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Recorded memories and diasporic identity in the archive of Giuseppe Chiaffitella
Nicola Scaldaferri

creation of preconceptions as much as they were creating communities. Many records of southern Italian music, for example, were full of references to the Sicilian Mafia (Fugazzotto 2010 ). The importance of musical practices and sound recordings for maintaining identities in diasporic communities is even more crucial wherever the connection with the country of origin is less clearly defined and the imaginary component is more pronounced. A good example is provided by Shelemay in her work on Syrian Jews: it is a musical genre, the Pizmon, that is crucial to preserving a

in Sonic ethnography
Open Access (free)
Corpse-work in the prehistory of political boundaries
Richard Kernaghan

resonance or echo they set in motion. What they invoked was not merely a general commandment against stealing. They seemed to allude to a well-known maxim that the Shining Path had frequently laid on the dead bodies of its victims so as to convert them into criminal types and thereby serve notice to all who came upon them: ‘This is how thieves die …’ ‘Así mueren los rateros …’ With messages like this, Maoist insurgents transformed corpses into a means of rural governance. Though the warning on the crates indirectly referenced a regional genre of political threat, there

in Governing the dead
Notes on developing a photo-ethnographic practice in Basilicata
Lorenzo Ferrarini

and brown peoples as subject (Ruby 1996 ). It makes more sense, then, to consider what constitutes photographing as an anthropologist rather than an anthropological photograph. A focus on the approach also has the benefit of avoiding scholasticism and keeping open a multitude of genres and styles that each situation and research question might call for, including those outside of realism and even outside documentary photography. Patrick Sutherland expresses himself along similar lines when considering the key aspect of photo-ethnography to be the

in Sonic ethnography
Open Access (free)
Lorenzo Ferrarini and Nicola Scaldaferri

forms of relationship between text and image, and to explore their distinctive possibilities. The formats that we have employed are essentially of three different kinds, though all of them could be considered different interpretations of the photo essay genre (Sutherland 2016b ). The first format is used in chapters 1 and 2 , in relation respectively to the Maggio festival in Accettura and the carnival bells of San Mauro Forte. Here, the essays and the photographic sequences are developed as separate narratives that maximise the distinctive characteristics of

in Sonic ethnography