something common to these processes that made them satisfying. In an effort to identify what it was, I applied the analytics of creativity, skill, and task-based work. It struck me that each of these analytics was partly right in how it answered my question
Cracking the Ontology of Divination in Southwest China
necessitates—creativity in every kind of Nuosu divination, where priests, male shamans ( sunyit ꌠꑊ), female shamans ( mopnyit ꃀꑊ), or ordinary persons allow spirit helpers and/or guardian spirits to guide their calculatory reflections on the divinatory
The emergence of translocal dervish cults in Bosnia-Herzegovina
In postsocialist and postwar Bosnia-Herzegovina, popular dervish cults are re-emerging after several decades of (semi)clandestine existence due to official bans and repression imposed by the Yugoslav state socialist governmentality. This article explores how an absence of divine knowledge ensuing from this disruptive history—strongly felt among various Bosnian dervishes today—is transformed into spiritual creativity and an improvisatory dynamic mediated by charismatic sheikhs. It traces “creative moments” leading toward the formation of a Bosnian dervish cult and its realignment with translocal networks of dervish lodges to explore the dynamics of divine knowledge and its creation inside these networks. The ethnography presented here suggests that we move a step beyond mere sociological descriptions of how translocal cults are organized across distance to explore in a more nuanced way the historicity and the dynamics of how divine knowledge is (re)created and idiosyncratically appropriated within these networks.
Kyangyang and the works of prophetic imagination in Guinea‐Bissau
Ramon Sarró and Marina Temudo
This article focuses on the Kyangyang (‘the shadows’ or ‘the shades’), a prophetic movement that emerged in Guinea‐Bissau in 1984, in which ‘animistic’ Balanta farmers‐and‐herders learned to pray as Muslims and Christians do. We want to propose that (a) more attention needs to be paid to religious movements that bridge the polarisation between Islam and Christianity in West Africa and (b) a broader focus on the overall pluralistic setting is necessary in order to understand the conditions of possibility for the emergence of a particular religion. We want to propose, too, that some religions glossed as mimetic (such as Kyangyang) are not as ‘secondary’, in relation to a putative primary source (Islam or Christianity being the model to be copied), as we may intuitively assume at first sight. Copying is part and parcel of human action and transformation but, paradoxical as it may sound, it may not be as opposed to originality as we tend to think. By looking at how Kyangyang works, how imagination is put to play by prophets in order to make Balanta farmers ‘move forward’ towards a potential ‘new world’, we may be getting at the very heart of what it means to be original, at least in terms of religious creativity.
Daniel T. Levin
Dean K. Simonton, Great Flicks: Scientific Studies of Cinematic Creativity and
African Trade and Chinese Oil Production in Western Chad
space of experimentation, creativity, and improvisation ( Ingold and Hallam 2007 ) that both sides entered from their respective positions of capabilities as well as uncertainties in order to develop solutions that could not be envisioned beforehand. Iba
A study of digital tools used by university instructors
Bexi Perdomo, María del Carmen Llontop Castillo, and Oscar Mas
During the COVID-19 pandemic, one of the major concerns at the Universidad de Ciencias y Artes de América Latina (UCAL; the University of Sciences and Arts of Latin America) has been to keep offering high-quality education with effective teaching methodologies and creativity at its core. This article aims to describe and understand the use of digital tools for class preparation, synchronous encounters, storage, interaction, collaborative work and assessment by UCAL’s instructors in creative careers. It finds that instructors were proactive about learning and using a variety of digital tools. Gamification apps and interactive boards were instructors’ favourites because they tended to motivate their students the most. No statistically significant associations were found between tool selection and course, sex, or age. Based on the evidence, this article will propose general guidelines for a training plan for instructors.
Much has been written about Sartre’s views on artistic creativity as communication, but it has less often been remarked that the potential for not-communicating was inscribed from the outset within his theorisation of creation. This article is an exploration of those two apparent opposites, using the psychoanalytic theory of D.W. Winnicott as a counterpoint.
Remembering the Holocaust in Today’s Yiddish Song
The Holocaust was undoubtedly the single event that most influenced the course of Yiddish song during the twentieth century. Its effects on Yiddish culture were incalculable. Despite the increasing difficulty of Jewish life in central and Eastern Europe during the 1930s, this was also a period of flowering of Yiddish cultural life. Many believed that the strong network of Yiddish publications, education, cultural events and political organisations offered the promise of a secure and thriving Jewish life despite the restrictions being laid upon the Jews.
Guiding and transforming our creative practices, this paper argues for a critical investigation of the techno‐material affordances at play in doing visual research with digital media. It interrogates how software and skill might interact to mediate creative engagements with digital materialities. Drawing on two ethnographic case studies of and with the Korsakow System – an authoring system for creating generative multiple links between media assets – I show how software combined with other imaging technologies can (re‐)focus attention and action towards the intangible workings of digital code. Three exercises will demonstrate how a with relational media systems challenges and complements ethnographic filmmaking through the adoption of iterative software and design methodologies. Rather than gaining control over code, the aim is to gain control over the loss of it in the field and in front of the screen. In the context of an advancing digital visual ethnography, such a affords an experiential and responsive mode of knowledge production sensitising us to the complexly layered affordances and constraints of digital materialities and the in which they are entangled.