histórico da sociedade. Na cultura do silêncio as massas são mudas, isto é, elas são proibidas de criativamente tomar parte na transformação da sociedade e, portanto, proibidas de ser".

Tongkonan is the life of the Toraja people because that's where all their values ​​and aesthetics are. In it there are not only functions as residential houses but there are social functions and power, traditional and cultural values, and religious values. But the passage of time and the development of the modern era as well as the influence of culture from the outside to make a shift and change the function and value of the actual Tongkonan so much to cause conflicts in the family and community. Many perspectives from the Toraja generation emerge. This study aims to identify and describe how the perspective of the older generation and young generation of Toraja on the function and value of Tongkonan. Researchers chose respondents who live in Toraja by snowball. The researcher uses the semi-structured interview as an instrument to obtain data and a qualitative description method in analyzing data. The results showed that the older generation emphasized the view that Tongkonan is...

Seja através dos percursos intrincados de um rio ou da insaciável imensidão dos mares e dos oceanos, a fluidez destes espaços assegura a ideia de ligação, de comunicação e transmissão de experiências. Tendo em conta este pressuposto, as obras audiovisuais que servirão de base a este texto, saídas da vertente ensaística do cinema contemporâneo, procuram estabelecer uma série de conexões interdisciplinares, que o próprio meio permite, fazendo uso da polifonia de registos, de vozes e de contextos, aglutinados num processo aberto e forçosamente incompleto.

In the mid-60’s NASA was developing instruments for the Viking spacecraft to detect life on Mars. To assist in this effort, NASA consulted James Lovelock, an iconoclastic British atmospheric chemist. Lovelock wondered: Can the existence of life be recognized from knowledge of the chemical composition of a planet’s atmosphere? What would the Earth be like now, if life had never evolved on it? Would there be oxygen in the air? Would the surface temperature be hot like Venus, or cold like Mars? He came to the conclusion that a spacecraft didn’t need to be sent to Mars. All one needed was a determination of the composition of the Martian atmosphere to see if it were in chemical equilibrium. This was done, and to the accuracy of the measurements, unlike the Earth’s atmosphere, the martian atmosphere was in chemical equilibrium. He concluded that Mars was dead (see Krasnopolsky et. al. 2004 and Formisano et. al. 2004 for a possibly low-level methane exception to this conclusion). However,...