Een bericht uit Uganda van één van onze masterstudenten.
Door Renske den Uil.
… luidt de slogan van Mlisada, een project waar straatkinderen eten krijgen, kunnen douchen en de mogelijkheid hebben om muziek te leren spelen (zowel brassinstrumenten als gitaar, viool, piano en traditionele instrumenten zoals de adungu en de full set drums). Daarnaast biedt Mlisada onderdak aan zo’n tachtig voormalige straatkinderen, die dankzij Mlisada naar school kunnen en hier ook muziek leren maken. Mlisada is het project waar ik deze drie maanden een groot deel van mijn veldwerk doe. Waar ik begin januari nog baalde dat een groot deel van mijn onderzoeksvoorstel linea recta de prullenbak in kon, heb ik inmiddels een aangepaste focus, twee nieuwe projecten als case study en kan ik met recht zeggen dat ik hier, als een muziekliefhebbende antropoloog, mijn droomonderzoek doe.
Anthropologists in Art presents: Neon Warszawski – Polish Neon, a photography exhibition on Socialist visual communication
By Ilona Karwinska & Krzysztof Wojciechowski
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February 9th – March 16th @ WM GALLERY, Elandsgracht 35, 1016 TN, Amsterdam
OPENING: SAT. 9th OF FEBRUARY, 17.00-19.00
About the exhibition:
In 1957, at a conference in Czechoslovakia, Communist Party ideologues agreed that neon could be a way to reconcile the seemingly contradictory ideas of communism and consumerism in their ailing, state-run economies. The Polish Socialist Party, having created the state-run company ‘Reklama’, throughout the 1960’s and 70’s, recruited prominent artists and designers to bring about a transformation through light, playfully modifying the uniformity of the grey, drab socialist skyline. “Neon Warszawski – Polish Neon” shows the photographs of two Polish artists, photographer and Neon Muzeum director Ilona Karwi?ska and independent photographer Krzysztof Wojciechowski, whose photographs of old school Polish neon signs adorn the walls of WM Gallery. Both artists present the exquisitely designed neons from the 60’s, 70’s and 80’s from different perspectives. Whereas Karwi?ska’s photographs present the signs from a more ‘documentary’ point of view, due to her efforts of rescuing the old signage from disintegration and anonymity, Wojciechowski’s black and white photographs from the 1970’s show us night-time Warsaw as it must have been; glum, dark and deserted, enlivened only by the fanciful rectangles and curls of Poland’s premier designers in light. Visit the official webpage HERE.
By Ulrike Scholtes Walking up the little hill in Yokohama to reach the studio my Sunday-workshop takes place at, I have to pass a bamboo forest. On sunny days, which are common here in Japan, it looks nicely illuminated, showing all the different shades of brown and green it has to offer. Towards the centre the forest turns extremely dark, but I am still able to see the many rows of bamboo trunks, that appear almost artificially organized. From here I have to walk a few meters straight and turn right at the massive orange tree, one of the landmarks I desperately need to survive here in Japan and find back the places I have been before. Soon a discrete sign will appear on my right hand, saying “Kazuo Ohno Dance Studio”, I believe the only sign in this neighbourhood that provides an English translation for the Kanji words. The sign leads to the – with childish mosaic patterns cheerfully decorated – path, I have to take in order to reach the studio. The second path leads to YoshitoOhno’s house. It used to belong to Kazuo Ohno, one of the two establishers of butoh dance. Out of different parts and materials that belonged to an old, and now fully deconstructed, elementary school, Kazuo Ohno had the first butoh dance studio built on this piece of lands, where he and HijikataTatsumi would practice and philosophize about what authentic Japanese, dance, but most importantly about what the body is.
Ad Valvas publiceerde onlangs een kort artikel over ‘bloggende’ sociale wetenschappers, geschreven door vroegere antropologie-studente Marloes Rendering (nu bezig met een master journalistiek). Ad Valvas gaf toestemming de tekst ook op StandplaatsWereld te publiceren. Lees hieronder over de manier waarop sociale wetenschappers van de VU het bloggen interpreteren en gebruiken, oftewel: lees op StandplaatsWereld over StandplaatsWereld….
Na Antropologie is eind juni ook Sociologie gestart met een eigen blog. Bloggen om de actualiteit, het veldwerk en de onderzoeksresultaten met de eigen achterban en de buitenwereld te delen. Het werkt!
Drie jaar geleden is Standplaatswereld.nl opgericht door onder anderen promovendus Daan Beekers. Wat wil hij met deze blog?
By John Boy. The Bijbels Museum, a museum dedicated to the Bible founded in 1852, is located along the Herengracht in the center of Amsterdam. Finding myself with a few free hours one afternoon during a recent stay in the Dutch capital, I decided to tour the museum, notebook in hand. Wikipedia encumbered me with the knowledge that the museum’s public funding was subject to debate several years ago because “it has not done enough to attract a more diverse (i.e., non-denominational) audience”—and by non-denominational, this Wikipedia author evidently means people with no denominational affiliation. How does the museum present the Bible in a city known for its museums, especially its splendid art museums? And, more importantly, how does it cater to an audience that may not hold the Bible in special esteem?
The answer apparently is to display lots of flowers, or at least it was at the time of my visit. The main exhibit on display in the Bijbels Museum was “Belief in Nature: Flowers with a Message.” We are in the land of tulips and hothouses, after all. So while the publisher of the postwar British publication The Bible Designed to be Read as Literature broadened the appeal of the Bible by presenting it as beautifully typeset literature, the Bijbels Museum seeks to do so by presenting the Bible as floral pattern. That’s a very unfair characterization, but a worthwhile comparison. As Talal Asad writes, “the way people engage with such complex and multifaceted texts [such as the Bible], translating their sense and relevance, is a complicated business involving disciplines and traditions of reading, personal habit, and temperament, as well as the perceived demands of particular social situations.” In the case of “the Bible as literature,” that complicated business had to do with the emergence of literature qua imaginative writing in the long eighteenth century. What complicated business is going on in the Bijbels Museum? How does it manage to translate the “sense and relevance” of the Bible in the pluralistic, secular-liberal setting of Holland?
By anonymous Over a year ago, Standplaats Wereld reported on a documentary, screened on Dutch tv, dealing with issues of peace and justice in Uganda. What role, if any, can the International Criminal Court play in bringing peace and/or justice to Uganda? That was the question addressed by in ‘Peace versus Justice’ back in 2009. Meanwhile, the ICC concluded its first case on 14 March 2012, convicting Thomas Lubanga, a Congolese warlord, of the use of child soldiers.
By Rhoda Woets “Sarenco is mafia,” said painter Almighty God (b. 1950) while he grabbed my arm and pulled me towards a black and white painting in the back of his workshop, “he also cheated other African artists.” We are in Almighty God’s extended open-air workshop at Suame junction, one of Kumasi’s jammed thoroughfares where an unremitting stream of cars and buses head further up North. A strategically positioned painting of a human figure, covered in blood, warns drivers on their way to the junction with the words “drive with care, over speeding kills.” During an enchanting tour among vivid paintings nailed to the white walls, palisades and wooden structures in his workshop, Almighty God told me that Sarenco owed him 4,200 dollars (US). But the contemporary African art “specialist” Sarenco never answered his phone calls; how should Almighty get his precious money back – all the way from Italy to Ghana? To underscore what he had just said, Almighty God pulled out his phone to dial Sarenco’s number in Italy once more. And indeed, no answer.
Eerstejaars antropologie studenten aan de VU deden onderzoek voor het bachelorproject en rapporteren over hun bevindingen
Door Iona van Dijk
In the months counting up to this summer my life was centered around the lives of teenage mothers. A surprising choice for an anthropology student perhaps. I at least have questioned myself along the way as I came across a few hurdles. The idea originated from an evening of watching television, MTV’s Teen Mom to be precise. It seemed to me to be incredibly interesting to approach this sensational topic from an anthropological perspective.
Eerstejaars antropologie studenten aan de VU deden onderzoek voor het bachelorproject en rapporteren over hun bevindingen.
Door Elizabeth Marteijn en Milah van Strijp In het stadsdeel Slotervaart staat een islamitische basisschool. Met leerlingen van groep vijf hebben wij, een groep van acht antropologie studenten, de tentoonstelling ‘Passie voor Perfectie’ over islamitische kunst bezocht in de Nieuwe Kerk te Amsterdam. De bedoeling was om een klein onderzoek te doen voor ons eerste jaar onderzoekspracticum naar ‘Kinderen, kunst en islam’, ‘een onderzoek naar de betekenis die kinderen geven aan islamitische kunst’. Er is nog weinig bekend over wat islamitische kinderen van kunst vinden. Dit maakte dit onderzoek voor ons uitdagend en interessant.
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