Templates and exclusions: victim centrism in Canada's Truth and Reconciliation Commission on Indian residential schools

In this article I use an ethnographic approach to consider the causes and consequences of a focus on ‘survivor’ experience in Canada's Truth and Reconciliation Commission (TRC) on Indian residential schools. In this Truth Commission, the interconnected concepts of ‘survivor’, ‘cultural genocide’, ‘trauma’, and ‘healing’ became reference points for much of the testimony that was presented and the ways the schools were represented. Canada's Truth Commission thus offers an example of the consequences of ‘victim centrism’, including the ways that ‘truth‐telling’ can be influenced by the affirmation of particular survivor experiences and the wider goal of reforming the dominant historical narrative of the state through public education. Canada's TRC was limited by its mandate to a particular kind of institution and scope of collective harm. It was at the same time active in its creation of narrative templates, which guided the expression of traumatic personal experience and affirmed the category of residential school ‘survivor’ as the focal point for understanding policy‐driven loss of language, tradition, and political integrity.     

Aspects of the semantics of emotions and feelings in Dalabon (South‐Western Arnhem Land,Australia)

This article describes two of the principal roots allowing the expression of emotions and feelings in Dalabon, an endangered language of South‐Western Arnhem Land. The first root, kangu, ‘belly’, is depicted linguistically as the location of emotions induced by interpersonal relationships. The belly is thus presented as the locus of good and bad moods generally and of conflict more specifically. Furthermore, the material properties of the belly—its fluidity in particular—impact on one’s temper and ability to deal with others in an ideologically prescribed manner. Speakers describe ritual manipulations undertaken on the belly of young infants in order to shape their temper. Kangu‐no may thus be described as a malleable interface between the person and the outside world, principally other people. The second root, yolh, may at first sight translate as ‘feelings’, either good or bad, but also means ‘appetite’, ‘drive’, ‘pep’. Yolh‐no is associated with the most intimate part of the person, one’s own aspirations that are independent of interactions with others. Although yolh‐no connotes the core self and kangu‐no, the belly, connotes relatedness to others, they are conceived as physiologically connected, so that material properties of the belly impact on the self. Thus, the semantic analysis of Dalabon, along with related anthropological observations, unveils an explicit conceptual and cultural attention to the distinction between emotions and feelings (as respectively defined in the article) and to the autonomy of the person within a constraining social framework. The article shows how this concern echoes and challenges both anthropological and philosophical considerations.     

Origin of pre‐islamic architecture in West‐Africa

’Cultural theory’, launched by social anthropologist Mary Douglas, has been highly influential in the inter‐disciplinary field concerned with the study of risk perception and risk communication. The theory derives from the grid‐group analyses that Douglas developed in the 1970s. Cultural theory aims to explain universal ‘cultural bias’ by way of a general typology of group formation and a concomitant cosmology or world view. This article critically examines cultural theory and the study of hazards as culturally construed phenomena.     

Children's labour in ethnic family businesses: The case of Chinese take‐away businesses in Britain

Reliance upon unpaid and committed family labour is said to make many ethnic businesses competitive. However, most analysts' references to this labour have not taken into account the nature of family members' and, in particular, children's work roles or the ways in which their labour is elicited and maintained. Here, the nature of children's labour participation in ethnic businesses is investigated in the case of families running Chinese take‐away businesses in Britain. This article focuses on how children in these families understand their often double‐edged experiences of ‘helping out’, as part of a ‘family work contract’, and on the ways in which families negotiate children's labour over time. Given these families' experiences of migration and ethnic minority status, I argue that Chinese children's work in take‐away businesses must be examined in relation to the intersections of family obligations and relationships, livelihood strategies and pressures, and issues of cultural identity.     

The Texture of Events and the Stuff of Dreams: Jean Rouch at the Heart of Film and Anthropology

Too little known in the English‐speaking world, Jean Rouch died in 2004, leaving a prolific body of work. Influenced by the surrealists, by dance, cinema and music, his ‘shared anthropology’ and filmmaking began when he was an engineer in colonial West Africa during World War II—through friendship with African public works employees and revolt over the working and living conditions of the people forced to labour. Rouch saw his engineering, anthropology and filmmaking as creating with the concrete, ‘building bridges’. He did not renounce the ‘rational’, but wanted to supplement and broaden it with other ways of searching and knowing, always concerned with the relationship of the concrete material to the spiritual, dream and fantasy—working in the imaginative place where art meets science. This article discusses Rouch's ciné‐ethnography, focusing on a few of the many films he made.     

Mind the gap: Encountering contemporary art through play

Knowing how to approach and experience contemporary art is a challenge to many people outside the art world. Emerging contemporary art, as the newest of this genre, is often the most challenging. This article recounts my own early struggles as a researcher in this field, and proposes a way of understanding the interaction between artist, artwork and perceiver based on my observations of how contemporary artists encounter each others' work. I argue that contemporary art, and especially emerging contemporary art, creates a space to play by creating an intentional gap in the physical form and/or the semantic structure of the artwork. The object of play is the co‐investigation of an idea initiated by the artist, facilitated by the form of the work and furthered by the encounter. Play, it is argued, is essential to emerging contemporary art as an activity, a communicative frame and a disposition. I draw from earlier theoretical connections between art, play and liberation, challenging some of these assertions, and bringing others into relevance in the contemporary context.     

Digital aspirations: ‘wrong‐number’ mobile‐phone relationships and experimental ethics among women entrepreneurs in rural Bangladesh

‘Wrong‐number’ mobile‐phone relationships are initiated by men dialling random numbers, but they enable young women entrepreneurs in Bangladesh to experiment with the boundaries of fearful excitement; negotiate purdah, dowry, and gender norms; and reimagine their futures. These virtual relationships thus constitute a field of cultural struggle for young women that involves ambivalence, ethical‐boundary work, cultural critique and the recognition of social alternatives, and the expansion of aspirations. These processes are vernacularized in women's notions of ‘being digital’, a Bangladeshi idiomatic response to the contradictions of contemporary social life.     

Negotiating belonging: plants,people, and indigeneity in northern Australia

This article focuses on human‐plant relations, drawing on ethnographic research from northern Australia's Gulf Country to address the concept of indigeneity. Just as the identities of ‘Indigenous’ and ‘non‐Indigenous’ people in this region are contextual and at times contested according to the vernacular categories of ‘Blackfellas’, ‘Whitefellas’, and ‘Yellafellas’, so too the issue of what ‘belongs’ in the natural world is negotiated through ambiguities about whether species are useful, productive, and aesthetically pleasing to humans, as well as local understandings about how plants and animals came to be located in the Gulf region. At the same time, plants’ distinctive characteristics as plants shape their relations with humans in ways which affect their categorization as ‘native’ and ‘alien’ or ‘introduced’. Focusing our analysis on three specific trees, we argue that attention to the ‘plantiness’ of flora contributes significantly to debates about indigeneity in society and nature. At the same time, our focus on human‐plant relations contributes important context and nuance to current debates about human and other‐than‐human relations in a more‐than‐human world.     

Not Without a Cost: Contemporary PNG Art in the 21st Century

This article addresses the life experiences and work of two contemporary Papua New Guinean artists: Saun Anti from the artistically conservative Middle Sepik River area, and Wendi Choulai, from Melbourne, Australia. Anti's story of reprimand, censorship, and banishment, and Choulai's being the antithetical situation, illustrate some hurdles faced by contemporary PNG artists. Anti's and Choulai's art posed a challenge to their people's concept of traditional forms as well as to the preconceptions of collectors and curators. They are artists torn between two worlds: the world of “tradition,” reciprocity, and initiation, and the sophisticated, cosmopolitan world of the international artist.     

Transforming history and myth: On the mutuality and separation of shared narratives in Eastern Tibet

Questioning the distinction between ‘cold’ and ‘hot’ societies, and an implied separation between myth and history, anthropologists have increasingly urged for an understanding of both myth and history as equally valid modes of shared social consciousness. This article takes up this point of view by referring to a written history of Lhagang, a town in Eastern Tibet; a history that appears to have the transformative content and oral circulation of myth. Using Lévi‐Strauss’ structural analysis of myth and Santos‐Granero's concept of topograms to demonstrate the mythemes that derive from the written history and circulate among Lhagang Tibetans, the article argues that, within the political and cultural context of Lhagang, myth and history shift in and out of indigenous categories even while being categorically distinct.     

‘Pho’ Phai and faux phais: The market for fakes and the appropriation of a Vietnamese national symbol

When Hanoi's favorite painter Bui Xuan Phai died in 1988, he became a legend in Vietnamese art circles. He was known as much for his paintings of ‘Old’ Hanoi streets ‐ earning him the nickname of Pho'Phai or ‘street’ Phai‐ as for his frequent visits to the underground cafes where banned writers spent their evenings drinking and philosophizing. As the Vietnamese economy improved in the early 1990s, a clientele for his paintings began to develop among Westerners visiting Hanoi. Gradually, it became increasingly clear that most of the paintings on the market attributed to Phai were in fact forgeries. This article will discuss the expectations of Westerners and their interest in an ‘authentic’ Vietnamese painting and its contrast to Vietnamese visions of their city in decay. The article illustrates how opposite notions of ‘authenticity’ and history define the cultural production of taste and alter perceptions about art and the ‘Orient.’     

Finding the good: Reactive modernity among the Gebusi,in the Pacific,and elsewhere

Conditions of being left behind in economic and political terms are keenly felt in many areas of Melanesia and the wider Pacific Islands—as is more generally the case in many developing and also developed countries. Insofar as modern expectations portend a future that should be improving, it is unsurprising that modern expectations or entitlements are throttled by economic and political downturns across many cultural and class conditions. Ensuing circumstances are not so much ‘post’ modern—since ideals of modern progress are not given up—as they are ‘reactively’ modern in cultural terms. In this context, a poignant and longstanding sense of backwardness in many areas of the insular Pacific arguably provides a cultural bellwether of increasingly widespread perceptions and reactions elsewhere. Among the Gebusi of Papua New Guinea prolonged economic downturn under conditions of marginality and remoteness has thrown people back on their own material and cultural resources. Despite a general absence of cash economy, monetisation or fiscalisation of ‘work’ increasingly orchestrates social relations. So, too, in the absence of government presence, police, or courts, mechanisms of dispute mediation have become locally developed and effectively elaborated, including through rhetorics of monetary compensation that were previously undeveloped in indigenous contexts of person‐for‐person exchange both in marriage and in death. In selected ways, reactive modernity among Gebusi has features that seem salutary—evoking an ‘anthropology of the good’—despite and even because of Gebusi's politicoeconomic marginality. Drawing on work by Ortner, Robbins, and others, the larger relevance of this development reframes the relevance of Dark Anthropology and an Anthropology of the Good.     

Bazar,Big Kites and Other Boys' Things: Distinctions of Gender and Tradition in Balinese Youth Culture

Balinese society is undergoing rapid change, but remains discursively situated in a ‘timeless’ ethos of cultural tradition. This tension can be observed in relation to the cultural activities of the island's young people, particularly the young men. The staging of bazar (neighbourhood fundraising parties), the making of ogoh‐ogoh (giant papier‐mâché effigies to mark Nyepi, the Balinese New Year) and the competitive flying of oversize kites are–despite their sometimes contentious reception from older generations—popularly dubbed as ‘traditional’ expressions of Balinese youth culture. This recourse to tradition must be viewed in relation to two pervasive discourses: that of adat (customary law) and ajeg (a new protectionist ethos in the discourse on Balinese cultural identity). This paper argues that in contemporary urban Bali, male youth culture finds its most visible expressions in relation to the abiding standards of established public ritual and the equally abiding gender divisions that serve to guarantee the reproduction of ‘traditional’ social life. Rather than fighting aggressively against the grown‐up norm, these expressions replicate the public culture of the adult world—while drawing on global and national youth styles—and strive towards the expression of a specifically ‘Balinese’ youth culture.     

Beyond blasphemy or devotion: art,the secular,and Catholicism in Paris

In this article I explore the relationship between the secular and ‘cultural’ Catholicism in France through the lens of a contemporary art exhibit displayed at a new project of the French Catholic Church. Visitors’ varied responses to the exhibit, I argue, ultimately reinforced the organizers’ claim that the activities that occur within this ‘non‐religious’ space of the French church are self‐evident aspects of a broadly recognizable and ‘secular’ French or European culture.     

Books from Heaven: Literary Pleasure,Chinese Cultural Text and the `Struggle Against Forgetting‘1

Chinese radical discourses from the time of the May Fourth movement to the Tiananmen incident have always indexed the complicit role of classical texts like Confucianism in the production of repressive ideology. However the radical erasure of such texts is by no means easy when Chinese pedagogic experience and cultural memory give significant cultural capital to the skills required in the reading of such texts. This paper is a meditation on the work of the Chinese artist Xu Bing whose Tian Shu or ‘A Book From the Sky’ encapsulates the contradictory performances of traditional aesthetic form. It is argued that a strategic rediscovery of classical texts can form a crucial personal project in the constitution of diasporic memory.     

Nationalism remixed? The politics of cultural flows between the South Asian diaspora and ‘homeland’

This article examines ‘Asian electronic music’, a generally progressive diasporic South Asian scene which fuses electronic dance music beats with instruments/sounds traditionally associated with the subcontinent, and how it became embedded into ‘majoritarian’ Indian nationalism. In India, the music's perceived ‘fusion’ aesthetic became emblematic of an emergent India which was economically prosperous while ‘respecting’ its cultural heritage. Using the case of an album which remixed India's national song, Vande Mataram, this article explores the convergences and divergences between Asian electronic musicians in Delhi and Hindu nationalists. The article concludes that the musicians in Delhi did not lend to Hindu nationalism. However, they perhaps gave secular Indian nationalism a ‘cool’ gloss. Ultimately, the production and consumption of Asian electronic music in Delhi raises significant questions regarding the scene's relationship to Indian nationalisms.     

The Social Life of Rights: ‘Gender Antagonism’, Modernity and Raet in Vanuatu

In the northern Vanuatu town of Luganville a small group of men have responded to social and legal changes engendered by women's rights activists by forming a male support group called ‘Violence Against Men’. Members of this ‘backlash’ movement argue that the insidious promotion of Western‐style ‘women's rights’ is leading to discrimination against men in divorce proceedings, child custody battles, and in domestic violence and rape cases. They directly oppose recent and ongoing legal changes aimed at protecting women from domestic violence, such as Domestic Violence Protection Court Orders, and the repeatedly tabled (but long‐delayed) ‘Family Protection Bill’. Such interventions, they argue, undermine Vanuatu's ‘natural’kastom and Christian patriarchal gender order and, in doing so, pose a serious threat to the socio‐economic productivity of the nation‐state. For other men, however, rather than opposing women's rights activism, such challenges have raised questions about how men might successfully negotiate their identities in ways that are sensitive to contemporary issues of gender equality without undermining existing paradigms. Thus, this paper addresses the value accorded to universalism and relativism in gender activism in Vanuatu, and especially in terms of the linked discourses of kastom, church and modernity. It therefore explores gender relations in terms of the contemporary entanglement of indigenous and exogenous epistemologies, and in doing so argues that the contextual analysis of ‘rights’ should consider the specific historical, political and socio‐cultural circumstances in which they are put to use.     

The Interdiction of Music in Islam

There is no authorisation in the Qur'an for the interdiction on music. That interdiction, when it is voiced, is the product of a conviction among some Muslims, supported by hadith (just as it is opposed with hadith) that Islam does not countenance music. In a country such as Pakistan, with a strong tradition of devotional music which (taken with the poetry, with which it is always associated) has become entwined with the identity politics of the provinces or sub‐‘nations’ which make up the vaster nation, a comprehensive ban on music would be impossible to enforce, though there are ‘ulamā’ and sectarian parties who desire it. This paper focuses on an instance where music is even harder to extricate from an accompanying text: the recitation of the Qur'ān. In the eyes of Muslims, Qur'anic recitation is not music. This denial raises further questions about the nature of music and, in particular, its involvement with the ‘extramusical’. Adorno's observations on the relation of music to language, and the anthropologist Friedson's complaint that ethnographers focus on text, at the expense of music, are examined in the light of the circumstance that the world over, music is associated with texts of one kind or another. Even when, as in the case of the ‘curing’ ritual described by Friedson, words are unimportant, or missing, music is seldom a phenomenological whole. Music ‘leans’, or is ‘leant on’: it lends its unrivalled ‘eloquence’ to many a cause, from commodity marketing to the structured working out of ritual, or, among lovers, to the remembered quality of experience. All these potentialities of music are relevant to the question of its interdiction and to the Muslim denial that the recitation of the Qur'ān is music.     

Corrective conversion: unsettling citizens and the politics of inclusion in Israel

Gauri Viswanathan's notion of religious conversion as an ‘unsettling’ political event has recently figured prominently in the scholarship on conversion. However, although numerous scholars have productively applied Viswanathan's understanding in their work, primarily in the context of conversion to religious minorities within the nation‐state, to focus too heavily on conversion's unsettling effects risks overlooking political constellations in which it might have rather settling effects. In contrast to the scholarly focus on conversion's disruptive qualities, this article offers an ethnographic account of the ‘settling’ ambitions and logics that underwrite the state politics of Jewish conversion (giur) in contemporary Israel. By looking ethnographically into the mundane discursive, pedagogic, and bureaucratic processes through which the Jewish state converts non‐Jewish immigrants from the former Soviet Union, I demonstrate how religious conversion works to restore the bureaucratic logic of Israeli nationalism, thereby reinstating unambiguous forms of Jewish belonging. Religious conversion can also be an act of taxonomic repair.