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In this article I am approaching the topic of Jewish dating among the young Russian-speaking Jews who live in Berlin. Using the analytical concept of space and applying grounded theory, I am presenting data I collected in 2010 using the methods of ethnographic interviews and participant observation. The article is organised around three main questions. Firstly, I am interested in the motivation of my interviewees, who are generally children of inter-ethnic and inter-religious couples, to find a solely Jewish partner. Secondly, I am asking for existing strategies applied within a relatively small Jewish community of around thirty to fifty thousand in Berlin in order to find a Jewish partner. Thirdly, I am looking for the concrete spaces and places used or constructed for the purpose of finding a Jewish girlfriend or boyfriend. Beside these empirical results, I am introducing the theoretical idea of Jewish niches, which is discussed against the background of 'Jewish space' as promulgated by Diana Pinto.

The article discusses the process of setting up an exhibition presenting the fragments of alternative creative practices in 1980s Maribor (Slovenia) in an art museum. Within an interdisciplinary approach – art historical, museological and anthropological, which is in focus here – I try to understand how such a heritage of alternative creative practices is constructed and produced. Furthermore, the question of the anthropological potentiality of exhibition-making as a method for researching certain aspects of urban practices and development is considered. During the exhibition the art museum became a collaborative place for negotiating, mediating and constructing a heritage between an imagined community of (once) alternative individuals and collectives who participated in the exhibition, the museum staff, visitors and the media. The exhibition was echoed in some other events in the city as it also addressed contemporary artistic, cultural and social issues in Maribor.

The flâneur acts as a key figure for understanding the relationship between the individual, modernity and the city. A reference to dandy young gentlemen, who walked, performed and loitered within the arcades of late 19th‐century Paris, the flâneur has transitioned from a literary and theoretical figure to one used in mobile urban ethnographies. The flâneur, traditionally male, is a figure of pedestrian mobility whose sensorial and mobile engagements with the urban landscape generate distinct forms of creative practice. For this reason, the flâneur has been invoked in relation to the methods and experiences of the ethnographer, who moves and takes note in similar ways. This paper conducts a review of extant literature on the flâneur in ethnographic research, which shows a strong connection between this key figure and its ties to a European tradition dealing with Anglo‐European (post)modernities. It has also inspired a range of methodological innovations in urban ethnography more broadly. Finally, through the case of Tokyo, the paper asks the question of who is drawn to flânerie and who is deterred from it, demonstrating how the transgressive potentialities of flânerie are only desirable for some.