Made in China: The Gods Go East

ABSTRACT

Jamie Uys's The Gods Must be Crazy and its sequel films are icons of South African entertainment, perceived both as hilarious comedy and blatant apartheid propaganda. Three further sequels, made from Hong Kong by Chinese directors, are hardly known in South Africa. These films are particularly interesting from a cultural point of view, as they portray Orientals (and white South Africans) from an Oriental perspective and San Bushmen from a position that is neither Western nor set in an apartheid/post-apartheid South African context. The current context of globalization in which cultures are expressed and negotiated creates an interesting space for the analysis of these “multicultural” films. This article examines these films especially, Crazy Safari, and discusses them in terms of responses from focus groups, one of Taiwanese viewers in Durban, and another of Kenyans in Kenya.     

Psychospiritual ecoscience: The Ju/'hoansi and cultural tourism

The relation between knowledge and the visual, on the one hand, and knowledge about peoples on the other, is a prime concern in visual anthropology. The impact of the visual on the everyday life of the Ju/'hoansi is my concern here. This paper is offered in two parts: this article and the one which follows.

The results of a field‐trip in July 1996 to Otjozondjupa (previously known as Bush‐manland) in Namibia are discussed in terms of the question: How do subjects make sense of the anthropological?¹ Our “subject community” was the Ju/'hoansi of Nyae Nyae. The “texts” we interrogated through Ju/'hoansi popular memory were those made of them by the documentary filmmaker John Marshall, a South African feature‐film director, Jamie Uys, and one by the Discovery Channel.     

Nonhumans and the Ideology of Purpose

ABSTRACT

Nonhuman animals are abused in many ways in farming but this arouses little disquiet in society where most people actively support the industry. A corpus of writing in a popular South African farming magazine was analyzed and found to contain, along with other discourses, one which may be described as a discourse of production. Within this discourse are “use terms” which portray nonhumans as having anthropocentric purposes or uses for their lives. This ideology of purpose or implicit use has significant implications for facilitating moral disengagement both in those working in the industry and those supporting it. These implied purposes may derive in part from an old but persistent ideology that the world is composed of greater and lesser beings with the “lesser beings” existing for the purposes and use of the “greater beings.” A scheme is proposed to show how these use terms may play a part in the facilitation of mass nonhuman abuse. Further investigation reveals that use terms are not confined to farming but are widespread and common in everyday speech. It is suggested that an awareness of such constructions and their ideological implications, combined with challenges in such areas as education and science, may contribute towards a re-examination by some people of their ideology concerning nonhumans, their supposed life purposes, and their condoned exploitation.     

Theoretical perspectives on cinema in Africa: Culture,identity and Diaspora

The study of African cinema is often assumed to be the study of black film. This paper examines this notion with respect to definitions of Africa, questions of identity, and different historical discourses of resistance. Western psychocentric approaches to film criticism are criticized. The issue of authorship is revisited with the question: Can a white director make a film reflecting the “black” experience? This question is explored with reference to debates about Spike Lee's Malcolm X and South African director Oliver Schmitz's Mapantsula. In the process, J examine how meanings are articulated and rearticulated in specific contexts by both those who define them and audiences which interpret them. The articulations of “race wars” in the USA and South Africa respectively are discussed, as is the relationship between race and class in the anti‐apartheid struggle. The disarticulation of Black Consciousness in South Africa from its popularizer, Steve Biko, by film activists in the Mass Democratic Movement during the 1980s, provides a background for the emergence of “non‐racial” cinema. Reception is suggested as a more subtle means of film categorisation. Mapantsula, for example, though made by a mainly white crew, is understood by black audiences to be a film accurately reflecting the experience of the black oppressed in South Africa. Though reception is a dynamic response, shifting and responding to historical trajectories and new discourses, with interpretations fragmenting between different classes and class fractions at different times, such a strategy for area and cultural classification of films avoids the pitfalls of categories based on ideology, myth, race and language.     

Buddha's Painter

This study examines the relationship between media constructions of First and indigenous peoples, and the “performative primitives” who are employed in “cultural” villages in the South African province of KwaZulu‐Natal (KZN), with specific reference to Shakaland where the TV series, Shaka Zulu, was filmed in the late 1970s. A Perceian‐derived semiotic method is applied in analysis of the nature of tourist encounters with performers, the relationship between the Western Same and the African Other, and anthropologists’ /observers’ studies as a kind of cultural tourist. Through a discussion of the relationship between science and priestcraft I offer a theory which accounts for new ways of thinking about relations between emotional and active rhetorical discourses. This new form of “scientific discourse” is argued so as to be couched within related discourses of “development”, “conservation”, and “eco‐tourism”.     

Civilization,wilderness and secrecy: Making two Nigerian films

This paper draws on fieldwork and filmmaking experiences and explores the interpretive process shared between the object, filmmaker, and audience. Mammy Water: In Search of the Water Spirits in Nigeria [1989] is the result of extensive field research and close collaboration between the local community, the researcher/filmmaker and team. Mammy Water priviledges local views on the subject over the academic discourse taking place elsewhere. This has evoked diverse reactions. Some miss the (Western) analytical level, others engage in the discourse itself, or assume the film's own position. The issue of cultural perspective is carried even further in cinematography. Both films discussed here were made not only in close collaboration with African communities but also photographed by an African cinematographer, Alhaji Yusufu Mohammed. His camera evokes diametrically opposed reactions from African and Western viewers. Where Westerners perceive “distance”, African audiences perceive “closeness”, where Westerners perceive a scene as “staged”, African audiences perceive it as “natural”. This contrast of perception is further highlighted in Owu: Chidi Joins the Okoroshi Secret Society [1991], mostly filmed by Alhaji, but complemented by two video inserts by my daughter, Saskia Jell, who produced additional behind‐the‐scenes footage in Coming to Nigeria.

Reviewers have raised another important topic. Owu points to three different levels of secrecy surrounding the masquerade and initiation into Oguta's Okoroshi society. This in turn raises questions on if and how to represent secrecy and the dichotomy between civilization and wilderness on film.

A discussion of post‐production at the IWF introduces a negative dimension and questions the undue impact of politics, German rigidity, and other impediments.

In conclusion, my films are strongly grounded in long‐term field research, and indebted to the people whose cultures I have researched, as well as to Alhaji Yusufu Mohammed's cinematic representation. Situated between Africa and the Western world, my films contain elements of both African and Western cultures, as they attempt to mediate between them. 1 am looking to the genre of ethnographic film primarily for its effort to create meaning in interpreting and representing cultures, for its position between the cultural worlds, and for its possibilities for transcultural communication. This goal could be served by a plurality of methods, different film styles, and varied authors within the same genre.     

The Lens of Science: Anthropometric Photography and the Chippewa, 1890–1920

ABSTRACT

Nineteenth-century anthropologists struggled to establish themselves as scientists in a cultural milieu of enthusiasm for “curiosities.” Because commercial photographers appropriated the “authenticity” of photographic realism, the need increased for ethnographic photographers to distinguish between such realism and the “scientific authority” of their own visual productions. Through a case study of anthropometric photography of the Chippewa, this article examines the tension between, on the one hand, ethnographers' exploitation of the technological and symbolic attributes of photography to promote the scientific and political goals of the discipline, and on the other hand, the influence and function of visual genres and visual allegories in conditioning and framing what viewers accepted as “real” and “true.”     

Visual anthropology in a world of images

Culturally meaningfull icons are, under different forms and with different users and uses, at the forefront of social debates and confrontations everywhere, now more than ever. The scope of visual anthropology broadens with the expansion of restricted codes of visual communication in metropolitan areas, with the changing of meanings attributed to historical icons, with the invention of new intercultural visual codes. In this paper, the author advocates the study of what he calls a “cultural iconology” and offers a couple of examples of visually meaningful cultural forms worthy of anthropological analysis.     

Animals,Archetypes, and Popular Culture: Tales from the Tabloid Press

Abstract

This paper characterizes the portrayal of animals and human-animal relations in one genre of American popular culture—the “supermarket” tabloid press. A total of 789 animal-related stories and photographs in 82 issues of four tabloid magazines were analyzed according to theme. The items fell into nine categories in which animals were portrayed as objects of affection, saviors, threats, victims, things to be used, sex objects, imaginary and mythological beings, surrogate humans, and objects of wonder. It is argued that these themes represent archetypes reflecting the roles that animals have had in human cultural and psychological life since the historical origins of our species.     

The Authentic (In)Authentic: Bushman Anthro‐Tourism

Focusing on tourism ventures that market contact with so‐called bushmen, this paper examines some of the current dynamics and consequences of cultural tourism in Namibia, where the Government has instituted a series of progressive policies to promote local control over tourism development. While notions of primitive cultural otherness continue to feature centrally in tourist demand for contact with “bushmen,” the community‐based and collaborative tourism’ ventures currently being developed in Namibia teach tourists to see their “bushman” hosts as modernizing producers of tourism in their own right, and not just as objects of touristic commodification. Drawing from the anthropological literature on tourism and authenticity, and on the work of Slavoj Zizek on the workings of modern ideology, we argue that such ventures encourage tourists to practise a sort of “meta‐tourism,” in which the authenticity of “traditional bushmen” is replaced by the meta‐authenticity of a tourism experience that thematizes its own effects on the lives of those being visited. For the “bushman” participants in such ventures, we contend, the financial and political benefits of tourism, substantial as they can sometimes be, are ultimately offset by the developmentalist underpinnings of meta‐tourist discourse, which casts “bushmen” as forever not‐quite‐yet fully modern, in perpetual contrast to the tourists who visit them.     

Textualizing the san “past”: Dancing with development

The anthropology of conservation and the way that visual media, especially documentary film, contribute to mythical Tourist perceptions of the San, are discussed in relation to categories of conservancy, living museums, cultural ecology and the marketing of ecological legitimacy. The central metaphor of dance as a mythical tourist image of Africa is the vehicle through which the analysis is undertaken.     

Systems of representation: Towards the integration of digital photography into the practice of creating visual images

This paper aims to set the foundations for an integration of digital photography into the broader framework of visual representation. The current climate seems to be marked by a preoccupation with contrasting the digital with the analog image. An alternative cross‐cultural approach is proposed, employing “systems of representation” characterized by the wide range of strategies for communicating through the visual image that can be found in the anthropology of art. These take into account the optical principles of depiction and their cultural determinants. The paper aims to place the practice of the digital generation and manipulation of photographs at a point of convergence with a variety of other means of transcribing the three‐dimensional world onto a two‐dimensional flat surface.     

Jade Tree Medicine

ABSTRACT

This is a comparative case study to examine visuality in modern weddings in South China and its role in exhibiting and stabilizing social identity. By studying four wedding cases, I want to spell out the logics of visualization of wedding imaginations along three overlapping vectors, namely, visual competency, urban experience, and economic capital. The cases indicate that those with low visual competency, limited urban experience, and low economic capital tend to have a strong and hierarchical—or what I termed “high grid”—wedding imagination; while those with high visual competency, sophisticated urban experience and high economic capital have a more flexible and situational display of wedding visuality.     

The Rise of Man's Best Friend: The Popularity of Dogs as Companion Animals in Late Eighteenth-Century London as Reflected by the Dog Tax of 1796

ABSTRACT

The history of the relationship between humans and their companion animals is long and more than a little complex. This is in large part due to the special status of these animals. Over the years these animals have evolved socially from that of an impersonal “object” to a “subject,” i.e. a sentient being with a recognized mental and emotional life. Histories of this change in relationship are rare. This is due mainly to a lack of source material; little is available and what there is is rarely reflective of a general population. Recently, records of a 1796 English dog tax have become available and they provide a fairly complete overview of the status of the dog as a companion animal in late eighteenth-century London.

The evidence indicates the dog was very popular as a companion animal in late eighteenth-century English urban society. While some of these creatures were former working-class canines others were what might be described as “professional companion animals” i.e. creatures who had no previous work history. The tax records further indicate that concern as to specific breed was still in the future. Dogs often received a generic title such as “yard dog” or “lapdog” or “housedog.” What is particularly interesting from these records is the number of mixed breed creatures—animals with the title of either “mongrel” or “curr.” (At least three Londoners kept foxes as pets.) There is also an almost total absence of kennels of hunting dogs in eighteenth-century London. Other historical records suggest this to be a recent phenomenon. Lastly, this outline appears to correlate strongly with the literary remarks, material accoutrements, and even religious practices of the late eighteenth-century urban dog population of England.     

The Politics of the Plane: On Fatimah Tuggar's Working Woman

In her digital photomontage Working Woman (1997), U.S.-based Nigerian artist Fatimah Tuggar stages a disjunctive encounter between the aesthetic procedures of the historical avant-garde and a postcolonial feminist critique of the visual imagery of the “Afro-optimism” that became prominent in the late 1990s. Treating the “modern African woman” as a mediatic phantom rather than a taken-for-granted subject-position, Tuggar's work evokes the universal “right to communicate” increasingly claimed by anti-neo-liberal activists in the Global South over the past decade.     

The Firefly and the Trout: Recent Shifts Regarding the Relationship Between People and other Animals in Japanese Culture

ABSTRACT

Scholars of Japan like to point out that the Japanese are interested in tamed (miniature trees, ikebana, gardens) as opposed to wild nature, and that for the Japanese, culture and nature are not mutually exclusive concepts. Moreover, there hardly seems to be any direct relationship between the Japanese sensitivity to nature and Japanese environmental behaviour. Bearing these general assumptions in mind, this paper analyzes the changes in the relationship between the Japanese and animals through two recent movements in Japan: firefly protection and fly fishing.

This study is based on interviews and participant observation among several firefly protection groups in the Kansai area from 1989 to 1997, among fly-fishing fishermen, and in fishing cooperatives of Gifu prefecture since 1997. In order to ascertain tendencies regarding new shifts in attitudes toward animals, specific observations regarding each of these issues will be disregarded so as to deal only with the commonalities. The similarities between the movements are indeed striking. Traditionally caught by the thousands, and released in houses and gardens for people's enjoyment, fireflies play a role in linking humans with what the Japanese call “close nature.” The firefly image is also very conspicuous in poetry and art. But the firefly population declined in the 1950s, and they are now being protected through drastic legal and social policies, partly influenced by Western environmentalism. The issue of firefly protection is entangled in a criss-cross of interests involving environmental concerns, urban renewal policies and the revival of depopulated rural areas, for which the firefly has become a widely used symbol. At the same time, the movement for firefly protection is highly critical of the traditional ways of dealing with fireflies. Similarly, despite the existence of a traditional Japanese method of “fly-fishing” (tenkara), the recent fly fishing boom seems to be the result of environmental trends such as the “outdoor boom,” and the “catch and release” method.

The introduction of a new fishing technique and the emergence of a consciousness and a commitment to protect fauna and flora disrupted the complex traditional relationship between humans and certain species of animals in both cases. And in both cases, the new approach to nature provoked a strong “cultural resistance” to the loss of the specific Japanese way of dealing with animals. Like “woodpigeon hunting” in southern France, or the whaling issue in other cultural areas, these phenomena appear to be symptomatic of the opposition between tradition(al culture) and environmental concerns. Indeed, the objectification of nature that underscores environmental concern is only possible through a distancing from nature, in which people differentiate and disassociate themselves from other animals… a very “un-Japanese” idea.     

Pest management in Otago

Abstract

The Otago Regional Council could perhaps be renamed the Otago Rabbit Council. Some 35% of our budget—$8 million—goes annually towards dealing with rabbits, which certainly meet the definition of a pest (an animal which “disrupts management objectives” and lives at a population density exceeding “what society considers to be an acceptable level”). We can only hope that the day will come when we can, with confidence, say that the problem is being solved and when public and private financial inputs into rabbit control can be set at a far more reasonable level.     

Comments on the Significance of Stone Circle Excavations in Alberta

Abstract

A number of recently excavated stone circle sites “tipi rings” in Alberta are used to document the continuing necessity for detailed investigations into this site type. The excavations revealed quantities of cultural material, significant information and considerable time depth which are contrary to many previous assumptions.