39 research outputs found
Performing A Thousand and One Nights in Egypt
"The subject of this paper is the multiple intersections between oral performance and the written narrative of one tale from A Thousand and One Nights, the story of Anas al-Wujud and al-Ward fi-al-Akmam."--Page 392
Who and what is native to Israel? On Marcel Janco's settler art and Jacqueline Shohet Kahanoff's âLevantinismâ
The poetics and esthetics of ânatural occupancyâ are relevant to the ways in which settlersâ colonists artistically and discursively produce their subsequent cultural formations. I focus on the decade of the 1950s to chart specific settler ideologies of ownership that emerged in
Israel after the establishment of the state in 1948. What are the varied strands of colonizing ideology that define spaces currently inhabited by Jewish Israeli settlers seeking to forget the original colonial domination? One approach to questions about space, land, ownership,
and indigeneity in Israel/Palestine is to investigate the literature and arts that serve to designate Jewish Israelis as natural occupants. Two seminal theories, the âMediterranean optionâ (in Hebrew yam tikhoniyut) and âLevantinismâ (levantiniyut), were imaginatively
de-historicized in the art projects of Marcel Janco and the writings of Jacqueline Shohet Kahanoff, respectively. Both fostered the myth of natural occupancy by appropriating for themselves a sense of nativeness, just as each eliminated the indigenous Palestinian Arab
presence through their own selective cultural assimilations
Algerian Womenâs BĆ«qÄlah Poetry: Oral Literature, Cultural Politics, and Anti-Colonial Resistance
BĆ«qÄlah refers both to a ceramic pitcher as well as to poems ritually embedded in the traditional, favorite, divinatory pastime associated with women city dwellers of specific Algerian towns such as Blida,Cherchell, Tlemcen, Constantine, and Algiers. This essay considers the shift from orality to a written archive of French and Algerian collections of bĆ«qÄlah poems by focusing on analyses of Algerian Arabic oral literature as an expression of feminine cultural protest and resistance to the domination of language policies under French colonialism. What are the ways in which an intimate ritualâone linked to orality, the divinatory, womenâs poesis, and the Algerian Arabic dialectâbegins to carry political meanings during the War of Independence and in post-1962 independent Algeria? Contributing to the circulation and creation of new meanings, forms, and venues for bĆ«qÄlah poetry are Algerian radio and television broadcasts, Internet postings, and the publication of the 1962 French poem âBoqalaâ by Djamila Amrane
Visual Ethnography, Stereotypes, and Photographing Algeria
Visual Ethnography, Stereotypes, and Photographing Algeri
TĂ©moignages, Ă©crits et silences : lâInstance ĂquitĂ© et RĂ©conciliation (IER) marocaine et la rĂ©paration
Bien que lâĂtat marocain ait emprisonnĂ© des dizaines de milliers de dissidents et dâopposants politiques depuis lâindĂ©pendance du pays, en 1956, au sortir de la domination française, les Ă©vĂšnements qui ont suivi le dĂ©cĂšs du roi Hassan II, le 23 juillet 1999, constituent un tournant dans lâhistoire des droits de lâHomme au Maroc. Pendant des dĂ©cennies, qualifiĂ©es par les Marocains dâ« annĂ©es de plomb » ou dâ« annĂ©es noires » â en arabe, as-sanawat as-sawdaâ â, les opposants politiques au rĂ©gim..
Photography and Truth
Photographs in anthropology serve many purposes: as primary data, illustrations of words in a book, documentation for disappearing cultures, evidence of fieldwork, material objects for museum exhibitions, and even works of art. This course explores photography as art, research tool, and communication
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âEvery Slight Movement of the People . . . is Everythingâ: Sondra Hale and Sudanese Art
This essay traces the intertwined topics of collaboration and multisited ethnography in the writings of anthropologist Sondra Hale on Sudanese artists and art. Haleâs trajectories and movements in and out of Sudan traverse parallel, sometimes overlapping tracks with the artists she studied, championed, and curated. Studying Sudan and its artists may have begun in Khartoum during Haleâs first three-year period there from 1961 to 1964; however, this essay analyzes Haleâs subsequent writings based on the places where she encountered artists, residing abroad and in exile, in Cairo, Asmara, Addis Ababa, Oxford, the Halesâ Los Angeles home, as well as in American venues for meetings of the Sudan Studies Association