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Jefferies, commenting on the anomie of the labouring class in rural Wiltshire saw no solution except emigration or ‘village organisation’ to reclaim some powers of local self-government. Trying to remedy the mass unemployment caused by enclosure, Joseph Arch distinguished between migration (by which he meant relocation inside England – recommended) and emigration (to Canada, Australia, etc. – a last measure), but even by these criteria the Carters were stay-at-homes. A name like ours – defining a genre of labour, it suggested the irrelevance of any personal identification
odds with the neo-colonialist pieties of the new nation state. A new monumental simulacrum of the past has, again, settled the past as past; and the place spirits, if they approached to see what we were doing, have retreated further than ever.
Both Jadi Jadian and its predecessor, Light , were conceived as walking dramas. Culturally, they were kinds of Miracle Play. Conceptually, there were elements reminiscent of the genre of urban pageant whose best-known representative is the RamLila performed in the town of Ramnagar
On my shelves are notebooks numbered from A1 forwards. The initial not only refers to a geographical shift but to a change of genre. Earlier notebooks kept in Italy or Spain are poetic or ecphrastic jottings, first-hand accounts of inner developments and external impressions. They typically juxtapose draft poems and prose passages that draw in recent reading, looking and walking, and draw out whatever aesthetic lessons reside there. There is a sustained diary from Venice but given the disproportion between the collective vision and its
Nostalgia and al-zaman al-gamiil (the ‘beautiful old
music genres defies any logic. It also fascinates me, as
I think it could well be the subject of a superb anthropological work on
Cairo’s unique and disturbing soundscapes as an expression of the increasing
‘disjunctures’ (to borrow from Appadurai) of globalisation (Appadurai 1990:
295) as well as the specificity of the ‘glocalisation’ processes. But practically
speaking, one has to wonder whether the multilingual songs – German
lullabies, high Arabic or colloquial Sufi zikr and other religious music, famous
Arabic film songs, or Egyptian belly dances – really have
Mette My Madsen, Anders Blok, and Morten Axel Pedersen
to map the ‘social fabric’ of DTU, incorporating also ‘thick’ ethnographic data obtained from ‘embedding’ an anthropology PhD
student, Mette My Madsen, within the freshmen cohort for a year.
Here, disparate data worlds and research practices associated with
computational and ethnographic approaches come to rub closely off
each other and therefore represent a promising laboratory for ‘testing’
various ideas about the meetings and/or clashes between different
registers and genres of quantitative and qualitative data.
Our argument in this chapter, and our motivation