Anthropology after Gluckman places the intimate circle around Max Gluckman, his Manchester School, in the vanguard of modern social anthropology. The book discloses the School’s intense, argument-rich collaborations, developing beyond an original focus in south and central Africa. Where outsiders have seen dominating leadership by Gluckman, a common stock of problems, and much about conflict, Richard Werbner highlights how insiders were drawn to explore many new frontiers in fieldwork and in-depth, reflexive ethnography, because they themselves, in class and gender, ethnicity and national origins, were remarkably inclusive. Characteristically different anthropologists, their careers met the challenges of being a public intellectual, an international celebrity, an institutional good citizen, a social and political activist, an advocate of legal justice. Their living legacies are shown, for the first time, through interlinked social biography and intellectual history to reach broadly across politics, law, ritual, semiotics, development studies, comparative urbanism, social network analysis and mathematical sociology. Innovation – in research methods and techniques, in documenting people’s changing praxis and social relations, in comparative analysis and a destabilizing strategy of re-analysis within ethnography – became the School’s hallmark. Much of this exploration confronted troubling times in Africa, colonial and postcolonial, which put the anthropologists and their anthropological knowledge at risk. The resurgence of debate about decolonization makes the accounts of fierce, End of Empire argument and recent postcolonial anthropology all the more topical. The lessons, even in activism, for social scientists, teachers as well as graduate and undergraduate students are compelling for our own troubled times.
writes ( 2004 : 17). When trying to grasp the rhythm of the street, he recommended the ‘marvellous invention’ of a balcony, and failing that a window, from where the flow of sounds and movements can be disentangled. At Billingsgate, I repeatedly found myself climbing the stairs and looking down on the market hall from the first-floor gallery in an effort to contain and clarify the sensory overload of being there. And here, the possibility of making a film based on time-lapse photography to ‘capture’ the rhythm of the market began to take shape.
noted in the introduction that much of the work on cultural and creative industries, and their associated occupations, has been shaped by policy definitions. As with the other parts of our analysis in this book, we are using the Department for Culture, Media and Sport’s (DCMS) influential definition. DCMS’s well-known formation of creative industries covers nine occupational clusters: advertising and marketing; architecture; crafts; design (product, graphic, and fashion design); film, TV, radio, andphotography; IT, software, and computer services; publishing; museums
bags were made using printing techniques
inspired by Cage, and a ‘John Cage Video Booth’ was set up to make a collaboratively constructed piece of video poetry from randomly selected words. Simple
concertina journals with lino-printed covers were made together with handcrafted
bookmarks to capture responses to the music and art on display. One activity also
asked participants to respond in the form of a haiku (a three-line Japanese poem)
and this became a film installation when the poem was typed using a vintage
typewriter, filmedand projected.
Over two hundred
societies much less to some sort of imagined archaic phase of human
existence. Elsewhere I offer extensive critiques of ‘scientific fire myths’
that occur in two recent books that lie on the serious end of popular
science writing.2 Here3 I will round out the modern status of the fire
myth by calling attention to, and offering some preliminary comments
on, another, quite different venue in which something like the traditional fire myth appears – specifically, popular cinema.
My focus will be a film that directly deals with gaining control of fire
Public and private negotiations of urban space in Manchester
see and recognise one another’s desire. Such unarticulated qualities of life require the
use of more evocative, multi-dimensional and sensuous expressions than the
realist documentary conventions of anthropology permit (Crapanzano 2004;
Edwards 1999: 54). The use of conventional anthropological photographyandfilm presented a number of practical and ethical problems in the context of
my research. Many of the lads were suspicious of photography, seeing it as
a form of surveillance and fearing the potential social, legal and personal
, comic strips, crosses, and portraits of Pope John Paul II,
paintings, film posters, posters with animals, naked women, male
film stars with naked chests and unzipped jeans: in other words,
sacrum and profanum.
A search for office images in a stock photography bank would
yield photographs of neat offices, where clean furniture occupies
an otherwise empty space. No mascots, family photographs, ferns,
printed or handwritten way-finding signs, piles of documents in
binders and boxes scattered on the floor or falling from shelves.
The reality as seen by the researcher (me
considering the importance for mega-events of the rise and influence of mass television
(Chapter 1). Even before it had become effectively universal in the US in the
1950s and in Europe in the 1960s this period was being referred to as the television age. An interesting illustration of the common usage of this concept here
is that of a legendary figure in the birth and growth of America’s film industry
from the 1920s to the 1950s, namely Samuel Goldwyn, founder of the MGM
film corporation. Towards the end of his life he recognised the scale of the
28 I have written elsewhere about Chris Porsz and other Peterboroughbased photographers’ care and support during my research. See Ben
Rogaly, ‘“Don’t show the play at the football ground, nobody will
come”: the micro-sociality of co-produced research in an English
provincial city’, Sociological review, 64:4 (2016), 657–680.
29 At this stage I had not yet begun to work with Jay Gearing, director
of Workers, who also came up with the title for the film.
30 See Chris Porsz, ‘Nene Park project’, in Chris Porsz – Street Photography, available online at: www
of students on
campuses worldwide who employ a virtual carnival of arts such as community
theatre, film, video, posters, poetry, music, textiles, zines, puppets and more to
make statements, address social issues, challenge authority and injustice or simply
have fun and celebrate.
Yet we can argue equally that improvements remain to be made. Not all of
the arts (read crafts) are recognised as valid ‘high’ art forms; the chasm between
high and low art persists, perpetuated by other elitisms on the higher education
campus. Many university art museums or galleries are