by Yatou Sallah I have long been intrigued by the anthropological framing of Africans in the context of postcolonialism. As scholars and theorists in the field attempt to uncover the remnants of the horrendous control…
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By Aniek Santema Around 2 million Syrian refugees who fled the war have been stranded in Lebanon and many of them live in harsh circumstances. The following pictures will give a…
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By Matthias Teeuwen Last AALS lecture was an inspiring and thought-provoking presentation by Dr. Paolo Favero on the myriad possibilities that emerging technologies provide to conducting ethnographic research. He talked about the implications of the use of i-docs (interactive documentaries such as Highrise), wearable camera’s (used exclusively in Leviathan), user GPS (Dr Favero gave an example of its use in Rider Spoke), and much more in ethnographic research. Here are some impressions.
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By Matthias Teeuwen On Thursday 3 December 2015 the department of Social and Cultural Anthropology of the VU held its first ever Ethnographic Film Festival. Throughout the day ten films were screened in the Church Hall of the university, each followed by a short Q&A session with the filmmakers. What struck me during the screenings was the question: What is the difference between a documentary and an ethnographic film? What is the difference between making films in order to raise awareness about the plight of a group of people and making films in order to make a visual depiction of a group of people?
A whole day of screenings and discussions with anthropolo-gists and filmmakers organised by the Department of Social and Cultural Anthropology of the Vrije Universiteit Amster-dam.
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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 Mirjam Dorgelo In my research I examined the practices of place, memory and belonging amongst former political prisoners who now work as tour guides at the very place they used to be imprisoned: the former secret Stasi prison in Berlin Hohenschönhausen. This short fieldwork documentary shows some of the dynamics of spatial characteristics and commemorative practices I observed during fieldwork. It depicts how the visible and invisible, the spoken and unspeakable sometimes become difficult to discern.
In my MA thesis I addressed more extensively these dynamics of commemorative and spatial practices and the various paradoxes I encountered.
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