Pub Date : 2021-12-16DOI: 10.1177/13591835211066821
Joshua M. Bluteau
The Westminster Menswear Archive, housed at the University of Westminster held an exhibition in 2019 entitled ‘Invisible Men’. The purpose of this show was to “shine a light” on men, or more accurately menswear which had been hitherto neglected by scholarship and exhibitions featuring dress (Groves and Sprecher, 2019). This article draws on research conducted at this exhibition to ask anthropological questions as to the nature of menswear both in the gallery space and beyond. Fundamentally this will question the invisible nature of menswear and whether such invisibility really exists. In order to accomplish this, this article will suggest a new theory of the gaze that exists in the gallery or exhibition space – the gallery gaze – and use it to provoke analysis of the ethnographic material presented. This article acknowledges a distinction between intellectual, semiotic and symbolic invisibility but suggests a different approach, arguing for an (in)visibility of progressive degrees.
{"title":"Gazing on invisible men: Introducing the gallery gaze to establish that (in)visibility is in the eye of the beholder at Westminster Menswear Archive","authors":"Joshua M. Bluteau","doi":"10.1177/13591835211066821","DOIUrl":"https://doi.org/10.1177/13591835211066821","url":null,"abstract":"The Westminster Menswear Archive, housed at the University of Westminster held an exhibition in 2019 entitled ‘Invisible Men’. The purpose of this show was to “shine a light” on men, or more accurately menswear which had been hitherto neglected by scholarship and exhibitions featuring dress (Groves and Sprecher, 2019). This article draws on research conducted at this exhibition to ask anthropological questions as to the nature of menswear both in the gallery space and beyond. Fundamentally this will question the invisible nature of menswear and whether such invisibility really exists. In order to accomplish this, this article will suggest a new theory of the gaze that exists in the gallery or exhibition space – the gallery gaze – and use it to provoke analysis of the ethnographic material presented. This article acknowledges a distinction between intellectual, semiotic and symbolic invisibility but suggests a different approach, arguing for an (in)visibility of progressive degrees.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"27 1","pages":"192 - 216"},"PeriodicalIF":0.9,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47730520","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-06DOI: 10.1177/13591835211064427
N. Taylor
This essay revisits Hal Foster's essay in Marcus and Myers’ The Traffic in Culture (1995), “The Artist as Ethnographer,” through the lens of the Danish-Vietnamese artist Danh Vo's practice of collecting historical material. While Foster problematizes Western artists’ “primitivist fantasies” in the 1990s world of “postcolonial and “multinational capitalism,” I will consider Vo’ 21st century method of acquiring objects through auction sales, negotiations with their owners, and excavating them from their sites of origin, as reversing the roles of “self” and “other.” In purchasing White House memorabilia dated to the Vietnam-American war at auctions and salvaging antique statues from Vietnamese Catholic churches as artistic practice, Danh Vo illustrates what Hal Foster considered the problem of “othering” the self instead of “selving” the other. This essay will consider how Vo could present a case of alterity that returns the gaze and projects Vietnamese history back to the Western viewer. In her review of Vietnamese-Danish artist Danh Vo's Guggenheim retrospective in February 2018, Roberta Smith hesitated to call the artist an artist Instead, she dubbed him, somewhat pejoratively, a “hunter gatherer” and called his collection of historical objects to be illustrative of the “usual fate of non-Western countries: the debilitating progression of missionaries, colonization, military occupation and economic exploitation.” The tone of her review is precisely the kind of attitude on the part of the contemporary art world that an artist such as Danh Vo, and others who have been marginalized from institutions such as the Guggenheim, have been fighting against Yet, Vo's very presence in a solo exhibition at the Guggenheim serves to disprove Smith's own “assumption of outsideness” (Foster 1995: 304).
{"title":"Hunter-gatherer or the other ethnographer? The artist in the age of historical reproduction","authors":"N. Taylor","doi":"10.1177/13591835211064427","DOIUrl":"https://doi.org/10.1177/13591835211064427","url":null,"abstract":"This essay revisits Hal Foster's essay in Marcus and Myers’ The Traffic in Culture (1995), “The Artist as Ethnographer,” through the lens of the Danish-Vietnamese artist Danh Vo's practice of collecting historical material. While Foster problematizes Western artists’ “primitivist fantasies” in the 1990s world of “postcolonial and “multinational capitalism,” I will consider Vo’ 21st century method of acquiring objects through auction sales, negotiations with their owners, and excavating them from their sites of origin, as reversing the roles of “self” and “other.” In purchasing White House memorabilia dated to the Vietnam-American war at auctions and salvaging antique statues from Vietnamese Catholic churches as artistic practice, Danh Vo illustrates what Hal Foster considered the problem of “othering” the self instead of “selving” the other. This essay will consider how Vo could present a case of alterity that returns the gaze and projects Vietnamese history back to the Western viewer. In her review of Vietnamese-Danish artist Danh Vo's Guggenheim retrospective in February 2018, Roberta Smith hesitated to call the artist an artist Instead, she dubbed him, somewhat pejoratively, a “hunter gatherer” and called his collection of historical objects to be illustrative of the “usual fate of non-Western countries: the debilitating progression of missionaries, colonization, military occupation and economic exploitation.” The tone of her review is precisely the kind of attitude on the part of the contemporary art world that an artist such as Danh Vo, and others who have been marginalized from institutions such as the Guggenheim, have been fighting against Yet, Vo's very presence in a solo exhibition at the Guggenheim serves to disprove Smith's own “assumption of outsideness” (Foster 1995: 304).","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"27 1","pages":"10 - 29"},"PeriodicalIF":0.9,"publicationDate":"2021-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44376256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-23DOI: 10.1177/13591835211052463
Christian Sørhaug
We tend to give less attention to the process of assembling things when analysing their social life or biography. There is a preconception of things being relatively stable, fixed and inert entities. In this paper, I suggest exploring the ordinary life of things, accounting for the interweaving of the human life with nonhuman materials. The mutual becomings of various entities, both humans and nonhumans, create assemblages that emerge from the interaction between their parts. Assembling things works to conceptualize how mutual entanglements create new possible worldings among a contemporary indigenous group in low land Latin-America. Ethnographically I trace the production process of hammocks and other types of items among the Warao of the Orinoco Delta, Venezuela, and how it entangles different ‘others’ like traders, tourists, missionaries and anthropologists and how these encounters affect the process of assembling things. Assembling things draws attention to how heterogenic component parts construe temporary but stable configurations that partake in people's worldmaking efforts. I use ethnography from the Warao and how their crafts, especially hammocks, become differently as they entangle various assemblages. I investigate three fields of assemblages in order to discern how the human/nonhuman entanglements unfold, namely household, market and museum.
{"title":"Assembling things: Warao crafts, trade and tourists","authors":"Christian Sørhaug","doi":"10.1177/13591835211052463","DOIUrl":"https://doi.org/10.1177/13591835211052463","url":null,"abstract":"We tend to give less attention to the process of assembling things when analysing their social life or biography. There is a preconception of things being relatively stable, fixed and inert entities. In this paper, I suggest exploring the ordinary life of things, accounting for the interweaving of the human life with nonhuman materials. The mutual becomings of various entities, both humans and nonhumans, create assemblages that emerge from the interaction between their parts. Assembling things works to conceptualize how mutual entanglements create new possible worldings among a contemporary indigenous group in low land Latin-America. Ethnographically I trace the production process of hammocks and other types of items among the Warao of the Orinoco Delta, Venezuela, and how it entangles different ‘others’ like traders, tourists, missionaries and anthropologists and how these encounters affect the process of assembling things. Assembling things draws attention to how heterogenic component parts construe temporary but stable configurations that partake in people's worldmaking efforts. I use ethnography from the Warao and how their crafts, especially hammocks, become differently as they entangle various assemblages. I investigate three fields of assemblages in order to discern how the human/nonhuman entanglements unfold, namely household, market and museum.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"26 1","pages":"365 - 381"},"PeriodicalIF":0.9,"publicationDate":"2021-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43652081","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-22DOI: 10.1177/13591835211052465
Triin Jerlei
In the 1960s, tourism in the Soviet Union underwent radical changes. While previously the focus had been on showcasing the rapid modernization of the empire, this new type of tourism focused on introducing foreigners to the regional vernacular culture in the Soviet Union. As the number of tourists increased, the need for wider mass production of souvenirs emerged. This research focuses on the identity of souvenirs produced in Baltic states as a case study for identifying the existence and nature of regionalism within the Soviet system. This study found that within Baltic souvenir production, two separate types of identities manifested. Firstly, the use of national or vernacular symbols was allowed and even promoted throughout the Soviet Union. A famous slogan of the era was ‘Socialist in content, national in form’, which suggested that national form was suitable for conveying socialist ideals. These products were usually made of local materials and employed traditional national ornament. However, this research identified a secondary identity within the souvenirs manufactured in the Baltic countries, which was based on a shared ‘European past’. The symbol often chosen to convey it was the pre-Soviet Old Town, which was in all three states based on Western and Central European architectural traditions. This research suggests that this European identity validated through the use of Old Town as a recurring motif on souvenirs, distinguished Baltic states from the other regions of the Soviet Union. While most souvenirs manufactured in the Soviet Union emphasized the image of locals as the exotic ‘Other’, Baltic souvenirs inspired by Old Town conveyed the idea of familiarity to European tourists.
{"title":"My address is the Soviet Union – or is it? Baltic identity in souvenir production within the Soviet discourse","authors":"Triin Jerlei","doi":"10.1177/13591835211052465","DOIUrl":"https://doi.org/10.1177/13591835211052465","url":null,"abstract":"In the 1960s, tourism in the Soviet Union underwent radical changes. While previously the focus had been on showcasing the rapid modernization of the empire, this new type of tourism focused on introducing foreigners to the regional vernacular culture in the Soviet Union. As the number of tourists increased, the need for wider mass production of souvenirs emerged. This research focuses on the identity of souvenirs produced in Baltic states as a case study for identifying the existence and nature of regionalism within the Soviet system. This study found that within Baltic souvenir production, two separate types of identities manifested. Firstly, the use of national or vernacular symbols was allowed and even promoted throughout the Soviet Union. A famous slogan of the era was ‘Socialist in content, national in form’, which suggested that national form was suitable for conveying socialist ideals. These products were usually made of local materials and employed traditional national ornament. However, this research identified a secondary identity within the souvenirs manufactured in the Baltic countries, which was based on a shared ‘European past’. The symbol often chosen to convey it was the pre-Soviet Old Town, which was in all three states based on Western and Central European architectural traditions. This research suggests that this European identity validated through the use of Old Town as a recurring motif on souvenirs, distinguished Baltic states from the other regions of the Soviet Union. While most souvenirs manufactured in the Soviet Union emphasized the image of locals as the exotic ‘Other’, Baltic souvenirs inspired by Old Town conveyed the idea of familiarity to European tourists.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"27 1","pages":"147 - 165"},"PeriodicalIF":0.9,"publicationDate":"2021-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43566729","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-11DOI: 10.1177/13591835211055709
Pavel Mašek
On a sunny late morning in September 2019, just before a lunch break, Pan Vedoucí (Mr Headman) left the yard. Hynek and I decided to use this rare moment without being controlled to chill, chat, and stroll the yard. We spent a significant part of the time throwing stones at an old car window. While still chatting, we stopped at a car that seemed untouched by us, the breakers, yet was placed among metal bodies of dismantled cars, ready to be taken to a scrapyard. The car was heavily damaged as the result of a car accident. Nothing unusual, all the cars that we broke up at the yard were damaged; they were objects that were no longer ‘auto-mobile.’ However, this particular Kia was full of food, portable refrigerators, and beach accessories that suggested a family going to spend their vacation on the Croatian coast. I asked Hynek about the car, and he replied that no one wanted to break it up because it was pretty messy and stinky inside – the car was dirty. The only thing that had been taken from the car by the breakers was the most valuable part, the engine – the ‘heart’ (srdce) of the car. I realized later that humans had died in the car. It was not only sausages or schnitzels and their pungent odor that discouraged breakers from processing the Kia – although odors do have the power to contaminate, and therefore, might be vehicles of contagion (Miller, 1997: 66–79). It was primarily because someone had died inside it; traces of
{"title":"‘It's Only Us, Hyenas, Who Profit Out of It’: Wrecked Cars, Leaked Humans, and the Death of the Person-car","authors":"Pavel Mašek","doi":"10.1177/13591835211055709","DOIUrl":"https://doi.org/10.1177/13591835211055709","url":null,"abstract":"On a sunny late morning in September 2019, just before a lunch break, Pan Vedoucí (Mr Headman) left the yard. Hynek and I decided to use this rare moment without being controlled to chill, chat, and stroll the yard. We spent a significant part of the time throwing stones at an old car window. While still chatting, we stopped at a car that seemed untouched by us, the breakers, yet was placed among metal bodies of dismantled cars, ready to be taken to a scrapyard. The car was heavily damaged as the result of a car accident. Nothing unusual, all the cars that we broke up at the yard were damaged; they were objects that were no longer ‘auto-mobile.’ However, this particular Kia was full of food, portable refrigerators, and beach accessories that suggested a family going to spend their vacation on the Croatian coast. I asked Hynek about the car, and he replied that no one wanted to break it up because it was pretty messy and stinky inside – the car was dirty. The only thing that had been taken from the car by the breakers was the most valuable part, the engine – the ‘heart’ (srdce) of the car. I realized later that humans had died in the car. It was not only sausages or schnitzels and their pungent odor that discouraged breakers from processing the Kia – although odors do have the power to contaminate, and therefore, might be vehicles of contagion (Miller, 1997: 66–79). It was primarily because someone had died inside it; traces of","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"28 1","pages":"24 - 39"},"PeriodicalIF":0.9,"publicationDate":"2021-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45327040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-08DOI: 10.1177/13591835211049042
D. Watson, J.. Reid
Reducing the risk of Sudden and Unexpected Death in Infancy (SUDI) is a priority for infant health care services across the globe. Medical knowledge of risk factors for SUDI are well understood and have been part of public health messaging in the UK since the 1990s. These include the ‘back to sleep’ campaign that focused on newborn sleep position, not over wrapping the infant and to avoid passive smoke. Whilst progress has been made in reducing SUDI deaths worldwide, there are some infants who remain at high risk. This article adopts a sociomaterial lens to address the potential for material-based interventions to support messages to be tailored in culturally appropriate ways that do not negate parenting knowledge and practices. We focus on the proliferation of the ‘baby box’ as an example of material appropriation and consider the risks and the potentials for this object as a participant in parenting practices.
{"title":"Material Appropriation for Infant Mortality Reduction: Troubling the discourse","authors":"D. Watson, J.. Reid","doi":"10.1177/13591835211049042","DOIUrl":"https://doi.org/10.1177/13591835211049042","url":null,"abstract":"Reducing the risk of Sudden and Unexpected Death in Infancy (SUDI) is a priority for infant health care services across the globe. Medical knowledge of risk factors for SUDI are well understood and have been part of public health messaging in the UK since the 1990s. These include the ‘back to sleep’ campaign that focused on newborn sleep position, not over wrapping the infant and to avoid passive smoke. Whilst progress has been made in reducing SUDI deaths worldwide, there are some infants who remain at high risk. This article adopts a sociomaterial lens to address the potential for material-based interventions to support messages to be tailored in culturally appropriate ways that do not negate parenting knowledge and practices. We focus on the proliferation of the ‘baby box’ as an example of material appropriation and consider the risks and the potentials for this object as a participant in parenting practices.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"27 1","pages":"107 - 123"},"PeriodicalIF":0.9,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47916123","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-29DOI: 10.1177/13591835211039779
G. Byng
The pax was an object intended both to symbolise and to enforce peace among Christian congregations in pre-modern Europe and so when a man named John Browne smashed one over the head of the parish clerk during one of the holiest services of the year in a church in southeast England something had evidently gone wrong. This article is dedicated to explaining not only why Browne reacted with such fury at precisely the moment when he was expected to do the opposite but also why the pax and the clerk were chosen as his victims. The pax's material and visual qualities are integral, and overlooked, parts of this story but it is only by relating them to its representational and institutional contexts that Browne's actions begin to make sense. By integrating the material and the semiotic in this way, this article posits a conceptual structure for explicating not only an important dimension of the relationship between materiality, representation and affectivity but also how such relationships can, indeed must, be historicised to particular objects, ideologies and institutions.
{"title":"Breaking the peace: Representation, affect and materiality in pre-modern England","authors":"G. Byng","doi":"10.1177/13591835211039779","DOIUrl":"https://doi.org/10.1177/13591835211039779","url":null,"abstract":"The pax was an object intended both to symbolise and to enforce peace among Christian congregations in pre-modern Europe and so when a man named John Browne smashed one over the head of the parish clerk during one of the holiest services of the year in a church in southeast England something had evidently gone wrong. This article is dedicated to explaining not only why Browne reacted with such fury at precisely the moment when he was expected to do the opposite but also why the pax and the clerk were chosen as his victims. The pax's material and visual qualities are integral, and overlooked, parts of this story but it is only by relating them to its representational and institutional contexts that Browne's actions begin to make sense. By integrating the material and the semiotic in this way, this article posits a conceptual structure for explicating not only an important dimension of the relationship between materiality, representation and affectivity but also how such relationships can, indeed must, be historicised to particular objects, ideologies and institutions.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"26 1","pages":"472 - 492"},"PeriodicalIF":0.9,"publicationDate":"2021-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49029972","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-19DOI: 10.1177/13591835211042496
Evita Kalogiropoulou, Christina Ziota
This paper describes the cooking installations found inside a specific building, Building C, in the Late Neolithic site of Kleitos 1, their morphological and functional diversification, how they changed and evolved throughout time, and their spatial arrangements. Building C provided the stratigraphic information required by the authors to discern two distinct chronological phases, during which a significant change took place in the characteristics and organisation of the cooking facilities in the building. Building C underwent a transformation from a household unit during phase A to a medium-scale gathering place, capable of hosting a certain number of people, in Phase B. The identification of Building C as a medium-scale gathering place is based on the quantity and quality of its cooking facilities in comparison both to findings in other buildings on the site and to two well-explored Neolithic contexts of large-scale gatherings in Northern Greece, Makriyialos and Promachon-Topolniča. This is the first time a medium-scale gathering place has been recorded in Neolithic Greece. The aim of this paper is to highlight the importance of multi-scalar gatherings and the broader variability witnessed in social dynamics and site organisation in the Late Neolithic period of Northern Greece (late 6th to early 5th millennium cal BC).
{"title":"Exploring commensality, household and solidarity. Evidence of a medium-scale community gathering place in Neolithic Kleitos 1, north-western Greece","authors":"Evita Kalogiropoulou, Christina Ziota","doi":"10.1177/13591835211042496","DOIUrl":"https://doi.org/10.1177/13591835211042496","url":null,"abstract":"This paper describes the cooking installations found inside a specific building, Building C, in the Late Neolithic site of Kleitos 1, their morphological and functional diversification, how they changed and evolved throughout time, and their spatial arrangements. Building C provided the stratigraphic information required by the authors to discern two distinct chronological phases, during which a significant change took place in the characteristics and organisation of the cooking facilities in the building. Building C underwent a transformation from a household unit during phase A to a medium-scale gathering place, capable of hosting a certain number of people, in Phase B. The identification of Building C as a medium-scale gathering place is based on the quantity and quality of its cooking facilities in comparison both to findings in other buildings on the site and to two well-explored Neolithic contexts of large-scale gatherings in Northern Greece, Makriyialos and Promachon-Topolniča. This is the first time a medium-scale gathering place has been recorded in Neolithic Greece. The aim of this paper is to highlight the importance of multi-scalar gatherings and the broader variability witnessed in social dynamics and site organisation in the Late Neolithic period of Northern Greece (late 6th to early 5th millennium cal BC).","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"26 1","pages":"403 - 432"},"PeriodicalIF":0.9,"publicationDate":"2021-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43473427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-24DOI: 10.1177/13591835211039776
Analyn Salvador-Amores
What are the social dimensions involved in the technology of traditional tattooing among the Igorots of north Luzon, the Philippines? Based on a long-term anthropological fieldwork among the Igorots, an examination of the varying traditional tattooing practices of these ethnic groups demonstrates that the significance of batok (traditional tattoos) does not only lie in their symbolic and aesthetic qualities, but also in the rituals performed, the taboos observed, and the technology employed in the production of tattoos. The tattoo's appearance on skin is also dependent on the method or technique employed in the production of designs; the varying pigments used to produce a blackish, greenish, or bluish color in tattoos that mark the identity of a group; and the symmetry and arrangement of tattoos. More importantly, this paper explores the social and cultural practices involved in the production of batok for these to achieve the efficacy of purpose and function. This paper examines how the technology of tattoos, along with rituals and their associated taboos, contributes to the production of what is classified among the Butbut of Kalinga as: whayyu or maphod (“beautiful”), rather than lagwing (“unpleasant”); unfinished versus finished; and “thin or thick” tattoos. Traditional tattooing was formerly practiced in the confines of collective and place-based rituals among the people of the Philippine Cordillera. However, the rarity, rawness, and the particularity of the technology used in the production of these tattoos render them more “authentic,” as such, traditional tattooing has entered contemporary tattoo practices in the Philippines as a form of revival.
{"title":"Ritual act, technology, and the efficacy of traditional tattooing among the Igorots of north Luzon, Philippines","authors":"Analyn Salvador-Amores","doi":"10.1177/13591835211039776","DOIUrl":"https://doi.org/10.1177/13591835211039776","url":null,"abstract":"What are the social dimensions involved in the technology of traditional tattooing among the Igorots of north Luzon, the Philippines? Based on a long-term anthropological fieldwork among the Igorots, an examination of the varying traditional tattooing practices of these ethnic groups demonstrates that the significance of batok (traditional tattoos) does not only lie in their symbolic and aesthetic qualities, but also in the rituals performed, the taboos observed, and the technology employed in the production of tattoos. The tattoo's appearance on skin is also dependent on the method or technique employed in the production of designs; the varying pigments used to produce a blackish, greenish, or bluish color in tattoos that mark the identity of a group; and the symmetry and arrangement of tattoos. More importantly, this paper explores the social and cultural practices involved in the production of batok for these to achieve the efficacy of purpose and function. This paper examines how the technology of tattoos, along with rituals and their associated taboos, contributes to the production of what is classified among the Butbut of Kalinga as: whayyu or maphod (“beautiful”), rather than lagwing (“unpleasant”); unfinished versus finished; and “thin or thick” tattoos. Traditional tattooing was formerly practiced in the confines of collective and place-based rituals among the people of the Philippine Cordillera. However, the rarity, rawness, and the particularity of the technology used in the production of these tattoos render them more “authentic,” as such, traditional tattooing has entered contemporary tattoo practices in the Philippines as a form of revival.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"26 1","pages":"451 - 471"},"PeriodicalIF":0.9,"publicationDate":"2021-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44760718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-14DOI: 10.1177/13591835211042495
Sofya Shahab
Heritage has been established as a core factor in shaping identity and community. Alongside the human suffering and mass displacement arising from the conflicts in Iraq and Syria, there has been increased attention on heritage as a victim of war. While scholarship has predominantly focussed on the impacts of conflict on built heritage, through semi-structured interviews and oral histories produced in collaboration with three Syrian artisans displaced to Amman, I unravel the relationship between artisanal crafts, the intangible practices that manifest in them, and the spatial environments through which they are conceived. As such, I highlight processes of change occurring through migration in relation to this heritage, to illustrate how reconfigurations of space have led to reconfigurations of craft. By suggesting an approach that emphasises the reconfiguration of heritage rather than its destruction, I accentuate the resilience of people and processes of un- and re-making.
{"title":"Crafting displacement: Reconfigurations of heritage among Syrian artisans in Amman","authors":"Sofya Shahab","doi":"10.1177/13591835211042495","DOIUrl":"https://doi.org/10.1177/13591835211042495","url":null,"abstract":"Heritage has been established as a core factor in shaping identity and community. Alongside the human suffering and mass displacement arising from the conflicts in Iraq and Syria, there has been increased attention on heritage as a victim of war. While scholarship has predominantly focussed on the impacts of conflict on built heritage, through semi-structured interviews and oral histories produced in collaboration with three Syrian artisans displaced to Amman, I unravel the relationship between artisanal crafts, the intangible practices that manifest in them, and the spatial environments through which they are conceived. As such, I highlight processes of change occurring through migration in relation to this heritage, to illustrate how reconfigurations of space have led to reconfigurations of craft. By suggesting an approach that emphasises the reconfiguration of heritage rather than its destruction, I accentuate the resilience of people and processes of un- and re-making.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"26 1","pages":"382 - 402"},"PeriodicalIF":0.9,"publicationDate":"2021-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42345391","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：