In an interdisciplinary workshop in the former Iron Curtain borderlands of the Czech Republic and Bavaria seven multi-national artists and one European ethnologist revealed the cultural dynamics of boundaries both by exploring an expressive landscape and memory field, and by experiencing cultural difference as reflected in the co-operation and creation processes within the group. By using ethnographic approaches to assist the process of developing and conceptualising artworks and self-reflexive, ethno-psychoanalytic interpretation, the project followed the impact of twentieth-century border frictions and violence into collective identities, but also the arbitrary character of borders. The results suggest how a multi-perspective, subjectively informed methodology of approaching space and spatially expressed memory could be developed both for ethnology and for art, bridging the supposed gap between 'artistic' and 'scientific' methods by combining their strengths in a complementary way.
Bridges from Ethnography to Art
Why Should Anthropologists Care?
At a time when European integration faces many crises, the efficacy of public policies decided in Brussels, and in member state capitals, for managing the everyday lives of average Europeans demands scrutiny. Most attuned to how global uncertainties interact with local realities, anthropologists and ethnographers have paid scant attention to public policies that are created by the EU, by member state governments and by local authorities, and to the collective, organised, and individual responses they elicit in this part of the world. Our critical faculties and means to test out established relations between global–local, centre–periphery, macro–micro are crucial to see how far the EU's normative power and European integration as a governance model permeates peoples' and states' lives in Europe, broadly defined. Identifying the strengths and shortcomings in the literature, this review essay scrutinises anthropological scholarship on culture, power and policy in a post-Foucaultian Europe.
Museum Archaeology in a Seventeenth-Century Shipwreck Exhibit
Sarah A. Buchanan
Museum archaeology offers opportunities to practice artifact storytelling, engaging visitors on the strength of objects that have been conserved and curated. Public appreciation of science and history is bolstered when museums exhibit objects of singular historic significance in a manner that allows visitors to build an experiential understanding of the objects’ provenance. Archaeologists and conservators began reassembling the 330-year-old French ship La Belle as a live-action exhibition on 25 October 2014 in the Bullock Texas State History Museum. The collaboration broke new ground by inviting visitors, in person and via streaming online video, to watch the experts rebuild the ship in full public view. Until, and after, the reconstructed ship hull was moved into its permanent first-floor gallery location on 21 May 2015, the exhibition brought archaeologists and international museum visitors into the same room to learn. The article interprets these events toward reimagining museum object curation as public scholarship.
The Case of Lubuskie, Poland
Robert A. Parkin
While it can claim some historical depth, essentially Lubuskie is a new province in western Poland that emerged from the local government reforms of 1999. It is thus located in a part of the country taken over by Poland from Germany in 1945, which as a consequence experienced a complete replacement of populations (Polish for German) at that time. This makes the province a useful case in which to study the emergence of a new identity over time. At present its identity is not as strong as in the case of its neighbours like Silesia and Wielkopolska, though it is being cultivated where possible by some local bureaucrats and politicians. It is argued that it is nonetheless justified to study such cases in order to determine and account for differences in the strength of regional identities in the same nationstate. The wider framework is regional identities within Europe as part of the process of European integration and its articulation with nation-states in the EU.
All scholarly fields feed on rhetoric of praise and criticism, mostly self-praise and self-criticism. Ethnology and folklore studies are not exceptions in this, regardless of whether they constitute a single field or two separate but related ones. This essay discusses questions concerning ethnological practice and object formation, cultural theory and the theory of tradition (or the lack thereof), cultural transmission, cultural representation, and the ethics and politics of cultural ownership and repatriation. It draws on general observations as well as on work in progress. The main concern is with a discursive move: from tradition to heritage, from the ethnography of repetition and replication to cultural relativist descriptions and prescriptions of identity construction and cultural policy, from ethnography as explanation to ethnography as representation and presentation. In addition, the essay seeks to delineate other underlying tenets that appear to constitute our traditions and heritages - both as strengths and as long-term constraints and biases. Where is ethnology headed in its quest to transcend theories and practices? Less theory and more practice? More theory on practice? Or more practice on theory?
Changing Kinship Practices among the Sahrāwī, North Africa
). The ‘strengths’ (i.e. ‘weaknesses’) of weak ties ( Granovetter 1973 , 1983 ) implicit in these matri-features, I think, are not necessarily problematic but instead correlate with the encounter with the Spanish colonial period and to changes in the
Muslim Mu‘tazilite Theology Confronted by Manichean Iranian Thought
864–941), who writes, ‘the mount has six rights over its master: it must not be made to carry a load beyond its strength; its back must not be used for conducting conversations; when it arrives at its destination, it must be fed first of all; the
Julie Gough, Jonathan Jones, Kelli Cole, Shari Lett, Glenn Iseger-Pilkington, Billie Lythberg, Jennifer Walklate, Jeanine Nault, Jake Homiak, Joshua A. Bell, and Natasha Barrett
objects to life as the exhibition drew strength from the objects’ return. There were many other events that took place that led to our panel being organized, what might be called an intervention (not a word that we as Indigenous people are now comfortable
Remaking the World Cultures Displays at the National Museum of Scotland
has been enduringly debated in internationalist terms, and the master planning process drew strength from wider policy discussions about the relevance of cultural institutions and encouraged curators to argue for a renewal of museums’ mandate in regard
The Reappropriation of Photographic Images from a Museum Collection
preoccupation, asking instead whether the focus on ethnic identity has inhibited genuine political change in Burma ( Farrelly 2016b ; Laoutides and Ware 2016 ), the strength of attachment to an ethnic identity by Burma’s populations shows no signs of