17th ANNUAL VISUAL RESEARCH CONFERENCE
of the American Anthropological Association

Chaired by Thomas D. Blakely and Peter Biella
Marriott Wardman Park Hotel
November 26-28, 2001
Link to maps:  Roads and DC Metro

Nov. 26:    Monday Evening - 7 pm       Meet at the Registration Desk, Marriott Wardman Park Hotel, for dinner
About the Hotel

   Everyone is invited to a 7:30 dinner at the 
Lebanese Taverna
2641 Connecticut Ave, NW.
It is very near the Marriott.
Nov. 27:   Tuesday - 9 am to 6 pm     The Marriott's Maryland Suite A, Lobby Level    Lobby Map

     9:05
Thomas D. Blakely and Peter Biella
Opening Remarks
     9:30-10:15
Allison Jablonko
A Record:  Purposes and Cross-Purposes
     10:30-11:15
 Joanna Scherer
The Red Cloud Manikin
     Break   11:15-11:30
     11:30 - 12:15
 Clara Banderali
The Sorwe in Benin
    Lunch Break   12:30 to 2
 
     2:00 - 2:45
Lynn Selby
Critical Consciousness as a Goal of Applied Ethnographic Film
     2:45 to 3:30
Marc Gonzalez and Seth Babb
Explicating Graffiti
     Break   3:30 - 3:40
     3:40 to 4:00
Paul Hockings
Visual Anthropology in Yunnan, China
     4:00 to 4:45
Anne Zeller
Object Use and Tool Use in Primates
     5:00 to 5:20
Thomas D. Blakely
Gardner's and Östör's Interactive
Making Forest of Bliss
     5:20 to 6:00
Free Play with the Interactive Programs
     Dinner   6:00
Informal dinner with Conference participants

Nov. 28:   Wednesday - 9 am to 2:00 pm     The Marriott's Balcony C, Mezzanine Level   Mezzanine Map

     9:00-9:15
Peter Biella and Thomas D. Blakely
Introduction
     9:15 to 10:00
Paul Henley
Ethnographic Documentary-Making at the University of Manchester
     10:00 to 10:45
Rolf Husmann
Visualizing the History of Anthropology
     Break   10:45 to 11:00
     11:00 to 12:30
John Bishop and Harald Prins
Oh, What a Blow That Phantom Gave Me!
     12:30 to 1:30
John P. Homiak
Eye-in-I: Politics of Representation in Rastafari
     1:30
Peter Biella and Thomas D. Blakely
Closing Remarks

Allison Jablonko

A Record:  Purposes and Cross-Purposes
I will discuss how my (heightened) awareness as a "visual anthropologist" of "non-verbal communication" (proxemics, etc.) led me into a complex interaction with Paul Byers, his friend, Yannick, and the cameras. Each of the people present had a different interest in the memories of the past which would be relevant for the purpose of "Putting the Pieces Together" - the task which the then-up-coming Goettingen Conference on the Origins of Visual Anthropology was setting out to do. I was interested in making a record of Paul's memories which could be one of the "pieces". Paul presented his memories in an ambiguous relationship to "visual anthropology". Yannick and I tried to recreate our customary mode of conversations with Paul (which we had had many times down through the years) for the purpose of the record and shared with two young colleagues whom Paul had not met before. Paul was interested in explaining his current research. Each of the two camerapeople had different understandings of the goal.  Altogether, this experience, which is quite well recorded on the original tapes, provides much food for thought about the strengths and short-comings of visual records. Simultaneously, the content of the conversations which did take place throw some interesting lights on one of the original strands of what came to be known as "visual anthropology".
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Joanna Cohan Scherer with Vicki Simon
Smithsonian Institution
The Red Cloud Manikin: An Early  Representation of a Plains Indian in a Museum
The discovery of an unidentified stereograph depicting a manikin dressed in Plains Indian clothing exhibited at the Smithsonian Institution in Washington, D.C. initiated this research project.   The image was selected for use in the Plains volume of the Handbook of North American Indians, published by the Smithsonian, as one of the earliest surviving museum representations of a Plains Indian. Study of the stereograph led us to identify objects in the Smithsonian's collections that had lost their provenance.    The manikin itself probably represented Oglala Sioux Red Cloud, whose 1872 visit to Washington likely provided the impetus for making the manikin.

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Clara Banderali
State University of New York
Towards the Circumcision ... With Humor
    The purpose of my video screening is to present some aspects of the Sanwaís life during a one and a half year long preparation for the circumcision. The Sanwa are an age-group of 20 to 25 year-old men who belong to the Soruwe of the Taneka villages (North Benin). Their circumcision is a rite of passage to adulthood, where they prove courage and pain endurance to their relatives, co-villagers, and to themselves.
    The method I used to shoot my footage was to follow the Sanwa wherever they went and whatever they did during their liminal period. Some of the shooting was connected to a specific event, some, on the contrary, was just ìrandom shooting.î   I shot the Sanwaís spontaneous dialogues while they were attending their daily routine. The results were surprising: through the dialogues, I had answers without asking any questions. Also, I could capture the Sanwaís sense of humor, something that accompanies them throughout their path towards the circumcision. =============
Anne Zeller University of Waterloo Object Use and Tool Use in Primates Current definitions concerning the use of external materials by animals specify certain conditions under which tool use can be claimed to occur.  The objects used must be detached from the substrate, must be manipulated by the animal and a goal must be attained (or at least the attempt made).  To me this seems to be the far end of a continuum of possible manipulations. Objects may be used when not detached, the manipulations can be subtle and the gaol may be evanescent rather than of high functional value. At what point is an animal's manipulation of the external world such a commonality that it is no longer worthy of comment, and in what directions and stages can the increase of manipulation occur before reaching the breakover point at which tool use can be claimed? For many years we humans laid claim to being the tool makers and users of the world.  In a sense this parallels our human claim to be the only language users which is also being challenged by the abilities of the higher primates.  This paper is a discussion of the background of this controversy and an investigation of whether there is a fundamental difference between object use and tool use in primates.
  ============== Lynn Selby     San Francisco State University Critical Consciousness as a Goal of Applied Ethnographic Film Martinez' (1991) work on film reception calls attention to the need for ethnographic based audience analysis, particularly when films are used in applied contexts. A fifteen minute documentary, Surviving the Streets, a life-history video of two adults who were once involved in drug dealing and gang life, was field tested as a tool for applied critical consciousness with four different youth audiences. Five screenings were conducted: a compulsory class at a group home for pregnant teens, a boys' support group at an alternative high school, a girls' support group at a street-youth case management and night outreach program, and two high school senior peer-education classes at a private high school. Group discussions followed each screening, and three audiences also provided anonymous feedback written for the filmmaker. This paper will first discuss those themes in the video that most strongly resonated with youth at risk. Its secondary focus is to describe how privileged high schoolers responded to a documentary about street youth. Finally, the paper will address problems of conducting field research among teenage film audiences. It will show the importance of pre-screening work with adult agency staff members in charge of the young viewers, and will describe probes that yielded the greatest youth participation.

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Marc Tizoc Gonzalez & Seth Robert Babb     San Francisco State University and the San Francisco Art Institute Explicating Graffiti In a short ethnographic film, Up & Over: San Francisco 2000, we used the voices of six contemporary graffiti writers to present emic interpretations of images of graffiti that we made last year in San Francisco. While the medium of digital video facilitated the introduction of certain aspects of our subject, it also constrained what we were able to explain.  Therefore we are currently designing a CD-ROM to complement the information in the film. Our presentation at the Visual Research Conference will provide a guided tour of the CD-ROM and demonstrate a way in which multimedia may amplify an existing filmic description and explanation of a cultural phenomenon. =========== Paul Hockings     University of Illinois-Chicago Circle) Visual Anthropology in Yunnan, China     About four years ago the Institute for Scientific Film in Goettingen, with funding from the Volkswagen Foundation, began a training program at what immediately became known as the East Asia Institute of Visual Anthropology. This is a part of the newly formed Anthropology Department at Yunnan University, Kunming. The Institute has close ties with documentarists at Yunnan Television, based in the same city. I was one of the first to give lectures in this Institute, and returned again last May to make some further presentations. The main work, however, has been hands-on training in ethnographic film production, under the guidance of Andrea Seltzner, Barbara Keifenheim, Rolf Hussman and others. Some excellent films have already been produced by the students, and the program is set to continue till 2004.
    Now I am about to move to the other end of that Province, to Lijiang Television, where I will co-ordinate a wide range of literature in Chinese and several European languages, as well as examine locally made TV documentaries about ethnic groups, pulling this all together into a series of books, articles, and CD-ROMs. As a consequence, I am leaving the University of Illinois. =============
Thomas D. Blakely Pennsylvania State University Gardner's and Östör's Interactive Making Forest of Bliss: Intention, Circumstance, and Chance in Nonfiction Film
  =========== Rolf Husmann IWF - Knowledge and Media, AB 3: Culture and Society Visualizing the History of Anthropology To a large extent, visual anthropology focuses on the making of ethnographic films dealing with many different anthropological topics from all cultures of the earth. Although the history of anthropology is a subject studied by virtually all students and anthropologists at one time or another, only few films have been produced, which treat anthropology and its own history as a topic. The BBC series "Strangers Abroad" has made an attempt at doing so (e.g. with films on Margaret Mead and Malinowski), as have films on Raymond Firth and Fredrik Barth produced by the Göttingen IWF. This paper tries to describe and analyse these films with respect to their academic usefulness in teaching and their value as historical documents. It further presents excerpts from footage of a talk between Isaac Schapera and Adam Kuper in which they discuss ways of making the material accessible to the discipline. =========== Paul Henley     Director, The Granada Centre for Visual Anthropology Ethnographic Documentary-Making at U Manchester     Despite its general name, the MA in Visual Anthropology at the University of Manchester concentrates almost exclusively on ethnographic documentary-making. It has been going since 198 and to date has graduated more than 100 students.  It recently doubled its numbers and trains an average of fifteen students a year on the 13-15 month program.  Increasingly, a number of these students (currently 2-3 per year) then go on to study for the so-called Ph.D. with Visual Media.  For this degree, the University Senate recognizes that although a written text will be of ëparamount importance,í film, video or other visual media may be substituted as a ënecessary and integralí aspect of the thesis. So far, three students have been awarded doctorates, two more are about to complete, and a further six are at earlier stages of the process.     With the aid of extracts from student work, this presentation will outline the general approach to ethnographic documentary making promoted by the Granada Centre (that is a particular form of going ëbeyond observational cinemaí) in the context of discussing the pedagogical strategies underlying the MA program and describing the variety of ways in which ethnographic documentary has been used by students working toward doctoral degrees. =========== John Bishop and Harald Prins    University of California, Los Angeles and Kansas State University Oh, What a Blow That Phantom Gave Me! Edmund Carpenter on the Culture of Illusion     As a pioneer in media anthropology, Edmund Carpenter is perhaps best known for his quixotic book Oh, What a Blow that Phantom Gave Me! (1972). A romantic idealist like Cervantes' chivalrous hero, Carpenter has been intrigued by the illusionary in human cultures. Fascinated by the fakes and phonies, he has become a world-famous specialist on the transporting significance of tribal art and modern media. His explorations of visual media began in the late 1940s. After a decade at the University of Toronto, where he collaborated with Marshall McLuhan, he joined a new campus in Northridge, California. There, Carpenter directed an experimental program in visual anthropology from 1958 to 1967. He then rejoined with McLuhan at Fordham for a year, writing They Became What They Beheld. In 1969, after another year of teaching at UC-Santa Cruz, Carpenter went off to Papua New Guinea, having been hired by the Australian government to study the effects of electronic media on tribal peoples. Experimenting with visuality and cultural feedback, he became disillusioned by modern media's dramatic impact on tribal peoples, feelings he articulated in an essay titled "Misanthropology," published in his 1972 book. Since then, Carpenter has taught anthropology at various institutions, including Harvard University and The New School for Social Research, and continued publishing on tribal art. In his terse eloquence, he resembles the Arctic barrens where he has done so much of his fieldwork. An observer of humanity, Carpenter reveals little about himself. An expert in the anthropology of visual media, he avoids the spotlights. A specialist in communication, he does not like to advertise his many professional accomplishments. And although he has many admirers who have read his articles and books, or heard him speak, little has been written about him. Indeed, in spite of his fame, he remains an elusive figure in the professional corridors of the discipline.
    With this joint project, which began in 1997, we are documenting Carpenter's contributions to visual anthropology. We began interviewing and videotaping him at various places in New York and California. In addition to ample footage of the raconteur himself, the video includes interviews with Adelaide de Menil, Robert Gardner and a host of other visual anthropologists convening in East Hampton, 2000. Footage filmed at the IWF Conference in Goettingen, Germany, June 2001, has been included in the video project in progress. =========== John P. Homiak     Human Studies Film Archives, Smithsonian Institution Eye-in-I: Globalization, Imaging Practices, and the Politics of Representation in Rastafari     Rastafari is a decentralized movement of black social and religious protest that originated in Jamaica in the early 1930s. Over the course of its development, the movement has built upon a principle of "unity within diversity." In particular, the faith has appealed to universal principles of inclusion for peoples of all races and nationalities while at the same time remaining highly African-oriented in politics and cultural symbolism. As it has spread throughout the Black Atlantic world and beyond, this seeming contradiction has given rise to contestations over identity, the policing of boundaries, and representation. These concerns have been amplified in recent decades by the emergence of Rastafari as a "traveling culture" whose peripatetic members link communities in the Caribbean, Europe, North America, and Africa. As a white, middle-class ethnographer who has been engaged in long-term research on Rastafari (and collaborated with Rastafari on various projects of public representation), I discuss the my own research and imaging practices (including videography and photography) among Rastafari communities in the Caribbean, North America, and South Africa. Discussion of these issues includes my collaboration with Dr. Carole Yawney (another long-term Rastafari researcher), and our joint project to prepare an exhibit on the globalization of Rastafari in the Africa Hall of the Smithsonian's National Museum of Natural History.