This article compares the trickster stories of Anishinaabeg (Ojibwes) and Ininiw (Cree) people, specifically the Swampy Cree or Omushkegowak, in northern Canada. Focusing on one storyteller from each culture—Omushkego Louis Bird from the west coast of James Bay and Anishinaabe William Berens from the east coast of Lake Winnipeg—the article demonstrates that the long-term practice of telling sacred stories taught Indigenous peoples how to survive and thrive in their harsh environments. Although Omushkego stories highlight the importance of individual resourcefulness for survival, stories from both cultures emphasize that people should live together in communities to achieve the best life. The article also emphasizes the importance of appreciating local distinctiveness, listening carefully to Indigenous voices, and seeking guidance from Indigenous people.
Tricksters in Cuban and Brazilian Spirit Mediumship Practices
Diana Espírito Santo
In this article, I explore how the cosmologies of two popular spirit possession cults—Espiritismo in Cuba and Umbanda in Brazil—exhibit forms of recursivity and self-reflexivity. Taking my cue from Don Handelman’s notion that the cosmos often contains its own logic of self-becoming, I argue that in these ethnographic cases, recursivity results from the interplay between, on the one hand, the spirits’ expression of their autonomy from living beings and, on the other, the spirits’ contingency for their effectiveness on human belief, representation, perception, and action. In Espiritismo and Umbanda, spirits intervene in human affairs unpredictably, throwing new light on anthropological and native conceptualizations of reflexivity.
Mockery, Egalitarianism, and Uncertainty in Northeastern Namibia
The trickster has held a prominent place in the study of folklore, as much as it has been central to anthropological understandings of egalitarianism. In both, the trickster embodies an insoluble tension between the repressed, amoral desires of the individual and the moral demands of social life. This tension, so it goes, is visible in the ambiguity of the figure—a protean indeterminate being, neither good nor bad. Among the Jú|’hoànsi of northeastern Namibia, the trickster is similarly ambiguous. The figure conveys not a clash of values, but rather the doubt and uncertainty people feel toward those with whom they share resources, or about different ways of sharing and how they might relate to one another. This article approaches such uncertainty through a focus on the mocking phrase “you’re a trickster” and the moral discourses that accompany it.
Contraband at the Romania-Serbia border during the Yugoslavian embargoes
This article analyzes actions of the Romanian state officials and the Romania-Serbia border region people during the embargoes imposed on Yugoslavia in the 1990s. It shows that the embargo-related contraband trade with its diverse layers and actors is an excellent window for studying state formations. Getting involved in both big contraband and the criminalization of smugglers, different state factions developed specific logics of privatization, transnationalization, and interstitial relations. These developments were connected to both the fantasies of accumulation in the context of embargo and Romanian European Union accession. The article also suggests how to understand continuities between the embargorelated and present state formations. Looking at the interplays among border posts, state officials, and the EU, it shows that the border posts are increasingly dislocated from the state and that they seem to become interstitial parts of a post-state field of power.
"The Invention of Culture" and After
At the beginning of the Winnebago trickster cycle, trickster fails as a chief by repeatedly calling a war party (which chiefs never do) each time only to be found cohabiting with a woman (which war leaders never do). Eventually leading his warriors, trickster utterly alienates them by smashing his own canoe and sacred war bundle. Finally left entirely alone, he then uses straw dummies to trick a buffalo into a quagmire, but as he carves the meat, his left and right arms fight over it; his right arm, holding the knife, butchers his left arm, leaving trickster to despair.
Raven Narratives and the Anthropocene
Thomas F. Thornton and Patricia M. Thornton
The Anthropocene is rooted in the proposition that human activity has disrupted earth systems to the extent that it has caused us to enter a new geological age. We identify three popular discourses of what the Anthropocene means for humanity's future: the Moral Jeremiad admonishes the transgression of planetary boundaries and advocates reductions to live sustainably within Earth's limits; the Technofix Earth Engineer approach depicts the Age of Humanity as an engineering opportunity to be met with innovative technological solutions to offset negative impacts; and the New Genesis discourse advocates re-enchantment of humanity's connections to earth. By contrast, we find that in many indigenous and premodern narratives and myths disseminated across the North Pacific and East Asia, it is the trickster-demiurge Raven that is most closely linked to environmental change and adaptation. Whereas Raven tales among northern Pacific indigenous communities emphasize a moral ecology of interdependence, creative adaptation, and resilience through practical knowledge (mētis), robustly centralizing Zhou Dynasty elites transposed early Chinese Raven trickster myths with tales lauding the human subjugation of nature. Raven and his fate across the northern Pacific reminds us that narratives of environmental crisis, as opposed to narratives of environmental change, legitimate attempts to invest power and authority in the hands of elites, and justify their commandeering of technological xes in the name of salvation.
Mid-nineteenth-century Russian ethnography used fiction, artistry and education to enlighten the masses. Maksimov’s One Year in the North became one of the first examples of this new style of ethnography. Maksimov constructs ‘cultural masks’ regarding northern people (Samoyeds, Lapps, Karels, Zyrians). His impressions are developed out of long traditions and personal characterisations, such as: ‘little brothers’, blacksmiths, tricksters, ‘friends of deer and dogs’. The most interesting positions on his ‘evolutionary ladder’ are the first and the last, which belong to the Samoyeds and the Zyrians. Samoyeds find themselves partly outside the human space, but they are most diverse in the aspect of artistry. Zyrians, on the other hand, constitute a concern to their well-being. Maksimov’s biases are typical for this period of ethnographic development. Although Maksimov appreciates the spoken word, his colonial discourse replaced it by repulsion for Finno- Ugric languages. Artistry in the text of ‘ethnographic fiction’ enriches scientific discourse.
Jack Hunter, Annelin Eriksen, Jon Mitchell, Mattijs van de Port, Magnus Course, Nicolás Panotto, Ruth Barcan, David M. R. Orr, Girish Daswani, Piergiorgio Di Giminiani, Pirjo Kristiina Virtanen, Sofía Ugarte, Ryan J. Cook, Bettina E. Schmidt and Mylene Mizrahi
through a Paranormal America . Santa Barbara, CA : Praeger . Greeley , Andrew M. 1975 . The Sociology of the Paranormal: A Reconnaissance . London : Sage . Hansen , George P. 2001 . The Trickster and the Paranormal . Bloomington, IN : Xlibris