From Documentation to Representation: Recovering the Films of Margaret Mead and Gregory Bateson

Although the seven films made by Margaret Mead and Gregory Bateson, based on footage shot in Bali and New Guinea during 1936–39, are identified as a landmark in various histories of ethnographic film, these films have been the subject of remarkably little analysis in the anthropological literature. In contrast, their photographic work has received much more extended commentary. Making a close reading of the films in their final edited form, this article aims to recover this aspect of Mead and Bateson's work from its relative neglect. We consider the circumstances under which the films were made, the theoretical ideas that informed them, and the methods employed in shooting and editing. Notwithstanding recent skepticism about both the theoretical ideas and the quality of the research on which Mead and Bateson's work in Bali was based, as well as the naiveté of some of the filmmaking ideas found in the films themselves, when considered as a group, they continue to be interesting examples of a particular transitional phase in the history of ethnographic film.     

Ecstasy,Choreography and Re-Enactment: Aesthetic and Political Dimensions of Filming States of Trance and Spirit Possession in Postwar Southern Italy

States of trance and spirit possession have inspired the modernist imagination perhaps more than anything else, as they typically exceed the limits of visual representation. This article investigates different approaches to coping with these challenges, focusing on the works of a group of Italian documentary filmmakers, including Luigi di Gianni, Cecilia Mangini, and Gianfranco Mingozzi, who used a novel set of audiovisual techniques to explore ecstatic religious expressions in southern Italy in the postwar years. I look into the processes through which trance and possession rituals (e.g. Apulian tarantism) themselves have inspired and initiated innovations in audiovisual documentation by means of combining—or blurring the boundaries between—ethnographic and experimental modes of cinematic practice. Through highly stylized image/sound compositions including high-contrast lighting, wood-cut like silhouettes, montage, abstract sound effects and poetic, partly fictionalized commentary, as well as by consciously making use of re-enactments and staged encounters, these films contest both the realist-observational narrative and the focus on individuals otherwise prevalent in ethnographic filmmaking. Reading the Italian films against the backdrop of the earlier and contemporaneous, yet much better-known trance films of Maya Deren and Jean Rouch, the article argues that their antirealist audiovisual aesthetic fabricates a social aesthetic that raises sensitivity to human experience and fosters a radically humanist stance.     

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.     

Beyond and within public engagement: a broadened approach to engagement in biobanking

Social studies on biobanking have traditionally focused on public engagement, that is, engagement with donors, patients and the general public as an important factor of sustainability. In this article, we claim that, in order to fully understand the way biobanks work, it is necessary to pay attention to a number of other actors, which have an equal, if not greater, impact on their practices and strategies. This means taking a broadened approach to biobank engagement. By using data collected from interviews with different biobank experts based in five different countries (UK, Canada, Finland, Spain and Iceland), we identify seven communities, including the public, that emerge as relevant. Such relationships condition the way biobanks develop, act and plan. The discussion illustrates how the relationships with those seven communities are articulated. We conclude that there is a need for a broadened approach to biobank engagement in order to understand biobank sustainability.     

Arts Education Partnerships: Informing Policy through the Development of Culture and Creativity within a Collaborative Project Approach

Arts education partnerships have become an important means for developing and sustaining school arts programs that engage students, teachers, and communities. Tapping into additional perspectives, resources, and support from arts agencies and postsecondary institutions, arts education partnerships strengthen arts education infrastructure within schools and develop a web of sustainable relationships whereby stakeholders mutually benefit. This article provides a snapshot of an arts education partnership in action that develops creative and cultural competencies in middle school students through a theme-based collaborative project approach. This article informs policy by recommending support for arts education partnerships that develop social and creative capital among schools and postsecondary institutions and within the communities surrounding these institutions.     

From Vues to Ethnofiction: French Ethnographic Filmmaking in Africa before Jean Rouch

This article offers an overview of the very substantial body of films of ethnographic interest produced by French filmmakers working in Africa before Jean Rouch arrived on the scene. It identifies a number of genres. For the first two decades this work largely took the form of short films of reportage, mostly shot in North and West Africa by anonymous operators working for newsreel agencies. Then, in the 1920s, longer and technically more complex films based on transregional and even transcontinental expeditions began to appear. Films offering an inventory of cultural traditions in particular French colonies also emerged in this decade. Also to be considered are films based on extended field research, from the 1930s onwards. We conclude with a brief analysis of the originality of Jean Rouch as he developed a new form of ethnographic filmmaking in the late 1940s.     

Mapping Public Engagement with Research in a UK University

Notwithstanding that ‘public engagement’ is conceptualised differently internationally and in different academic disciplines, higher education institutions largely accept the importance of public engagement with research. However, there is limited evidence on how researchers conceptualise engagement, their views on what constitutes engagement and the communities they would (or would not) like to engage with. This paper presents the results of a survey of researchers in the Open University that sought to gather data to fill these gaps. This research was part of an action research project designed to embed engagement in the routine practices of researchers at all levels. The findings indicate that researchers have a relatively narrow view of public engagement with research and the communities with which they interact. It also identified that very few strategically evaluate their public engagement activities. We conclude by discussing some of the interventions we have introduced with the aim of broadening and deepening future researcher engagement.     

An Ethnographic Filmflam: Giving Gifts, Doing Research, and Videotaping the Native Subject/Object

Using the discussion of self-reflexivity as an organizing principle, this article examines how mobilizing digital video technology during fieldwork opens up empirical and theoretical space for reconceptualizing the relationship between anthropologists and informants. Placing the field of visual anthropology into critical conversation with long-standing theoretical arguments about the objectivist limitations of native anthropologists, I argue that the slipperiness of nativity as an anthropological designation helps to provide analytical tools for examining filmmaking as a kind of gift-giving process between native ethnographic filmmakers and the subjects of their films. This article highlights some of the ways in which my own filmic and videographic exploits in Harlem, New York, mark integral connections between seeing and being the proverbial other, probing social exchanges predicated on the usefulness of low-budget digital technology as a means of fostering politically and epistemologically valuable ethnographic collaborations.     

Ethical issues in ethnomusicological filmmaking

This paper investigates ethical issues which the author had to face in making a series of four ethnomusicological films in central Switzerland. Specifically related as well to an experience in filming music, the subjects considered raise questions of general concern in ethnographic filmmaking. Three main matters are discussed: revealing editing devices, which is rarely done in the film itself; the risk of the musicians becoming the laughing stock of the village if they appear to have weaknesses in their performance; and the return of research to those being studied, for their own benefit.     

Dreaming and the Cinema of David Lynch

This essay explores the influence of dreams and dreaming on the filmmaking of DavidLynch. Focusing particular attention on Mulholland Drive (2001), Lost Highway (1997), Blue Velvet (1986), and the television series Twin Peaks (1990–91), the essay will discuss the multiple dream elements in Lynch's work and how they have contributed to the broad cultural influence of his films. Lynch's filmmaking offers an excellent case study of the powerful connection between dreaming and movies in contemporary American society.     

Navajo Filmmakers

This paper is a report of research in visual (film) communication investigating questions in anthropology and communication. Six Navajos, aged 17–25, and one monolingual, aged 55, living on the reservation were taught only the technology of a 16mm movie camera and splicer and were asked to make films about "anything you want to." We review the theoretical questions underlying the research, describe our method of teaching, and analyze the films they made and their verbalizations about them, relating their cultural, verbal grammar, and narrative style to their methods and social organization of learning filmmaking, choice of subjects and actors for their films, and their methods, both syntactic and semantic, of structuring the image events they photographed.     

Towards a tuwün wariache? Place-making and creative acts of traversing in the Mapuche city

This article addresses experiences of belonging and place-making among indigenous Mapuche youths in Santiago, Chile. Moving from a collaborative ethnography, it elaborates on the emplacement of the tuwün (place of origin) – usually linked to ancestral territories – within the city, and the meanings this shift entails. Furthering knowledge on indigenous spatiality by addressing migration, the analysis focuses on the ambivalent ways in which memory, affect, and power relations are embedded in urban materialities, and are negotiated through ‘acts of traversing’. The significant relationship between persons and places is conceived as mediated by movement, expanding on the creative possibilities of routing. Moreover, drawing on practice-based methods, the article argues for a shared engagement with research participants in order to gain a deeper understanding of the ways in which place- and self-making in contexts of migration encompass both rupture and creative reappropriation, contributing to current debates on displacement and the sense of place.     

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.     

The rise of creative youth development

ABSTRACT

Creative youth development (CYD) is a dynamic area of community arts education that successfully bridges youth development and arts education. CYD is an intentional, holistic practice that combines hands-on artmaking and skill building in the arts with development of life skills to support young people in successfully participating in adolescence and navigating into adulthood. Young people in CYD programs exhibit high levels of artistic skill and accomplishment along with increased self-esteem and sense of belonging. CYD participants are immersed in a broad array of rigorous artistic endeavors, including creating documentary films, researching and reporting on community issues through radio broadcasts, writing and staging new theatrical works, and engaging in thoughtful critique of one another's visual art work. The impact for youth of program participation extends beyond pride in artistic accomplishment. Throughout the United States, teen participants in CYD programs assert that the programs saved their lives, putting them on positive trajectories and away from gangs, drug use, crime, and ennui. This article provides a definition for the term creative youth development, describes core characteristics of CYD programs, and briefly describes four CYD programs. It provides background on the origins and history of creative youth development, including current advances in the field and signs the field is coalescing. The article describes creative youth development in the larger contexts of arts education and of education reform. Lastly, the article discusses policy, funding, and research needs and opportunities and provides questions for consideration.     

Indigenous Cultural and Natural Resources Management and Mobility in Arnhem Land,Northern Australia

Many programmes formally engage Australian Indigenous people in land and sea management to provide environmental services. There are also many Indigenous people who ‘look after country’ without rewards or payment because of cultural obligations. We investigated how Indigenous peoples’ mobility in and around two communities (Maningrida and Ngukurr) is affected by their formal or informal engagement in cultural and natural resource management (CNRM). Understanding factors that influence peoples’ mobility is important if essential services are to be provided to communities efficiently. We found that those providing formal CNRM were significantly less likely to stay away from settlements than those ‘looking after their country’ without payment or reward. Paying Indigenous people to engage with markets for CNRM through carbon farming or payments for environmental services (PES) schemes may alter traditional activities and reduce mobility, particularly movements away from communities that extend the time spent overnight on country. This could have both environmental and social consequences that could be managed through greater opportunities for people to engage in formal CNRM while living away from communities and greater recognition of the centrality of culture to all Indigenous CNRM, formal or otherwise.     

The Authoring of Observational Cinema: Conversations with Colin Young

Based on a series of conversations with Colin Young that have taken place over more than thirty years, this article explores how a certain set of practical and institutional circumstances, in combination with a series of philosophical and aesthetic ideas about the nature of cinema, first led to the emergence over the late 1960s and early 1970s of the approach to ethnographic filmmaking that would become known as “Observational Cinema.” Although it was those whom Colin Young trained, inspired or simply influenced who worked out the practical filmmaking applications of his ideas, it was he who initially formulated the foundational concepts underpinning this approach to ethnographic filmmaking. As such, although he has been a “filmmaker-maker” rather than a filmmaker himself, Colin Young has a rightful claim to be considered, in the sense defined by Roland Barthes, as the original “author” of Observational Cinema.     

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,     

The importance of long-term social research in enabling participation and developing engagement strategies for new dengue control technologies

Background

In recent years, new strategies aimed at reducing the capacity of mosquito vectors to transmit dengue fever have emerged. As with earlier control methods, they will have to be employed in a diverse range of communities across the globe and into the main settings for disease transmission, the homes, businesses and public buildings of residents in dengue-affected areas. However, these strategies are notably different from previous methods and draw on technologies that are not without controversy. Public engagement and authorization are critical to the future success of these programs.

Methodology/Principal Findings

This paper reports on an Australian case study where long-term social research was used to enable participation and the design of an engagement strategy tailored specifically to the sociopolitical setting of a potential trial release site of Wolbachia-infected Aedes aegytpi mosquitoes. Central themes of the social research, methods used and conclusions drawn are briefly described. Results indicate that different communities are likely to have divergent expectations, concerns and cultural sensibilities with regard to participation, engagement and authorization.

Conclusions/Significance

The findings show that a range of issues need to be understood and taken into account to enable sensitive, ethical and effective engagement when seeking public support for new dengue control methods.     

Becoming American,Constructing Ethnicity: Immigrant Youth and Civic Engagement

After presenting demographic data to demonstrate why immigrant youth are and will be important, this article addresses the limited literature on immigrant youth civic engagement. It also examines the historical literature of immigrant youth in the United States, specifically that of the last great wave of immigration approximately 100 years ago, along with the literature on contemporary adult immigrant civic engagement. It concludes that today's immigrant youth are Americanizing. Nevertheless, when U.S. society and particularly the U.S. state treats immigrant youth as different, the immigrant youth respond with pride by defending their cultural integrity, their right to be different. Contemporary immigrant youth also have the opportunity to maintain transnational ties with their homeland. In response to these forces and opportunities, immigrant youth maintain multiple identities, sometimes identifying with their homeland culture at other times with the United States. The unanswered question is what difference these multiple ties may make for civic engagement.