Jean Rouch's ethnographic path

This article considers the multiple influences that have shaped Jean Rouch's ethnographic gaze upon the Songhay people of Niger. Marcel Griaule, Rouch's mentor, undoubtedly influenced his student's ethnographic approach to Songhay. But Rouch was equally influenced, I am convinced, by his direct and unforgettable confrontation with the mysteries of the Songhay world. After a discussion of the methodological and theoretical orientations of the Griaule school, I analyze Rouch's major ethnographic work, La Religion et la magie Songhay, focusing upon how Griaulian epistemology and Songhay realities molded the textual presentation. I then discuss several of Rouch's major films—Les Magiciens de Wanzerbé, The Lion Hunters, Les Maîtres Fous, and Tourou et Bitti, placing them within an ethnographic and epistemological context. This analysis leads to a consideration of Rouch's unrecognized contribution to anthropology.     

Techniques of vision: photography, disco and renderings of present perceptions in highland Papua

This article draws on ethnographic and historical materials to interpret several related photographs and ritual images created by Fuyuge-speakers of highland Papua. The images are analysed as techniques of vision. That is, the images are shown to bring forth present perceptions in a timely manner, as evaluated by Fuyuge men and women. It is shown how the representations are informed by distinctive Fuyuge retentions of the past in the present, and extensions of the present in the future. The article suggests that the tendency to 'read' photographic images for their semiotic connotations misses the local perceptions at work in their creation and use. Rather, photographic and ritual images are analogous to the relations of persons that produce them, with their mutually connected temporality.     

Visual “Voodoo”: Photo-Voice in Togo

This article is a photo-essay from a salah Gorovodu ceremony among Anlo-Ewes living in Southern Togo. It is a shared ethnographic project employing the photo-voice of three subjects and the anthropologist. The experiment was determined, produced and edited by three members of a local shrine and compiled during focus groups and feedback screenings in the summers of 2013–2014. Photo-voice and related shared approaches help to cast more light on a historically misinterpreted religion, “Voodoo,” by employing local agency and empowering the subjects to participate in analysis centered on ritual, healing and identity.     

Out of words: The æsthesodic cine‐eye of Robert Gardner: An Exegesis and Interview

Anthropological evaluations of the film work of Robert Gardner have been compromised by their reluctance to engage with it as art, and more broadly, to celebrate rather than vilify the aesthetic possibilities of the genre of ethnographic film. Even recent experiments with reflexivity have done little to challenge the realism that undergirds anthropological reception of non‐fiction film. By contrast, this article and interview considers Gardner's work as both anthropology and art. In particular, it addresses the evolving dialectic of the verbal and the visual in his films, from Bhinden Harbour (1951) to Passenger (1998). It also argues that recent efforts by anthropologists to rethink the concept of culture from a post‐semiotic perspective, foregrounding corporeal embodiment in the constitution of culture as much as the self, expand the theoretical boundaries of visual anthropology. In turn, it suggests that this reorientation towards sensation and perception should allow for a more approbatory understanding of Gardner's films.     

What is the matter with transcendence? On the place of religion in the new anthropology of ethics★

A focus on ordinary or everyday ethics has become perhaps the dominant concern in the rapidly developing anthropology of ethics. In this article, I argue that this focus tends to marginalize the study of the ways in which religion contributes to people's moral lives. After defining religion and transcendence in terms that make them less uncongenial to the study of ethics than many proponents of ordinary ethics suggest, I examine values as one sometimes transcendent cultural form that often informs ethical life. I draw on Victor Turner (along with Durkheim) to develop an account of how rituals often both present people with and allow them to perform transcendent versions of values. These encounters, in turn, shape people's ethical sensibilities, including those they bring to bear in everyday life, in ways we cannot understand unless we accord religion a more central role in the anthropology of ethics than it has played to this point. I illustrate my arguments with material drawn both from Turner's Ndembu ethnography and from my own research on Christianity in Papua New Guinea.     

Converts,Christians and anthropologists: A critique of Mark Mosko’s partible penitent thesis

First advanced in a major essay published in 2010, Mark Mosko's ‘partible penitent’ thesis asserts that Melanesian and Christian cultures are based upon analogous conceptions of dividual personhood. Consequently, conversion in the region has been characterised by continuity rather than rupture, as argued most prominently by Joel Robbins. This essay offers an assessment of Mosko's thesis in terms of his critique of the theoretical and ethnographic literature and his recent application of the model to religious change in the Trobriand Islands. Robbins’ work proves more convincing and provocative on both theoretical and methodological grounds. Yet both approaches, which frame their analysis of Christianity in terms of conversion, appear increasingly out of sync with the experience of the vast majority of Melanesians who are more accurately considered active participants in a diverse global religious tradition rather than recipients of it.     

An anthropologist's work between moving genres*

Anthropologists who have worked in recent decades experienced the breakdown of a dominant methodological and theoretical ethos. The author relates his pains and delights as he moved away from the Jerusalem “modernization” grand theory sociological paradigm of the 1960s to the Manchester School compelling fieldwork doctrine. And he relates his later attraction to the Geertzian genre and the more recent encounters with the mixed blessing of reflexivity and “post‐modernism”. The latter have opened new fields for exploration and liberated the anthropologist from strict disciplinarian borders and ideological taboos. But the new genres seem also to jeopardize the raison d'être of the ethnographic project. The author associates his changing loyalties and tastes with his choice of ethnographic fields.     

Small gods,rituals, and cooperation: The Mentawai water spirit Sikameinan

Cognitive and evolutionary research has focused on the powerful deities of large-scale societies, yet little work has examined the smaller gods of animist traditions. In a study of the water spirit Sikameinan of the Mentawai people (Siberut Island, Indonesia), we address three questions: (1) Are smaller gods believed to enforce cooperation, especially compared to bigger gods in larger-scale societies? (2) Do beliefs in these deities encourage people to engage in behavior otherwise perceived as costly? and (3) Does ritual reinforce beliefs in these deities? Drawing on interview responses, data from healing ceremonies, and ethnographic observation, we show that Sikameinan is believed to punish people who violate meat-sharing norms and that people ‘attacked’ by Sikameinan pay shamans to conduct healing rituals. The public nature of rituals, involving prestigious individuals apologizing to Sikameinan for the patient's stinginess, reinforce onlookers' beliefs about Sikameinan. The most widely shared beliefs about Sikameinan are represented in rituals while beliefs not represented vary considerably, indicating that ritual may be potent for cultural transmission. These results suggest that moralizing supernatural punishers may be more common than suspected and that the trend in the cultural evolution of religion has been an expansion of deities' scope, powers, and monitoring abilities.     

Early Ethnographic Film in Britain: A Reflection on the Work of Christoph von Fürer-Haimendorf

A brief history points up the relative scarcity of ethnographic film made by British anthropologists in the 20th century. The reasons for this were the difficulty and expense of filmmaking until recent years, and a theoretical disinterest in filmmaking, leading to a limited opportunity to capture visually the last tribal worlds. The importance of Fürer-Haimendorf's collection of films thus stands out. The conditions which made his work in India, the North-East Frontier and Nepal possible are discussed, with an outline of his filming and written ethnographies. Why was he interested in film? Fürer-Haimendorf's technical ability with film and photography combined with an emotional sensibility are key. Not fully a man of his time, he avoided the abstract and anti-materialist phase in anthropological theory. An interview with Fürer-Haimendorf and his views on film are presented; and we see that the role of Betty Fürer-Haimendorf was crucial. We conclude with a brief consideration of his attitudes and, in his later life, the role of the BBC and the professionalization of anthropological filmmaking.     

A Cannibal in the National Museum: The Early Career of Franz Boas in America

Franz Boas spent several weeks at Fort Rupert, British Columbia, at the end of 1894, when he saw the Kwakiutl hamatsa ritual in situ for the first time. Soon after his return east Boas posed for a series of photographs in the U.S. National Museum for a diorama of the hamatsa dance. These photographs, now published for the first time, are a sharp reminder of Boas' constant (and sometimes forced) collaboration with the limited number of anthropological institutions in America at the end of the century, and of his personal difficulties in establishing himself professionally in America.     

The black sun of the Nilgiris: Astronomy,photography and physical anthropology in South India

This article examines how photographs showing Nilgiri people were brought back to France and deposited at the Museum national d'histoire naturelle in 1872. This leads me to recall the circumstances of a scientific mission made by the French astronomer Jules Janssen in South India in 1871. The paper throws light on the sources and on the personal experience of his wife, who published an ethnographic article in 1882. The importance of photography in the activities and achievements of Jules Janssen was well known. However the snapshots he brought back are better appraised in the context of the beginnings of photography and the development of its practice in British India. This case also illustrates the relations between photography and physical anthropology.     

The anthropologist as photographer: The visual construction of ethnographic authority

“The Anthropologist as Author"—Clifford Geertz's formulation is emblematic of a theme of anthropology in the 1980s, ethnographic writing. Ethnographic photography, however, was barely a subject of consideration. Reviewing Evans‐Pritchard's The Nuer, a book widely re‐read in the writing culture debate, this article investigates not only the author's visual construction of ethnographic authority. It also reveals ethnographic photography as a medium, which can undermine this authority in a subtle yet compelling manner. Thus concentrating on the medium itself this paper investigates the uneasy relationship between photography and anthropology, and proposes an approach to ethnographic photography that goes beyond the questions of representation.¹     

Syncretism and the Politics of the Tingkeban in West Java

For the rural Sundanese of West Java who identify with Nahdatul Ulama Islam, the tingkeban is considered a mandatory ritual to be conducted for a woman who is seven months pregnant. However, like other local practices around birth, the tingkeban has come under state and urban modernising influences that have attempted to displace some of its elements as ‘culture’ rather than ‘religion’ and to discredit many of these as superstitious and backward. This paper examines the ritual elements of the tingkeban that produce and reinforce local cosmological and ontological ideas about the nature of personhood and society, and, in particular, how the ritual highlights the ambivalent status of the villagers within broader relations of power such as the Indonesian State and other forms of Islam existing in Indonesia. The paper also explores how the assumptions within the ideology of modernisation propagated under the last years of the Suharto regime coincide with assumptions in scholarly work such as those underlying Geertz's depiction of the syncretic nature of Javanese religion.     

Animals and the Limits of Ethnography

Is ethnography (as constituted in the social sciences) a reliable method with which to understand interspecies intersubjectivity? Can a method that has become a cornerstone approach to a qualitative understanding of humans for more than a century interrogate the social ties between humans and animals? Will it illuminate the similarities and differences between humans and their animal familiars? Using a programmatic approach to ethnography, and drawing on lessons from cyber ethnography, this article examines the challenges facing an ethnography that takes animals seriously as social beings and ethnographic subjects. The ability of ethnography to deliver a faithful portrait of being relies in large part on the communicative trust developed between ethnographers and their participants and interlocutors; it lies in the quality of the intersubjective exchange. Communicative intersubjective trust is both the paragon quality one wants in ethnographic social exchange and the most ill-defined and difficult to ascertain. So much ethnographic authority is underpinned by the hope that ethnographers have understood the people they work with in their terms and can faithfully re-present and interpret that world view. This article argues that the tricky and ambiguous business of intersubjective exchange poses important methodological questions for anthrozoology.     

Feasting, Craft Specialization, and the Ritual Mode of Production in Small-Scale Societies

Economic intensification has been documented in a diversity of small-scale societies. The existing archaeological theory concerning such intensification has tended to privilege economic and political explanations and largely ignores social action and ritual performance as motivations for economic change. In this article, 1 use both ethnographic and archaeological data to argue that ceremonial feasting and the need for socially valued goods, which are critical for ritual performance and necessary for a variety of social transactions, create the demand that underwrites and sustains economic intensification in small-scale societies. Food for large-scale feasts is acquired through the intensification of food production and procurement targeted specifically for feasting, rather than from the surplus available from routine subsistence production. Large-scale demands for socially valued goods tend to result in specialization on the production of "extraordinary" material culture, which is characterized by two modes of circulation, in networks of social obligations or as offerings in sacred locations. [Key words.craft specialization, exchange, feasting, ritual]     

Photography as a research tool

This paper attempts to delineate a research design and method for using the photograph as a research tool. An analysis of the photograph's research suitability will consider its ability to structure “articulated visual statements” of the community and to generate “explanatory models” for analysis and interpretation. A significant aspect of the study is the material it offers for a discussion on an important methodological dimension for acquiring knowledge through visual research data. The question is not whether to use photographs as research tools, but how to fit the photograph into the research design and process.     

Powering popular conceptions: The !Kung in the Marshall family expedition films of the 1950s

The paper develops a theoretical framework for the study of ethnographic film out‐takes in relation to material that is included in released ethnographic film, in this case, the films by John Marshall on the Kalahari San. The significance of what is included in relation to that which is excluded is called the theory of structured absences. This theory is then applied to the study of the 700,000 feet of 16 mm out‐takes not used by Marshall in his released films on the Ju/'hoansi.

The difficulties of analysing archival film are discussed, and issues of representation in relation to exposed footage, released films, and the director's own theory of documentary, are critically examined. The anthropological significance of Marshall's filmic contribution on the Kalahari San is assessed.     

A relational approach to a Papua New Guinea male ritual cycle

The article analyses the male ritual cycle of the Ankave‐Anga in Papua New Guinea. In the 1980s, male initiations in this region were interpreted as institutions for the reproduction of male domination. And yet, looking at the ritual gestures performed at the same time by the men in the forest and by the women in the village, it becomes possible to offer another interpretation, one that, following Marilyn Strathern, underscores a relational dimension. But, whereas Strathern saw these rituals as times when boys went from a ‘cross‐sex’ state to a ‘single‐sex’ state capable of reproduction, following a process of extraction, the article argues that the Ankave ritual cycle can be read as an ordered series of transformations of the relations between the boys and their mothers and sisters, in the presence of these female relatives. At the heart of these initiations lies the boys' accession to the capacity to act for others. Such an analysis of specific ethnographic Melanesian material makes possible a critical appraisal of the Strathernian notions of partibility and detachability, which have often been taken as given by researchers outside the region.     

Ethnographic film: Technology,practice and anthropological theory

Despite the enthusiasm of the pioneer generation of anthropologists for the camera as a means of ethnographic research, filmmaking remained marginal to the anthropological project for most of the course of the last century. However a combination of technological developments and recent theoretical paradigm shifts within anthropology generally now offers the possibility of greater integration of filmmaking into ethnographic research. This article1 seeks to identify the basis for this theoretical incorporation and discusses some of the practical ways in which film can now be used as a means of generating ethnographic understanding,