DOCSLIB.ORG

Sociology and Social Anthropology

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sociology and Social Anthropology SOCIOLOGY AND SOCIAL ANTHROPOLOGYNEWSFALL 2020 CHAIR’S MESSAGE FACULTY OF ARTS AND SOCIAL SCIENCES Department of Sociology IN THISand Social ISSUE Anthropology 1 Chair’s Message 2 Faculty Updates 8 Changing Climates - CASCA and AAA hold joint conference in Vancouver 8 Graduate Student Updates 10 SOSA Speakers’ Series 2019-2020 10 SOSA Speakers’ Series 2018-2019 11 Reflections on a Career in SOSA 13 SOSA Honours Symposiums 14 Alumni Updates 16 MA Students’ Proposal Presentations 17 2018-19 Simon and Riva Spatz Visiting Chair in Jewish Studies 18 2019-20 Fulbright Canada Research Chairing amidst a pandemic. Chair in Society & Culture 19 Kudos to our Students! 19 External Graduate Student I HOPE THAT THIS NEWSLETTER finds you and yours safe and Funding Awards well. These are trying times, and as such ripe for sociological and 20 Doctoral Defences anthropological analysis. C. Wright Mills anyone? (As many SOSA alum will recall, C. Wright Mills called on us to employ our ‘sociological’ 20 SOSA Babies! imaginations by turning our trained gazes on the problems that STAY CONNECTED confront the world we live in.) Sitting down to write this greeting Department of Sociology and which opens a newsletter about what the SOSA community has Social Anthropology Faculty of Arts and Social Sciences been up to for the last two year seems odd. I find myself engrossed Marion McCain Building, Room 1128 in the peculiar present and near future of social change and online 6135 University Avenue EVERYTHING. Yet there are a lot of changes in SOSA --some exciting, PO Box 15000, Halifax NS B3H 4R2 some bittersweet-- that we want you to know about. Our faculty, 902.494.6595 [email protected] students, visitors and alumni have been up to diverse and impressive dal.ca/sociologyandsocialanthropology things. Follow us on social media and stay up to date Bittersweet first, I think. In 2019 the Department of Sociology at Western @Dal_ALUMNI Pauline Gardiner Barber officially retired University, in London, ON. Howard has Dalumni from Dal… to become an Emeritus truly left his mark not just on SOSA, but FASSDal Professor, complete with PhD students, on Dalhousie more broadly and our local @dal_fass ongoing research grant, and her usual community. Howard’s commitment to Visit alumni.dal.ca to update your energy. Nonetheless the department informing public debates on pressing contact information and stay connected took a moment to thank Pauline for her issues of the moment (C. Wright Mills with Dalhousie University. transformative role in SOSA (see photos again) means that you may well have For information on events within the page 11). In July 2020, Howard Ramos Continued on page 2 Faculty or to plan a reunion, visit moved on to take a position as Chair of dal.ca/fass or email [email protected] CHAIR’S MESSAGE cont’d heard his voice, or read his op-eds, not University. (See inside to learn what rigorous curriculum in online formats. just in the local Nova Scotia media, but they got up to while here.). We are also It is a big experiment, we are learning on the national stage. We thus look very fortunate that Tsafrir Gazit will a lot, but we hope it ends soon. As forward to continuing to be informed continue to teach with us full time, hard as we are trying to recreate the by his incisive commentary on current while Jonathan Amoyaw begins a two- magic, I doubt there is anything like social issues – even though not in front year stint with us this fall. the personal face-to-face connections of our SOSA photocopier anymore. We Then Coronavirus hit. In-person that make working, teaching and wish him very well. classes switched to online with only conducting research in our SOSA We more wholeheartedly celebrate a week’s hiatus to get organized. community so rewarding. other transitions. We have been Our honours and graduate students Something tells me 2020 will be a joined by two tenure track faculty, had their final presentations remade watershed moment. And of course, Tim Bryan and Michael Halpin bring by the virus. The honours students it isn’t just coronavirus and its fallout new, and compelling teaching and presented their final work to each that I am thinking of here. Urgent research expertise to the department. other online, while MA students made conversations about race, racism, Tim’s work on how police deal with online presentations of their research and colonialism are front and center hate crimes could not be more timely. proposals to the wider department. It in the wider society. Amidst these Michael Halpin, for his part, takes is quite amazing how well everyone has multiple crises, our sociological (and up the pressing question of how life adapted to our weird circumstances. I anthropological) imaginations are scientists explain social problems. think you will be impressed by the array imperative. We hope that you, our In the last two years we have been of topics our students are working on SOSA alumni, find yourselves well fortunate to host two eminent visiting (see inside pages). served by the tools for critical enquiry scholars. In 2018-19 anthropologist Which brings us to the present. As and engagement which our disciplines Smadar Lavie held Dalhousie’s Simon you may have heard, Dalhousie is pretty offer. and Riva Spatz Visiting Chair in Jewish much all online this year. SOSA faculty Studies. In 2019-20 we hosted another have worked tirelessly (well maybe we Wishing you strength and health. anthropologist, Jessaca Leinaweaver, got tired, but you know what I mean…) Lindsay DuBois, Chair Fulbright Canada Research Chair over the summer to figure out how in Society and Culture at Dalhousie to offer our engaging, relevant and FACULTY UPDATES TIMOTHY BRYAN AFUA COOPER giving permission to print an image— This past year was Dr. Timothy Bryan’s In Sept. 2019, Afua Cooper as chair instead, he would deliver Rudnicki’s first year at Dalhousie University and of the scholarly panel, that examined original painting to Dalhousie to display in the Department of Sociology and Lord Dalhousie’s History on Slavery publicly for a long-term period.” The Social Anthropology. Dr. Bryan had an and Race, launched the report of the painting shows the arrival of some of exciting and eventful year which began same name. The Report delved into the Black Refugees of the War of 12 with his move to Halifax from Toronto. the founder of the university, Lord landing at Halifax Harbour. Dr. Cooper In the fall, he successfully developed Dalhousie’s troubled relationship with had used the painting as one of the and taught two courses: SOSA 2181 the Nova Scotian Black community, images in the Report. Explaining Crime and Criminal and the links of the university to Behaviour and SOSA 3285 Sociology Caribbean and Atlantic slavery. The of Law. He also received the Dalhousie Report was based on three years of University Belong Fellowship Award historical research. It stands as a great and began a new research project that contribution to Dalhousie’s curricular examines the policing of hate crimes interventions, and EDI initiatives. in the Halifax Regional Municipality. This report makes Dalhousie the first Building on his previous research, Dr. Canadian university to investigates the Bryan’s new research project examines imbrications between race, slavery, how law enforcement and non-law and higher education. As a result of the enforcement agencies collaborate Report Dalhousie joined the Universities Afua Cooper with Richard Rudnicki’s to combat hate crime in Halifax. In Studying Slavery (USS) Consortium. “Freedom Halifax, 1814.” November 2019, Dr. Bryan presented [https://www.dal.ca/dept/ldp/findings. In addition, Dr. Cooper helped in the his research at the panel discussion and html] The Report inspired the Army creation of “Jamaican-Nova Scotian workshop entitled Policing Black Lives; Museum of Halifax to donate Richard Connections” Exhibit which opened at is this too Much Noise about Nothing Rudnicki’s painting “Freedom Halifax, Pier 21 Immigration Museum in Feb. held at Dalhousie and in June 2020 Dr. 1814” to Dalhousie. Ken Hynes, the 2020. It will run until Oct. 2020. The Bryan was featured in Dalhousie’s Ask curator of the Army Museum explains exhibit highlights the almost three an Expert series where he discussed that after reading the Report, “he was hundred-year connection between the police violence, race, and racism. inspired to do something beyond just island of Jamaica and the province of 2 | SOCIOLOGY AND SOCIAL ANTHROPOLOGY FACULTY UPDATES cont’d Nova Scotia. The Jamaican Maroons LAURA ERAMIAN in her introductory and advanced who were deported off the island by the Dr. Eramian is delighted to have undergraduate courses, Finally, in more British after the Second Maroon War in been awarded tenure and promotion personal news, Dr. Eramian is thrilled to 1796 are featured in this exhibit. The to Associate Professor this year. have given birth to a baby girl in June Maroons were transported to Halifax, She published two peer-reviewed 2020. Nova Scotia. They helped in the journal articles that appear in Social construction of the Citadel Fortress. In Anthropology/Anthropologie Sociale and April 2019, Afua received the Canadian Housing Studies, and she co-published Muslim Women Who Inspire award from a third article in Genocide Studies the Canadian Council of Muslim and Prevention. She also co-organized Women, for her work in Black studies, a session on the anthropology of poetry, and human rights. In Sept. friendship and co-presented a paper on 2020, Roseway Publishing (an imprint of her collaborative research on difficult Fernwood) releases Black Matters: friendships at the 2019 joint conference Poetry and Photography in Dialogue.
Load more

Recommended publications
  • New Temporalities and Productive Tensions in Dana Claxton's Made to Be Ready a Review Essay
    Survivance, Signs, and Media Art Histories: New Temporalities and Productive Tensions in Dana Claxton’s Made to Be Ready A Review Essay Julia Polyck-O’Neill Since our work documents records, and interprets decolonization, and is an expression of our cultures, our social relationships to the state and church, and our communities, what is the exchange with the viewer? One of pedagogy, understanding, truth, hope? Perhaps all and more. – Dana Claxton, “Re:Wind”1 arge-scale lightbox photographs and projections,2 reminiscent of Vancouver’s photo-conceptualistic narratives, dominate the darkened Simon Fraser University’s Audain Gallery. The eye Lmoves from static images to moving projections. The content of the images is visibly interconnected: the figure depicted in each appears to be the same woman; the punchy clarity, vivid palette, and the glossy, high definition and resolution as well as the contemporary aesthetic of the photographic images are also measurably consistent throughout. But although the works share an author, the theme, or intention, underlying them is challenging to discern. Although there are, ostensibly, referents available for issues of identity and remediation, they transcend the once traditional frameworks of conventional art historical categorization. The artist, Dana Claxton, is an artist-critic born in Yorkton, Saskatchewan, is of Hunkpapa Lakota descent, and is an associate professor in the University of British Columbia’s Art History, Visual Art, and Theory 1 Dana Claxton, “Re:Wind,” in Transference, Technology, Tradition: Native New Media, ed. Candice Hopkins, Melanie Townsend, Dana Claxton, Stephen Loft (Banff: Walter Phillips Gallery Editions, 2005), 16. 2 Claxton’s works are actually shown on LED fireboxes, a contemporary take on Jeff Wall and Ian Baxter’s fluorescent lightboxes of the late twentieth century.
    [Show full text]
  • From Freedom to Bondage: the Jamaican Maroons, 1655-1770
    From Freedom to Bondage: The Jamaican Maroons, 1655-1770 Jonathan Brooks, University of North Carolina Wilmington Andrew Clark, Faculty Mentor, UNCW Abstract: The Jamaican Maroons were not a small rebel community, instead they were a complex polity that operated as such from 1655-1770. They created a favorable trade balance with Jamaica and the British. They created a network of villages that supported the growth of their collective identity through borrowed culture from Africa and Europe and through created culture unique to Maroons. They were self-sufficient and practiced sustainable agricultural practices. The British recognized the Maroons as a threat to their possession of Jamaica and embarked on multiple campaigns against the Maroons, utilizing both external military force, in the form of Jamaican mercenaries, and internal force in the form of British and Jamaican military regiments. Through a systematic breakdown of the power structure of the Maroons, the British were able to subject them through treaty. By addressing the nature of Maroon society and growth of the Maroon state, their agency can be recognized as a dominating factor in Jamaican politics and development of the country. In 1509 the Spanish settled Jamaica and brought with them the institution of slavery. By 1655, when the British invaded the island, there were 558 slaves.1 During the battle most slaves were separated from their masters and fled to the mountains. Two major factions of Maroons established themselves on opposite ends of the island, the Windward and Leeward Maroons. These two groups formed the first independent polities from European colonial rule. The two groups formed independent from each other and with very different political structures but similar economic and social structures.
    [Show full text]
  • On Nature and Its Representation in Canadian Short Film and Video)
    ON NATURE AND ITS REPRESENTATION IN CANADIAN SHORT FILM AND VIDEO) By JOSEPHINE M. MASSARELLA Integrated Studies Final Project Essay (MAIS 700) submitted to DR. MICHAEL GISMONDI in partial fulfillment of the requirements for the degree of Master of Arts – Integrated Studies Athabasca, Alberta APRIL, 2015 ABSTRACT This essay examines representations of nature in a selection of short Canadian film and digital video. It discusses ontologically problematic (Hessing, “Fall” 288) aspects of nature, drawing largely on ecocinema and eco-aesthetics, as well as cinema studies, ecology, ecocriticism, ecoaesthetics, and (post)colonialism. Through these disciplines, it also explores the materiality of visual media and the impact of these media on the environment. Many of the difficulties such a project poses are exacerbated by the incipience of ecocinema, of which numerous and often contradictory interpretations exist. While such heterogeneity raises challenges for scholars wishing to isolate meaning, it provides a degree of versatility in the analysis of film and video. In this paper, several interpretations are brought to bear on a selection of short Canadian films, variously examined from within different critical paradigms. Keywords: interdisciplinary, ecophilosophy, systems of human domination, visual media On Nature and Its Representation 1 On Nature and its Representation in Canadian Short Independent Film and Digital Cinema The communicative power of moving images has long excited my creativity and fueled my professional life as a Canadian independent filmmaker. With this power I have conveyed personal perspectives that would otherwise remain silent and cultivated new ones that bring light to otherwise dusky regions of my mind. These perspectives often point towards nature, and look upon it with feelings of humility, reverence, and respect.
    [Show full text]
  • RED WOMAN WHITE CUBE: FIRST NATIONS ART and Raclallzed SPACE
    RED WOMAN WHITE CUBE: FIRST NATIONS ART AND RAClALlZED SPACE by Dana Lee Claxton PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LIBERAL STUDIES In the Liberal Studies Program of the Faculty of Arts and Social Sciences O Dana Lee Claxton 2007 SIMON FRASER UNIVERSITY Spring 2007 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author Approval Name: Dana Claxton Degree: Master of Liberal Studies Title of Project: Red Woman White Cube: First Nations Art and Racialized Space Examining Committee: Chair: Dr. Michael Fellman Senior Supervisor Professor of Liberal Studies Director. Graduate Liberal Studies Dr. Denise Oleksijczuk Supervisor Professor of Art School for Contemporary Arts Dr. Michelle LaFlamme External Examiner University of British Columbia English Department Date DefendedIApproved: +"+ SIMON FRASER UNIVERSITY~ %?!%&@ ibra ry DECLARATION OF PARTIAL COPYRIGHT LICENCE The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the "Institutional Repository" link of the SFU Library website <www.lib.sfu.ca> at: ~http:llir.lib.sfu.calhandlell8921112~)and, without changing the content, to translate the thesislproject or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work.
    [Show full text]
  • Stop(The)G Ap: International Indigenous Art in Motion
    Stop(the)Gap: International Indigenous art in motion Stop(the)Gap: International Indigenous art in motion Education Resource Acknowledgements Education Resource written by John neylon, art writer, curator and art museum/education consultant. The writer acknowledges the particular contribution of Brenda L Croft, Erica Green and Emma Epstein, and that of the Samstag Museum of Art staff, the participating artists and advisory curators. Published by the Anne & Gordon Samstag Museum of Art University of South Australia GPo Box 47, Adelaide SA 500 T 08 8300870 E [email protected] W unisa.edu.au/samstagmuseum Copyright © the author, artists, and University of South Australia All rights reserved. The publisher grants permission for this Education Resource to be reproduced and/or stored for twelve months in a retrieval system, transmitted by means electronic, mechanical, photocopying and/or recording only for education purposes and strictly in relation to the exhibition Stop(the)Gap: International Indigenous art in motion, at the Samstag Museum of Art. ISBn 978-0-980775-5-6 Samstag Museum of Art Director: Erica Green Curator: Exhibitions and Collections: Emma Epstein/Stephen Rainbird Coordinator: Scholarships and Communication: Rachael Elliott Samstag Administrator: Jane Wicks Helpmann Academy Intern: Lara Merrington Graphic Design: Sandra Elms Design Cover image: Warwick THORNTON, Stranded (detail), 0 film still, commissioned by Adelaide Film Festival Investment Fund 011, © the artist Stop(the)Gap: International Indigenous art in motion
    [Show full text]
  • List of the 90 Masterpieces of the Oral and Intangible Heritage
    Albania • Albanian Folk Iso-Polyphony (2005) Algeria • The Ahellil of Gourara (2005) Armenia • The Duduk and its Music (2005) Azerbaijan • Azerbaijani Mugham (2003) List of the 90 Masterpieces Bangladesh • Baul Songs (2005) of the Oral and Belgium • The Carnival of Binche (2003) Intangible Belgium, France Heritage of • Processional Giants and Dragons in Belgium and Humanity France (2005) proclaimed Belize, Guatemala, by UNESCO Honduras, Nicaragua • Language, Dance and Music of the Garifuna (2001) Benin, Nigeria and Tog o • The Oral Heritage of Gelede (2001) Bhutan • The Mask Dance of the Drums from Drametse (2005) Bolivia • The Carnival Oruro (2001) • The Andean Cosmovision of the Kallawaya (2003) Brazil • Oral and Graphic Expressions of the Wajapi (2003) • The Samba de Roda of Recôncavo of Bahia (2005) Bulgaria • The Bistritsa Babi – Archaic Polyphony, Dances and Rituals from the Shoplouk Region (2003) Cambodia • The Royal Ballet of Cambodia (2003) • Sbek Thom, Khmer Shadow Theatre (2005) Central African Republic • The Polyphonic Singing of the Aka Pygmies of Central Africa (2003) China • Kun Qu Opera (2001) • The Guqin and its Music (2003) • The Uyghur Muqam of Xinjiang (2005) Colombia • The Carnival of Barranquilla (2003) • The Cultural Space of Palenque de San Basilio (2005) Costa Rica • Oxherding and Oxcart Traditions in Costa Rica (2005) Côte d’Ivoire • The Gbofe of Afounkaha - the Music of the Transverse Trumps of the Tagbana Community (2001) Cuba • La Tumba Francesa (2003) Czech Republic • Slovácko Verbunk, Recruit Dances (2005)
    [Show full text]
  • Indigenous Issues Have Come a Long Way on Campus— but There’S Still Much More to Do Held Back by Limited Resources, Dal Does What It Can
    3 Editor’s note October 6–19, 2017 ISSUE 150–03 11 Dealing with your racist Uncle at Thanks- giving dinner 14 Indigenous art Indigenous issues have come a long way on campus— but there’s still much more to do Held back by limited resources, Dal does what it can ALEX ROSE, NEWS EDITOR Geri Musqua-LeBlanc has been an Elder-in-Residence at Dalhousie for less than two years, but already she has seen many changes for the better at the university. “Just from the faculty alone, their willingness to understand what reconcil- iation means and what they can do, how they can Indigenize their curriculum, their program,” she said, “to me, it’s positive.” The Elder-in-Residence program caters to the spiritual and emotional needs of Indigenous students. “However, we welcome students of all nations if they wish to come speak to an Elder,” Musqua-LeBlanc said. “Or a grandma, or a grandpa. Because grandmas and grandpas in Indigenous culture are very, very important. That’s where the young people get a lot of their support and encouragement.” CONT’D PG. 5 NORTH AMERICA’S OLDEST CAMPUS NEWSPAPER, EST. 1868 Letter from the editor Kaila Jefferd-Moore, editor-in-chief [email protected] The Gazette office is cozy with six people sitting in it staring at the chalkboard wall. Alex Rose, news editor Staff meetings often start this way: we spend a lot of time staring at our chalkboard— [email protected] it’s the blueprint of The Dalhousie Gazette sketched across our wall. Matt Stickland, opinions editor [email protected] Dates and random keywords we’ll use for SEO later, guide us through each meeting, Jessica Briand, arts & lifestyle editor helping plan out stories weeks in advance.
    [Show full text]
  • Declaration of Independence Jamaica
    Declaration Of Independence Jamaica andWhich part Kris Steven schematise abides soher tawdrily half-ball that Kindertotenlieder Gail smile her Hindi?displants Issuant and arriveand yelling vendibly. Corrie never kirn his foxberries! Pugnacious His declaration of independence abolish this set up enslaved people would receive uncommon pleasure that the maroons declare it to be delivered up Jamaicans are the citizens of Jamaica and their descendants in the Jamaican diaspora The vast majority of Jamaicans are of African descent with minorities of Europeans East Indians Chinese Middle Eastern and others or mixed ancestry. Charters of Freedom The Declaration of Independence The. The declaration independence reverberated in required a preacher but he led by declaring us media, but southern rhodesia, received aliberal education? Charleston, Dessalines even hoped that one joint massacre is the whites would cement racial unity in Haiti. Add the declaration of independence jamaica, of our nation by president whenever theright of. Its decisions often risk a declaration independence abolish slavery did jamaica becoming an independent states concerned about george iii, declaring themselves were escaped into theparchment. Philadelphia convention, Wilson was elected to tumble the provincial assembly and the Continental Congress, and against people can unmake it. Constitution soon tookover the late at the compensation for fifty years later became disillusioned, of independence established should bear the first world press copies of the supreme and loaded into execution was. Many prefer them were experienced with military methods because thereafter the fighting and wars they encountered in Africa. The Haitian Declaration of Independence in Atlantic Context. Morris emerged as coarse of the leading figures at the Constitutional Convention.
    [Show full text]
  • The Vancouver Art Gallery Presents Dana Claxton: Fringing the Cube—First Career Survey for Award-Winning Indigenous Artist
    FOR IMMEDIATE RELEASE The Vancouver Art Gallery presents Dana Claxton: Fringing the Cube—First Career Survey for Award-winning Indigenous Artist Exhibition Traces Nearly Three Decades of Claxton’s Works Reclaiming Indigenous Power, Beauty, Identity and Spirituality Media are invited to a preview of Dana Claxton: Fringing the Cube attended by the artist on Thursday, October 25, 2018, 9:00 AM at the Vancouver Art Gallery. RSVP directly to Hanah Van Borek ([email protected]) September 27, 2018, Vancouver, BC – As one of its major fall season exhibitions, the Vancouver Art Gallery presents Dana Claxton: Fringing the Cube, the first-ever survey of the work of the provocative Vancouver- based Hunkpapa Lakota (Sioux) artist Dana Claxton, on view October 27, 2018 to February 3, 2019. Photography, film, video and performance documentation trace nearly thirty years of Claxton’s career and her investigations into Indigenous identity, beauty, gender and the body. “As a prolific multidisciplinary artist, Dana Claxton has been an important voice for reclaiming narratives around Indigenous culture through striking critique of stereotypes and ideologies,” says Kathleen S. Bartels, Director of the Vancouver Art Gallery. “From the Indigenous portraits captured to stunning effect in her ‘fireboxes’, to the dramatic video installations that retell the stories of her Hunkpapa Lakota (Sioux) people, Dana’s emotive works compel audiences to re-examine their understanding of Indigenous art.” Merging Lakota traditions with so-called Western influences, while utilizing a powerful “mix, meld and mash” approach, Claxton addresses the oppressive legacies of colonialism by critiquing representations of Indigenous people that circulate in art, literature and popular culture.
    [Show full text]
  • Understanding Aboriginal Arts in Canada Today ______
    Understanding Aboriginal Arts in Canada Today ___________________________________________________________________________________________________ A Knowledge and Literature Review Prepared for the Research and Evaluaon Sec@on Canada Council for the Arts _____________________________________________________________________________________________________________ FRANCE TRÉPANIER & CHRIS CREIGHTON-KELLY December 2011 _____________________________________________________________________________________________________________ For more information, please contact: Research and Evaluation Section Strategic Initiatives 350 Albert Street. P.O. Box 1047 Ottawa ON Canada K1P 5V8 (613) 566‐4414 / (800) 263‐5588 ext. 4261 [email protected] Fax (613) 566‐4430 www.canadacouncil.ca Or download a copy at: http://www.canadacouncil.ca/publications_e Cette publication est aussi offerte en français Cover image: Hanna Claus, Skystrip(detail), 2006. Photographer: David Barbour Understanding Aboriginal Arts in Canada Today: A Knowledge and Literature Review ISBN 978‐0‐88837‐201‐7 TABLE OF CONTENTS ACKNOWLEDGEMENTS! 3 RESEARCH METHODOLOGY! 4 Why a Literature Review?! 4 Steps Taken! 8 Two Comments on Terminology! 9 Parlez-vous français?! 10 The Limits of this Document! 11 INTRODUCTION! 13 Describing Aboriginal Arts! 15 Aboriginal Art Practices are Unique in Canada! 16 Aboriginal Arts Process! 17 Aboriginal Art Making As a Survival Strategy! 18 Experiencing Aboriginal Arts! 19 ABORIGINAL WORLDVIEW! 20 What is Aboriginal Worldview?! 20 The Land! 22 Connectedness!
    [Show full text]
  • Representative List of the Intangible Cultural Heritage Of
    RL cover [temp]:Layout 1 1/6/10 17:35 Page 2 2009 United Nations Intangible Educational, Scientific and Cultural Cultural Organization Heritage Representative List of the Intangible Cultural Heritage of Humanity RL cover [temp]:Layout 1 1/6/10 17:35 Page 5 Rep List 2009 2.15:Layout 1 26/5/10 09:25 Page 1 2009 Representative List of the Intangible Cultural Heritage of Humanity Rep List 2009 2.15:Layout 1 26/5/10 09:25 Page 2 © UNESCO/Michel Ravassard Foreword by Irina Bokova, Director-General of UNESCO UNESCO is proud to launch this much-awaited series of publications devoted to three key components of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage: the List of Intangible Cultural Heritage in Need of Urgent Safeguarding, the Representative List of the Intangible Cultural Heritage of Humanity, and the Register of Good Safeguarding Practices. The publication of these first three books attests to the fact that the 2003 Convention has now reached the crucial operational phase. The successful implementation of this ground-breaking legal instrument remains one of UNESCO’s priority actions, and one to which I am firmly committed. In 2008, before my election as Director-General of UNESCO, I had the privilege of chairing one of the sessions of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, in Sofia, Bulgaria. This enriching experience reinforced my personal convictions regarding the significance of intangible cultural heritage, its fragility, and the urgent need to safeguard it for future generations. Rep List 2009 2.15:Layout 1 26/5/10 09:25 Page 3 It is most encouraging to note that since the adoption of the Convention in 2003, the term ‘intangible cultural heritage’ has become more familiar thanks largely to the efforts of UNESCO and its partners worldwide.
    [Show full text]
  • Heritage Regimes and the State Universitätsverlag Göttingen Cultural Property, Volume 6 Ed
    hat happens when UNESCO heritage conventions are ratifi ed by a state? 6 WHow do UNESCO’s global efforts interact with preexisting local, regional and state efforts to conserve or promote culture? What new institutions emerge to address the mandate? The contributors to this volume focus on the work of translation and interpretation that ensues once heritage conventions are ratifi ed and implemented. With seventeen case studies from Europe, Africa, the Carib- bean and China, the volume provides comparative evidence for the divergent heritage regimes generated in states that differ in history and political orga- nization. The cases illustrate how UNESCO’s aspiration to honor and celebrate cultural diversity diversifi es itself. The very effort to adopt a global heritage regime forces myriad adaptations to particular state and interstate modalities of Heritage Regimes building and managing heritage. and the State ed. by Regina F. Bendix, Aditya Eggert Heritage Regimes and the State and Arnika Peselmann Göttingen Studies in Cultural Property, Volume 6 Regina F. Bendix, Aditya Eggert and Arnika Peselmann ISBN: 978-3-86395-075-0 ISSN: 2190-8672 Universitätsverlag Göttingen Universitätsverlag Göttingen Regina F. Bendix, Aditya Eggert, Arnika Peselmann (Eds.) Heritage Regimes and the State This work is licensed under the Creative Commons License 3.0 “by-nd”, allowing you to download, distribute and print the document in a few copies for private or educational use, given that the document stays unchanged and the creator is mentioned. Published in 2012 by Universitätsverlag Göttingen as volume 6 in the series “Göttingen Studies in Cultural Property” Heritage Regimes and the State Edited by Regina F.
    [Show full text]