'Eliamani's Homestead' was shot as a result of long-term anthropological research in Tanzania and the translations were created in close cooperation with the Maasai research participants. Originally recorded for research purposes for a project on the relationship between images of and interactions with ‘the other’, the 20-minute single-shot includes jerky camera movements, but was left uncut and without voiceover in order to give the viewer a real-time experience of 'being there'. Within anthropology, the documentary invites to reflect on parallels between anthropology and tourism, and spurs debates regarding reflexivity. It addresses elements of the 'observer paradox' through the almost complete invisibility of the researcher’s camera, which stands in stark contrast with the obtrusive tourist cameras. That is, until Eliamani looks straight into the lens and dismissively comments upon the researcher’s camera too, making researcher and the documentary’s public part of the voyeuristic 'problem' as well. Outside anthropology, it invokes debates about how we see and interact with 'the other' in (cultural) tourism as well as in wider contexts. It thus addresses the question whether and how audiovisual data segments could be used to share anthropological knowledge inside and outside the discipline and academia.
{"title":"Eliamani's Homestead","authors":"Van Wijngaarden","doi":"10.15845/jaf.v3i1.1488","DOIUrl":"https://doi.org/10.15845/jaf.v3i1.1488","url":null,"abstract":"'Eliamani's Homestead' was shot as a result of long-term anthropological research in Tanzania and the translations were created in close cooperation with the Maasai research participants. Originally recorded for research purposes for a project on the relationship between images of and interactions with ‘the other’, the 20-minute single-shot includes jerky camera movements, but was left uncut and without voiceover in order to give the viewer a real-time experience of 'being there'. Within anthropology, the documentary invites to reflect on parallels between anthropology and tourism, and spurs debates regarding reflexivity. It addresses elements of the 'observer paradox' through the almost complete invisibility of the researcher’s camera, which stands in stark contrast with the obtrusive tourist cameras. That is, until Eliamani looks straight into the lens and dismissively comments upon the researcher’s camera too, making researcher and the documentary’s public part of the voyeuristic 'problem' as well. Outside anthropology, it invokes debates about how we see and interact with 'the other' in (cultural) tourism as well as in wider contexts. It thus addresses the question whether and how audiovisual data segments could be used to share anthropological knowledge inside and outside the discipline and academia.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116595652","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Islamic pastoral Afars inhabit the northeastern rangelands of Ethiopia. Some have settled in towns and trade centers where the Ethiopian state is present with the police and other government officials. The Ethiopian government is working on implementing state laws on the Afar who previously lived outside the regulations of the state. Now, however, many Afars have a foot in both sectors, having a home in town while maintaining close contact with their nomadic relatives. Hussein Hayie has a government position as Peace and Security officer. His work is to judge whether an incident should be handled as a criminal case for the police or be left as a case to be solved the traditional way by the elders of the clans. The Afar political organization is based on both territory and kinship. The political institutions are geared towards social control and the resolution of conflicts. The tribal leaders are often called upon to intervene before a small matter escalates to homicide and if a homicide occurs, to work out agreements of compensation in order to avoid blood-feuds. The film follows Hussein Hayie in town and when he visits his families in the nomadic camps. As a government employee, he is continuously on duty and in the film we see how he is called to act. However, Hussein is constantly treading a thin line in when negotiating cases a society existing both outside and inside the state. 36 mins. 2014.
{"title":"The Go Between","authors":"Frode Storaas, R. Scott, Getachew Kassa Negussie","doi":"10.15845/jaf.v3i1.1537","DOIUrl":"https://doi.org/10.15845/jaf.v3i1.1537","url":null,"abstract":"The Islamic pastoral Afars inhabit the northeastern rangelands of Ethiopia. Some have settled in towns and trade centers where the Ethiopian state is present with the police and other government officials. The Ethiopian government is working on implementing state laws on the Afar who previously lived outside the regulations of the state. Now, however, many Afars have a foot in both sectors, having a home in town while maintaining close contact with their nomadic relatives. Hussein Hayie has a government position as Peace and Security officer. His work is to judge whether an incident should be handled as a criminal case for the police or be left as a case to be solved the traditional way by the elders of the clans. The Afar political organization is based on both territory and kinship. The political institutions are geared towards social control and the resolution of conflicts. The tribal leaders are often called upon to intervene before a small matter escalates to homicide and if a homicide occurs, to work out agreements of compensation in order to avoid blood-feuds. The film follows Hussein Hayie in town and when he visits his families in the nomadic camps. As a government employee, he is continuously on duty and in the film we see how he is called to act. However, Hussein is constantly treading a thin line in when negotiating cases a society existing both outside and inside the state. 36 mins. 2014. \u0000 ","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"143 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125407337","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sápmi is the term of the imagined nation of the Saami people, covering a territory that goes across Norway, Sweden, Finland and Northern Russia. The joik is the specific form of Saami chanting. It coveys lyrics, melody and throat singing techniques, with a high level of abstraction in rendering the relation to people, natural sites, places, animals and events, that we attempted to understand contextually and historically. The cultural complexity emerging in this multivocal and multisited project shows the embodiment of verbal recollections, gestures, conversations, lyrics, chants, improvisations, outbursts and secretive features of the Saami chanting endeavor. Among the socio-political issues that the film addressed is the poignant reality of fading away languages: Southern Saami is today spoken by less than 500 speakers in Norway.
{"title":"Firekeepers","authors":"R. Ragazzi","doi":"10.15845/jaf.v3i1.2700","DOIUrl":"https://doi.org/10.15845/jaf.v3i1.2700","url":null,"abstract":"Sápmi is the term of the imagined nation of the Saami people, covering a territory that goes across Norway, Sweden, Finland and Northern Russia. The joik is the specific form of Saami chanting. It coveys lyrics, melody and throat singing techniques, with a high level of abstraction in rendering the relation to people, natural sites, places, animals and events, that we attempted to understand contextually and historically. \u0000The cultural complexity emerging in this multivocal and multisited project shows the embodiment of verbal recollections, gestures, conversations, lyrics, chants, improvisations, outbursts and secretive features of the Saami chanting endeavor. Among the socio-political issues that the film addressed is the poignant reality of fading away languages: Southern Saami is today spoken by less than 500 speakers in Norway. \u0000 ","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124463063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Shetland is a place of wild, unforgiving landscapes, supernatural beliefs and a soundscape barely altered over time. The film explores storytelling and social imagination in Shetland. The folklore tale, Da Hillsook Wedeen, has a timeless quality: unfolding from historical trauma forward through generations of women’s voices. What does it mean to be a woman left on the shore?
{"title":"Da Hillsook Wedeen","authors":"Hope Strickland","doi":"10.15845/jaf.v3i1.2795","DOIUrl":"https://doi.org/10.15845/jaf.v3i1.2795","url":null,"abstract":"Shetland is a place of wild, unforgiving landscapes, supernatural beliefs and a soundscape barely altered over time. The film explores storytelling and social imagination in Shetland. The folklore tale, Da Hillsook Wedeen, has a timeless quality: unfolding from historical trauma forward through generations of women’s voices. What does it mean to be a woman left on the shore?","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123093009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Set to unravel the central yet invisible place of female domestic workers in Chilean culture, this film departs on a journey through time and space, exploring the production and reproduction of family memories through photo albums and the uses of space. Walking across the different rooms of a particular home, La Ausencia aims to unlock the stories fixed in its walls. This micro-expedition raises questions regarding the limits of memory, the sense of place, the uses of photography and the fussiness of kinship, through which it finally conveys the concealed and blurred situation in which domestic workers are usually immersed in Latin America.
{"title":"La Ausencia (The Absence)","authors":"Ricardo Greene","doi":"10.15845/jaf.v2i2.1563","DOIUrl":"https://doi.org/10.15845/jaf.v2i2.1563","url":null,"abstract":"Set to unravel the central yet invisible place of female domestic workers in Chilean culture, this film departs on a journey through time and space, exploring the production and reproduction of family memories through photo albums and the uses of space. Walking across the different rooms of a particular home, La Ausencia aims to unlock the stories fixed in its walls. \u0000This micro-expedition raises questions regarding the limits of memory, the sense of place, the uses of photography and the fussiness of kinship, through which it finally conveys the concealed and blurred situation in which domestic workers are usually immersed in Latin America.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130073039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Eudosia is still searching for her husband’s remains in the highlands of Ayacucho, Lucero has been in prison for 25 years now for the crime of terrorism against the Peruvian state, and since 2009 the commandos of the counterinsurgency unit Chavin de Huantar recreate and commemorate their heroic military actions to save a nation from the threat of terrorism. Twelve years after the Peruvian Truth and Reconciliation Commission published its final report about the atrocities committed during the internal armed conflict (1980-2000), memories of this period seem more contested than ever. This film explores the complex legacies of twenty years of violence and war in Peru through practices of remembering. In three audio-visual pieces made in collaboration with relatives of the disappeared, insurgents of the Tupac Amaru Revolutionary Movement (MRTA) and members of the Armed Forces, this documentary aims for creating an on-screen dialogue between memories, which in practice remains elusive.
尤多西亚仍在阿亚库乔高地寻找她丈夫的遗体，卢塞罗因反对秘鲁国家的恐怖主义罪已入狱25年，自2009年以来，反叛乱部队Chavin de Huantar的突击队员重现并纪念他们英勇的军事行动，以拯救一个国家免受恐怖主义的威胁。秘鲁真相与和解委员会(Peruvian Truth and Reconciliation Commission)发表了关于国内武装冲突(1980-2000)期间暴行的最终报告12年后，关于这段时期的记忆似乎比以往任何时候都更具争议。这部电影通过记忆的实践探索了秘鲁20年暴力和战争的复杂遗产。这部纪录片与失踪者亲属、图帕克·阿马鲁革命运动(MRTA)的叛乱分子和武装部队成员合作制作了三部视听作品，旨在创造一种记忆之间的屏幕对话，这种对话在实践中仍然难以捉摸。
{"title":"Entre Memorias (Between Memories)","authors":"Martha-Cecilia Dietrich","doi":"10.15845/JAF.V2I2.1559","DOIUrl":"https://doi.org/10.15845/JAF.V2I2.1559","url":null,"abstract":"Eudosia is still searching for her husband’s remains in the highlands of Ayacucho, Lucero has been in prison for 25 years now for the crime of terrorism against the Peruvian state, and since 2009 the commandos of the counterinsurgency unit Chavin de Huantar recreate and commemorate their heroic military actions to save a nation from the threat of terrorism. Twelve years after the Peruvian Truth and Reconciliation Commission published its final report about the atrocities committed during the internal armed conflict (1980-2000), memories of this period seem more contested than ever. \u0000This film explores the complex legacies of twenty years of violence and war in Peru through practices of remembering. In three audio-visual pieces made in collaboration with relatives of the disappeared, insurgents of the Tupac Amaru Revolutionary Movement (MRTA) and members of the Armed Forces, this documentary aims for creating an on-screen dialogue between memories, which in practice remains elusive.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116765825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The People of Chea Village live in the Marovo Lagoon situated in the Western Province of the Salomon Islands. Annually they would organise communal fishing expeditions they called Kuarao and where all the villages took part. Early in the morning and after days of preparation, a large circle of bush vines was laid out in the lagoon waters near the barrier reef. As people swam with the vines and dragged them along, large numbers of fish were caught by surprise and herded together inside the gradually narrowing circle. Finally, the tightly packed schools of fish were stunned by plant poison and collected in canoes. The Kuarao has both ritual and practical importance. It confirms the collective and the social stratification of the village while serving as a powerful linkage between ancestral tradition, customary ownership of the reef, and the surplus production of modern cash. The filming in the Marovo Lagoon took place in collaboration with the local communities and the National Museum of Solomon Islands. The intended audience of this film was first of all the people of the Solomon Islands, which influenced its content and structure. This has ensured that the film has had a prolific life. We have subsequently been told that the film is a big hit among many women, as parts of the film present the backstage life of the men who while making the wines used for fishing out in the outer islands of the Lagoon, converse in a "raunchy" manner. Chea's Great Kuarao was the first film distributed to all the high schools of the islands. It was the film shown at the first public film screening in the capital, Honiara, following the end of the ethnic violence (1998-2003). It was later screened numerous times on public television.
{"title":"Chea's Great Kuarao","authors":"E. Hviding, R. Scott, Trygve Tollefsen","doi":"10.15845/JAF.V2I2.1542","DOIUrl":"https://doi.org/10.15845/JAF.V2I2.1542","url":null,"abstract":"The People of Chea Village live in the Marovo Lagoon situated in the Western Province of the Salomon Islands. \u0000Annually they would organise communal fishing expeditions they called Kuarao and where all the villages took part. \u0000Early in the morning and after days of preparation, a large circle of bush vines was laid out in the lagoon waters near the barrier reef. As people swam with the vines and dragged them along, large numbers of fish were caught by surprise and herded together inside the gradually narrowing circle. Finally, the tightly packed schools of fish were stunned by plant poison and collected in canoes. \u0000The Kuarao has both ritual and practical importance. It confirms the collective and the social stratification of the village while serving as a powerful linkage between ancestral tradition, customary ownership of the reef, and the surplus production of modern cash. \u0000The filming in the Marovo Lagoon took place in collaboration with the local communities and the National Museum of Solomon Islands. The intended audience of this film was first of all the people of the Solomon Islands, which influenced its content and structure. This has ensured that the film has had a prolific life. We have subsequently been told that the film is a big hit among many women, as parts of the film present the backstage life of the men who while making the wines used for fishing out in the outer islands of the Lagoon, converse in a \"raunchy\" manner. \u0000 Chea's Great Kuarao was the first film distributed to all the high schools of the islands. It was the film shown at the first public film screening in the capital, Honiara, following the end of the ethnic violence (1998-2003). It was later screened numerous times on public television.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130043207","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
“Let’s build a waterfall!” is about the continuous struggle to maintain a rural community. The village Bleik in North Norway seems to stand strong in this struggle; contrary to most fishing villages, Bleik experiences growth. There are waiting lists to get housing lots and children to the local school. With strong traditions of voluntary work, Bleik has numerous local groups, a new sport arena, golf course, community center, local shop, café and pub. Being called Bleik Indians, ‘the savages behind the mountains’, is turned from stigma to pride. This documentary explores the processes of resilience and mobilization. Bleik is characterized by proud traditions of local story telling. Facing new challenges, old stories are reactivated, like the one about being the first village to have a power station; “What do we do in Bleik when we don’t have a waterfall? We build one!” The film tells stories of a vital village with strong traditions of mobilizing, but also of the drama coastal communities are facing. When the harbour is threatened, will they manage to mobilize to maintain the fishing community?
{"title":"Let’s build a waterfall!","authors":"Trond Waage, Anniken Førde","doi":"10.15845/JAF.V2I2.1569","DOIUrl":"https://doi.org/10.15845/JAF.V2I2.1569","url":null,"abstract":" \u0000“Let’s build a waterfall!” is about the continuous struggle to maintain a rural community. The village Bleik in North Norway seems to stand strong in this struggle; contrary to most fishing villages, Bleik experiences growth. There are waiting lists to get housing lots and children to the local school. With strong traditions of voluntary work, Bleik has numerous local groups, a new sport arena, golf course, community center, local shop, café and pub. Being called Bleik Indians, ‘the savages behind the mountains’, is turned from stigma to pride. This documentary explores the processes of resilience and mobilization. Bleik is characterized by proud traditions of local story telling. Facing new challenges, old stories are reactivated, like the one about being the first village to have a power station; “What do we do in Bleik when we don’t have a waterfall? We build one!” The film tells stories of a vital village with strong traditions of mobilizing, but also of the drama coastal communities are facing. When the harbour is threatened, will they manage to mobilize to maintain the fishing community? ","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133864912","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I. Tvedten, Fabio Ribeiro, João Graça, Bjørn Enge Bertelsen
Rapid urbanisation is one of the most dramatic developments on the African continent, often yielding contrasting and shocking images of affluent businesses and residential districts alongside sprawling shantytowns or slums. Urban areas account for an increasing part of the continent’s positive macro-economic development and represent opportunities for employment, education, health, leisure and well-being. However, urban growth is also manifested in emerging conditions of inequality and poverty, rising environmental problems, situations of political instability and riots, as well as persistent high levels of urban crime and violence. This film project seeks to visualise Maputo: one of Africa’s divided cities. It is part of the research project “The Ethnography of a Divided City. Socio-Politics, Poverty and Gender in Maputo, Mozambique” headed by the Chr. Michelsen Institute and funded by the Norwegian Research Council. While the film relates actively to the research project, it approaches the project’s themes from new and original angles and ANIMA has had full artistic freedom in its filmic approach. A focus on the people inhabiting the city’s so-called bairros (districts/areas) provides a privileged view of the way in which symbolic and material boundaries of various urban spaces are contested, negotiated and, ultimately, inscribed onto mental maps of the city. Contributors: Inge Tvedten, Chr. Michelsen Institute, Head of project Fábio Ribeiro, ANIMA - Estúdio Criativo, Production and photo João Graça, ANIMA - Estúdio Criativo, Production and photo Bjørn Enge Bertelsen, Department of Social Anthropology, University of Bergen, Research advisor
{"title":"Maputo: Ethnography of a Divided City","authors":"I. Tvedten, Fabio Ribeiro, João Graça, Bjørn Enge Bertelsen","doi":"10.15845/JAF.V2I2.1571","DOIUrl":"https://doi.org/10.15845/JAF.V2I2.1571","url":null,"abstract":"Rapid urbanisation is one of the most dramatic developments on the African continent, often yielding contrasting and shocking images of affluent businesses and residential districts alongside sprawling shantytowns or slums. Urban areas account for an increasing part of the continent’s positive macro-economic development and represent opportunities for employment, education, health, leisure and well-being. However, urban growth is also manifested in emerging conditions of inequality and poverty, rising environmental problems, situations of political instability and riots, as well as persistent high levels of urban crime and violence. \u0000This film project seeks to visualise Maputo: one of Africa’s divided cities. It is part of the research project “The Ethnography of a Divided City. Socio-Politics, Poverty and Gender in Maputo, Mozambique” headed by the Chr. Michelsen Institute and funded by the Norwegian Research Council. While the film relates actively to the research project, it approaches the project’s themes from new and original angles and ANIMA has had full artistic freedom in its filmic approach. A focus on the people inhabiting the city’s so-called bairros (districts/areas) provides a privileged view of the way in which symbolic and material boundaries of various urban spaces are contested, negotiated and, ultimately, inscribed onto mental maps of the city. \u0000Contributors: \u0000Inge Tvedten, Chr. Michelsen Institute, Head of project \u0000Fábio Ribeiro, ANIMA - Estúdio Criativo, Production and photo \u0000João Graça, ANIMA - Estúdio Criativo, Production and photo \u0000Bjørn Enge Bertelsen, Department of Social Anthropology, University of Bergen, Research advisor \u0000 ","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131334317","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Mboum people in Cameroon have practiced circumcision for centuries. Until recently, this practice was highly regarded as a period of initiation leading to a man's status. Every year, children were sent to the bush and during their seclusion, cultural codes and knowledges of the society are taught to them. Nowadays, this tradition is dying out leading to conflict of generation between olders and youngters, specially those who are born and raised outside of their community. Through a discussion between Hamidou the old a his grand child and by following a group of five children during their period of initiation, the film shows how circumcision is performed and explains its meaning among the Mboum people. It also shows that, despite social changes and external pressures (urbanisation, modernisation and health issues etc.) efforts are made to keep the social order resulting from this practice.
{"title":"Juarke","authors":"Mohamadou Saliou","doi":"10.15845/jaf.v5i01.3177","DOIUrl":"https://doi.org/10.15845/jaf.v5i01.3177","url":null,"abstract":"The Mboum people in Cameroon have practiced circumcision for centuries. Until recently, this practice was highly regarded as a period of initiation leading to a man's status. Every year, children were sent to the bush and during their seclusion, cultural codes and knowledges of the society are taught to them. Nowadays, this tradition is dying out leading to conflict of generation between olders and youngters, specially those who are born and raised outside of their community. Through a discussion between Hamidou the old a his grand child and by following a group of five children during their period of initiation, the film shows how circumcision is performed and explains its meaning among the Mboum people. It also shows that, despite social changes and external pressures (urbanisation, modernisation and health issues etc.) efforts are made to keep the social order resulting from this practice.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124802848","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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