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Anthrovision, 1.2 | 2013 [En Ligne], Mis En Ligne Le 01 Août 2013, Consulté Le 24 Septembre 2020 Anthrovision Vaneasa Online Journal 1.2 | 2013 Varia Édition électronique URL : http://journals.openedition.org/anthrovision/568 DOI : 10.4000/anthrovision.568 ISSN : 2198-6754 Éditeur VANEASA - Visual Anthropology Network of European Association of Social Anthropologists Référence électronique Anthrovision, 1.2 | 2013 [En ligne], mis en ligne le 01 août 2013, consulté le 24 septembre 2020. URL : http://journals.openedition.org/anthrovision/568 ; DOI : https://doi.org/10.4000/anthrovision.568 Ce document a été généré automatiquement le 24 septembre 2020. © Anthrovision 1 SOMMAIRE Introduction Felicia Hughes-Freeland Dépasser la violence par la création ? Olivier Schetrit Is watching the feast making the feast? Visual language and practice in an ethnography Katia Ballacchino Climate Change and its socio-cultural impact in the Himalayan region of Nepal – A Visual Documentation Fidel Devkota Kolam patterns as materialisation and embodiment of rhythms Anna Laine La part de l’Ange : le bouton de rose et l’escargot de la Vierge. Deuxième partie Une étude de l’Annonciation de Francesco del Cossa Dimitri Karadimas African Lace: an industrial fabric connecting Austria and Nigeria Barbara Plankensteiner Reviews Orientalism Today: Alive and Well Film Review: Himself He Cooks – A film by Valérie Berteau and Philippe Witjes, Belgium 2011 Nandini Bedi Histoires de fantômes pour grandes personnes Exposition de Georges Didi-Huberman et Arno Gisinger, Le Fresnoy, Studio national des arts contemporains 2012 Nadine Wanono Anthrovision, 1.2 | 2013 2 Introduction Felicia Hughes-Freeland 1 The articles in this second issue of Anthrovision range from well-established “modern classical” visual anthropology, such as participatory cinema in the tradition of Jean Rouch and David MacDougall, to art history and iconographic analysis, and to performance and the sensorium. 2 Katia Ballacchino presents a methodological case for using video in ethnographic research. In her longitudinal study of Gigli, the patronal feast of St Paulinus in Nola, southern Italy, the camera documents the performances of men who “dance” tall obelisks through the streets, and also participates in the feast through elicitation of recordings (by the author and others). These are viewed and discussed by the local participants in Italy and migrants in the USA. This is perhaps less a starting point than a reaffirmation of the anthropological camera as interactive and mediatory, practices both of which are central to the anthropological project and its process of knowledge construction. 3 The fundamental role of filming as a form of medition in research is also central to Fidel Devkota’s discussion of the cultural impact of climate change in Lo-pa in north- western Nepal. Anthropological collaborations with scientists in regions most severely affected by climate change have increased in the past decade, but Devkota situates his project in relation to anthropology’s long-established study of threats to social and cultural survival. His film is about the experiences of the inhabitants of Dhe village, and he plans to film in other areas also. The camera is constitutive of anthropological knowledge, not supplementary to it, and its potential to bear on policy-making should be recognised. 4 A second theme in this issue is the analysis of images. Dimitri Karadimas continues his discussion of sexual imagery in representations of the angel Gabriel’s visitation to the Virgin Mary in Italian Renaissance paintings of the Annunication. Forms such as columns, spirals (represented by the snail), birds, and rose buds that are usually taken to be expressions of religious devotion, are surprising representations of a complex relation between sexual and spiritual passion, sustained in the twentieth century by the artist Dali. Here anthropology meets art history to reveal cultural complexity and Anthrovision, 1.2 | 2013 3 the need for interpretation and hermeneutics in understanding representations across time as well as space. 5 The visual analysis of images and objects is also the subject of Anna Laine’s article and film about kolam patterns in Tamilnadu, southern India. Making kolams produces auspiciousness which, driven by planets and gods, defines time. Using Lefebvre’s theory of rhythm and embodiment, she argues that kolams embody relationships between energy, time and space and that the particular intersection of rhythms or “polyrhythmia” makes each woman’s kolam unique. Her wider argument is for the importance of sensuousness in the analysis of material culture and the anthropology of everyday life. 6 A second contrasting article where visual anthropology meets material culture is Barbara Plankensteiner’s historical account of Nigerian lace-making. This industrially produced fabric is analysed in relation to its antecedents in nineteenth century embroidery in Austria. Colonialism, trade, changing tastes, as well as specific importers, saleswomen, and production companies, have shaped its development and the process of “Nigerianisation”, evident in changes in designs and innovations such as the incorporation of Swarovski crystals. The article shows how authenticity emerges from interaction, and, as one might expect in West Africa, the lace trade is nowadays mostly run by women. 7 We move back to embodied performance in Olivier Schetrit’s article about deafness and sign language. Deaf from birth, he offers a reflexive account of International Visual Theatre’s use of the choreographic practices such as mudras and facial expressions in Bharata Natyam to create a theatre of and for the deaf. IVT has developed the concept of “chansigne” choreography or a visual melody which is sung and signed - as elucidated in a discussion of its production Miracle par Hasard (Miracle by Chance). “Dancing without music” is not only a theatrical practice. It has also changed the nature of the identity of deafness. 8 The range of these articles is a salutary reminder that Visual Anthropology is not a specialist subdiscipline but a fundamental approach for all areas of anthopological research. AUTHOR FELICIA HUGHES-FREELAND Independent Scholar and Research Associate, Centre of Southeast Asian Studies, SOAS, London University. Anthrovision, 1.2 | 2013 4 Dépasser la violence par la création ? Olivier Schetrit Ce média ne peut être affiché ici. Veuillez vous reporter à l'édition en ligne http:// 1 journals.openedition.org/anthrovision/569 Ce média ne peut être affiché ici. Veuillez vous reporter à l'édition en ligne http:// 2 journals.openedition.org/anthrovision/569 Ce média ne peut être affiché ici. Veuillez vous reporter à l'édition en ligne http:// 3 journals.openedition.org/anthrovision/569 Ce média ne peut être affiché ici. Veuillez vous reporter à l'édition en ligne http:// 4 journals.openedition.org/anthrovision/569 Ce média ne peut être affiché ici. Veuillez vous reporter à l'édition en ligne http:// 5 journals.openedition.org/anthrovision/569 Ce média ne peut être affiché ici. Veuillez vous reporter à l'édition en ligne http:// 6 journals.openedition.org/anthrovision/569 7 En décembre 2009, Barbara Glowczewski m’a proposé de participer aux journées d’études qui ont eu lieu au Musée du Quai Branly. Je reviens sur l’intervention que j’ai donnée à cette occasion, dans le cadre de l’anthropologie visuelle, en la développant ci- dessous. 8 Avant d’aborder le vif du sujet, je rappelle une particularité : je suis sourd de naissance. D’où le sujet proposé : la contestation sociale des personnes sourdes, plus Anthrovision, 1.2 | 2013 5 particulièrement du point de vue d’une forme de théâtralisation chorégraphique de l’expression des sourds : les chansignes et les chorésignes. 9 Dans une mise en perspective du sujet, un rapide tour de l’évolution de la condition sourde à travers les siècles permet de montrer que la perception du sourd – en tant que personne – n’a évolué que très lentement jusqu’à 1760, date à partir de laquelle un prêtre français, l’abbé de l’Epée a créé une méthode d’expression visuelle, dite « signes méthodologiques ». À partir de cette date, la société a pu progressivement considérer les sourds en tant qu’individus. Et le sourd a pu très rapidement se construire une identité grâce à l’explosion d’une langue, la langue des signes. En même temps, au cours du XIXe siècle, les progrès étaient très rapides sur tous les plans : matériels, techniques, humains, médicaux. Mais en 1881, un congrès qui a réuni des spécialistes de sourds, pour la plupart issus du clergé, a déclaré que la langue des signes était soi- disant mauvaise pour l’éducation des sourds, et a voté son interdiction dans l’enseignement. Le sourd s’est ainsi retrouvé isolé, repoussé en marge de la société pendant un siècle, reclus dans sa différence et ses frustrations… 10 Ce n’est qu’après les événements de 1968 que les sourds ont pu enfin sortir de leur enfermement, et affirmer leur identité. Car cette période voit l’émergence d’un besoin d’expression en langue des signes, lié à la libération du corps, de l’expression corporelle, et le droit de la minorité des langues. À la suite de cela, en France, un théâtre pour sourds s’est créé en 1976 : IVT, International Visual Theatre. Ce théâtre a aidé la communauté sourde à s’affirmer à travers des pièces qui ont eu un très fort impact dans la communauté sourde et au- delà dans les milieux intellectuels français. 11 Pour ce faire, IVT a mené beaucoup de recherches pour affirmer et construire une identité sourde autour d’une langue des signes. Par exemple des ateliers de danse indienne ont servi à étudier l’expression gestuelle (les Mudras) et faciale indienne à travers ses codifications, notamment chez les Bhartata Natyam (Inde du sud). Ce travail est visible dans la création des premières pièces d’IVT dès 1978 : Ednom (le Monde à l’envers), qui ont été jouées dans la langue des signes français et ont tenté de remettre à plat le congrès de Milan, de « le refaire » pourrait- on dire, telles des exorcismes, et ont ainsi permis aux sourds français et même européens de se réapproprier la langue des signes et leur identité sourde, à travers sa mémoire, son expression culturelle.
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