My participatory photography and video project with a First Nations teen drop in center in Northern British Columbia has revealed the benefits of viewing cameras as toys through which community-based research projects can actively engage the world rather than as tools for authoritative observers. The interactive play between the instant feed back of digital cameras placed in youths’ hands creates relationships that allow for the exploration of delicate subjects and intimate moments captured on video. The display of meanings constructed through visual images reveal powerful possibilities for visual research methodologies used in collaborative research.

My participatory photography and video project with a First Nations teen drop in center in Northern British Columbia has revealed the benefits of viewing cameras as toys through which community-based research projects can actively engage the world rather than as tools for authoritative observers. The interactive play between the instant feed back of digital cameras placed in youths’ hands creates relationships that allow for the exploration of delicate subjects and intimate moments captured on video. The display of meanings constructed through visual images reveal powerful possibilities for visual research methodologies used in collaborative research.

My participatory photography and video project with a First Nations teen drop in center in Northern British Columbia has revealed the benefits of viewing cameras as toys through which community-based research projects can actively engage the world rather than as tools for authoritative observers. The interactive play between the instant feed back of digital cameras placed in youths’ hands creates relationships that allow for the exploration of delicate subjects and intimate moments captured on video. The display of meanings constructed through visual images reveal powerful possibilities for visual research methodologies used in collaborative research. / Arts, Faculty of / Anthropology, Department of / Graduate

As places where multiple cultures, faiths, and artistic practices come together, museums exist as physical sites of intersection. They are at once sites of debate, dialogue, protest, and partnership. This intersection uniquely positions museums as capable of tackling challenging subject matter related to human rights and global justice. Through interviews conducted with heritage professionals from eight different institutions across Canada, this dissertation analyses the curatorial practices, methods of collections research, exhibition design strategies, educational programming, and public outreach initiatives of these institutions as they relate to Canada’s three official national apologies delivered in the House of Commons for: The Japanese Canadian Internment during World War II; the Chinese Head Tax and Exclusions Laws; and Indian Residential Schools. This research considers: (1) how are human rights abuses that have occurred in Canada are presently being defined and displayed in Canadian galleries and exhibition spaces; (2) the nature of collaborations and partnerships involved when designing exhibitions of this nature; and (3) the role of both material culture and survivor testimony in processes of creating human rights exhibitions. As a multi-sited ethnographic study into the process of museological project design, the results of this research provide valuable insights into the challenges faced and the strategies deployed by heritage professionals when working with difficult subject matter. This research finds that emotional experiences play a large factor in processes of project development about challenging subject matter. Working with survivors of trauma is not just about creating a successful exhibition; in the end, the exhibition is but one part of the museological process. Museological work of this nature typically involves working directly with survivors of trauma, with exhibitions more often driven in development by the personal narratives shared by survivors and less so by objects in collections. As such, this strain of museological work comes with the possibility for survivors to heal from past trauma through the sharing of their experiences and this healing is part of the transformative potential of museological work. Additionally, this research strongly indicates that the flexibility of smaller, community-driven institutions, where the needs of project participants are central to the curation process, stand as strong examples of human rights work produced through the space of the museum. As such, partnerships between smaller galleries and larger museums exist as valuable sites of institutional collaboration in Canada. Finally, this research indicates museums are situated as key players in the ongoing development of human rights discourses in Canada. Museums create and contribute to the public’s legal understandings of rights and justice as produced through the pedagogies of museum practice, and these pedagogies come to educate the public about acts of discrimination, cultural inequality, violence, and genocide that have occurred in Canada. Such contributions position museums as public institutions as valuable to 21st century rights-based research in Canada. / Graduate

Throughout the thesis I take symbolic communication and visual metaphors as starting points for developing a contemporary picture of diverse Craft practices in a small corner of Scotland.  This thesis is both an ethnography of Craft and a craft object, explicitly made to be a theory-laden object of material culture. This thesis aims to question a variety of epistemological regimes found not only in anthropology but also in the North-East of Scotland.  The main argument of this thesis is that in order to understand something about Craft and the experiences of its makers it is important to have an understanding of the ways in which they create that world as meaningful: that is, an understanding of the thirdness (or symbolism) that is an active, generative force in that world.  In the following chapters I argue two interwoven points: one, that a stash (collection) is a collection of stash (craft materials) and is also a site of thirdness in which symbolic thought and action are vital.  And two: that, as such, stash and the craft world in which it is embedded are well served by an approach to visual anthropology and that takes seriously a study of semiotics in which poetics become more than a subject of analysis; poetics are also allowed to develop into a method(ology) of engaging both informants and audience in a meaningful dialogue of knowledge production. By using images to contextualize ethnographic evidence and by making these previous points not only with words, but also through imagery, I aim to convince the reader of the integrity of my ethnographic analyses as well as that theories of visual anthropology are as useful for analysing anthropological subjects as for communicating ourselves.

Anishinabeg are not strangers to photography. Like many Indigenous communities in North America and elsewhere, Anishinabeg have a history of being pictured by governments, artists, and researchers working within the confines of colonial thought and practice. Not surprisingly, much of this colonial artwork has drawn considerable scholarly critique, calling attention to issues including misuse of power, cultural appropriation, assimilation, and misrepresentation. While this work continues to be significant in contributing understanding of how colonialism played out visually and materially, it may also unintentionally generate the misconception that Indigenous Peoples were only the subjects of the camera or had little or no authority over the photographic experience. Indeed, photography has its own history and place within the creative practices and traditions of many Indigenous Peoples. This research project explores the role of Anishinabe photography in the reclamation and continuance of Anishinabe stories, memories, and knowledge among Anishinabe families with ancestral and present day ties to Anishinabe lands in the northwest region of Ontario. As a result of imposed colonial legislation, Anishinabeg in this region have been displaced from their traditional lands, which has had direct consequences on their ability to retain their language, culture, and life skills. Today, Anishinabeg live in the aftermath of colonial violence perpetuated against their ancestors. The severing of land and kin connections has left many Anishinabeg struggling with issues including loss of identity and sense of belonging. Despite of these ongoing challenges, Anishinabeg have struggled to recover and maintain their knowledge, language, sovereignty, and spirituality through various personal and shared activities and initiatives. This research incorporates a research framework that integrates visual, narrative, and material strategies to directly confront the aforementioned colonial legacies of erasure and disappearance of Anishinabeg. It seeks to explore and privilege Anishinabe experiences and stories by weaving together various theoretical and methodological threads of decolonization, photography, place, visuality, materiality and memory. Through processual and creative ways of bringing together and experiencing photographs, it contributes to understandings of the significance of photography to Indigenous-led efforts directed towards decolonization, including cultural revival and continuity, sense of belongingness, identity, and caring for relationships among person, place and land. This research intervenes in Anishinabe lands, stories, and experiences that fall outside the jurisdiction of the Indian Act or “official” dominant versions of history and therefore provides a powerful counter narrative that seeks to both destabilize widely accepted colonial myths and contribute to Anishinabe sovereignty. Major findings of this research position Anishinabe photographs as highly relational and social things that may help configure and congeal a host of relationships between people, the land, and their ancestral past. It introduces new ways of working with and through historical family photographs—ways that are grounded in existing Anishinabe material and embodied practices. Through these practices it contributes knowledges about the past that can be acquired through these practices. As such, it offers new sets of relationships that strengthen individual ties to the ancestral past in ways that both honour our responsibilities to our ancestors and their teachings as well as our commitments to generations ahead of us. / Graduate

Recent critiques of both the subject and method of anthropology have caused the discipline to reexamine its process of representation. This thesis provides an exploration of approaches to representation in visual anthropology, with specific emphasis on collaborative visual ethnography. Both theoretical and practical issues are considered. The first chapter traces the history of ethnographic film and discusses various approaches to subject participation in literature and films. The second chapter presents a theoretical basis for collaborative visual ethnography, primarily from "postmodern" critiques of anthropology and recent visual anthropology literature. The third chapter consists of an analysis of a video resulting from a collaborative project I facilitated, in order to illustrate ideas of collaborative visual ethnography in a practical setting. The fourth, and final, chapter examines the few examples of collaborative film and video that are documented in order to construct a framework for approaching collaborative projects.

Orientador: Etienne Ghislain Samain / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T19:18:53Z (GMT). No. of bitstreams: 1 Sacchi_Wellington_M.pdf: 50359223 bytes, checksum: dedccbaa652c9492b898ea37bfa6f4ea (MD5) Previous issue date: 2009 / Resumo: Essa pesquisa teve como objetivo central aproximar-se do conteúdo identitário do artista circense para conseguir estabelecer reflexões a respeito da identidade saltimbanco. Diante das diversas possibilidades que se instauram na busca desse complexo que é a identidade, procurou-se estabelecer inicialmente um cenário de onde pudessem ser extraídos dados específicos que levassem a analises com a riqueza de conteúdo suficientes. Para tanto foi escolhido o circo como objeto de estudos e conseqüentemente o grupo de circenses que o integra como fonte de dados. A proposta para alcançar essa coleta dentro da pesquisa foi definida a partir da possibilidade de representações desse grupo em questão através, preponderantemente, de imagens fotográficas, produzidas em circos que fossem escolhidos aleatoriamente. Em decorrência dessa intenção foi estruturado um trabalho de campo em dois circos distintos, primeiramente o Circo Mundo Mágico e em seguida o circo Stankowich, ambos com características marcadas em serem conhecidos como circo-família que são os mais comuns encontrados no Brasil. Iniciado no ano de 2005 e finalizado no ano de 2008, foram produzidas as fotografias além de coletado outros dados, como entrevistas, captações de vídeo, diário de campo pesquisa de opinião, também necessários ao estudo. Desenvolveu-se, com as centenas de fotografias produzidas, um sistema de pranchas fotográficas, que são a reunião de algumas imagens em uma determinada folha para posterior analise. Dentre as 33 pranchas montadas passa-se a fase das analises de diversas questões que tangenciam a identidade do circense sempre com a referência dessas fotografias. Nesse sentido as imagens formaram o conteúdo principal dos resultados analíticos para o reconhecimento de diversos aspectos antropológicos do grupo pesquisado. Diante de todos esses reconhecimentos chega-se a possíveis faces do caráter identitário do circense que perpassam pelo seu corpo físico, por sua forma nômade de ser, até o picadeiro. / Abstract: This research had as a central objective to set closer of the content of circus artist identity to be able to establish reflections about circus artist identity. In front of several possibilities that began in the search of this complex that is the identity, it was establish initial scenery where could be extract specific data that led to analysis with reach and sufficient content. For that was chosen the circus as an object of studies as a result the group of artists that belong to the circus are the source of data. The proposal to achieve this collection inside the survey was defined to the point of the possibility of representation of this group cited to a large extent through photography pictures, produced in circus that were selected randomly. As a result of the previous intention was structured a field work, in two distinct circus, firstly the circus "Mundo Magico", secondly the "Stankowich" circus, both with characteristics of family circus, that are the most common found in Brazil. Initiated in the year 2005 and finalized in the year 2008 was produced the photography images besides other data collection such as, interviews, filming, field journal, opinion research, also necessary for the study. It was developed with hundred of photography images taken, a system of photography plates, that are a grouping of some images in a kind of paper sheet for posterior analysis. Among third three photography plates set up occurs the phase of analysis of many issues that get to close of the identity of the circus artist, always with a reference from these photography images. In this way the photography images produce the main content of analytical results for the recognition of the diverse anthropology aspects of the group of artist researched. In front of all these recognitions gets into the possible faces of the identity of the circus artist, that goes through their physical bodies, per their nomad way of being, until the circus ring. / Mestrado / Multimeios / Mestre em Multimeios

Orientador: Etienne Ghislain Samain / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T08:36:23Z (GMT). No. of bitstreams: 1 Elias_AlexsanderNakaoka_M.pdf: 39791989 bytes, checksum: 4410d94ead230dd50e52a30b4289ec6e (MD5) Previous issue date: 2013 / Resumo: O presente trabalho recorre à utilização das imagens fotográficas, para reconstruir, através de uma documentação verbo-visual, a memória da comunidade budista japonesa Honmon Butsuryu-shu (HBS), tendo como objeto principal de estudo a Catedral Nikkyoji, localizada na cidade de São Paulo. Levamos em conta aqui, o fato de a HBS ser a mais antiga vertente budista no Brasil, chegando ao país no ano de 1908, sob as mãos do sacerdote Issui Ibaragui. Temos ao nosso dispor, portanto, mais de um século de história e tradição, a ser desvendada através de imagens. A tarefa em questão é acompanhar a rotina dos sacerdotes da Catedral Nikkyoji, mostrando que suas diversas práticas e atividades, assim como a participação dos fiéis nos diversos cultos (sejam eles matinais, póstumos ou domiciliares), transitam em torno de um ritual central, que consiste na veneração e adoração de uma inscrição (escritura) sagrada, cerne desta tradição budista. Tal inscrição, recitada quase incessantemente, denomina-se Namumyouhourenguekyou, e consiste no Sutra (ensinamento transmitido pelo Buda Shakyamuni ou Buda Histórico) que representa o alicerce tripartite da HBS, sendo simultaneamente a doutrina, a oração e a imagem sagrada desta corrente. Para cumprir tal missão, esta pesquisa transita em terrenos distintos, mas que dialogam entre si. O intuito é utilizar a pesquisa de campo (conceito vindo da Antropologia Clássica) para produzir uma documentação fotográfica (espécie de etnografia visual) do principal ritual da mais antiga tradição budista em terras brasileiras. Teologia, Antropologia e Fotografia aqui se misturam, em prol da pesquisa / Abstract: This study makes use of images to reconstruct a visual documentation-verb, the memory of the Japanese Buddhist community Honmon Butsuryu-shu (HBS), having as main object of study the Cathedral Nikkyoji, located in the São Paulo city. We take into account here the fact that HBS is the oldest Buddhist strand in Brazil, coming to the country in 1908, under the hands of the priest Issui Ibaragui. We have at our disposal, therefore, more than a century of history and tradition, to be unveiled through images. The task at hand is to follow the routine of the Nikkyoji?s Cathedral priests, showing their various practices and activities, as well as the participation of the faithful in various cults (whether morning, posthumous or household), pass around a central ritual, which is the veneration and worship of an inscription (writing) sacred heart of this Buddhist tradition. This inscription, recited almost incessantly called Namumyouhourenguekyou, and consists of the Sutra (teaching transmitted by the Buddha Shakyamuni or Buddha historic) that represents the foundation of tripartite HBS, whilst the doctrine, prayer and sacred image of this current. To fulfill this mission, this research moves on land separate but interact with each other. The intention is to use the search field (concept coming Anthropology Classical) to produce a photographic documentation (sort of visual ethnography) of the main ritual of the oldest Buddhist tradition in Brazilian lands. Theology, Anthropology and Photography mingle here, for the sake of research / Mestrado / Multimeios / Mestre em Multimeios

Orientador: Ronaldo Entler / Tese (doutorado) - Universidade Estadual de Campionas, Instituto de Artes / Made available in DSpace on 2018-08-21T03:59:40Z (GMT). No. of bitstreams: 1 Carrijo_GilsonGoulart_D.pdf: 24090201 bytes, checksum: 2eac1842b66af2f045e9723d5a86546b (MD5) Previous issue date: 2012 / Résumé: Cette thèse a pour but d'étudier le potentiel et la puissance des images photographiques pour répresenter des mondes fluides, qui ne se laissent pas facilement saisir par l'écrit. En s'appuyant sur la démarche pionnière de Margareth Mead et Gregory Baterson, cette recherche de photoéthnographie s'est efforcée de compreendre la réalité des travestis brésiliennes, qui semble bouleverser les frontières de genre et poser des vraies questions pour repenser les études de genre, de l'immigration et des droits de l'homme. La thèse se structure en cinq cahiers et prétend contribuer au débat théorique sur un champ d'étude encore peu connu. Le choix méthodologique a permis le croisement des techniques différentes - l'observation participante et l'interview - et le processus de produire des photographies sur les "modes de parler, d'ecrire et de regarder" la realité / Resumo: Esta tese teve como objetivo explorar o potencial das imagens fotográficas para representar universos que, por sua fluidez, não se deixam capturar com facilidade pela escrita. Partindo da experiência pioneira de Margareth Mead e Gregory Bateson, esta fotoetnografia centrou-se na realidade das travestis brasileiras que pressionam as fronteiras do gênero e colocam questões para pensar não somente o campo dos estudos de gênero, mas também da migração e dos direitos humanos. Composta por cinco cadernos, esta tese pretende contribuir para a discussão teórica sobre um universo ainda pouco conhecido por meio de um caminho metodológico no qual o trabalho de campo possibilitou o processo de entrelaçar diferentes técnicas (observação participante e entrevista) ao de produzir fotografias. Processo que reúne "modos de falar, escrever e olhar" a realidade / Abstract: This thesis has the purpose to explore the potential of photographic images to represent universes that, because their fluency, don't permit to be captured easily by writing. Starting from pioneer experience of Margareth Mead and Gregory Beterson, this photoetnography is centered around brazilian transvestite experience, who pushed gender frontiers and brought up questions regarding migration and human rights studies. Composed by five chapters, the thesis aim to contribute to the theoretical discussion about this field of knowledge. The theoretical approach combines several different techniques (participant observation and interview) with photography. Such process joins "ways to speak, to write and to see" the reality / Doutorado / Multimeios / Doutor em Multimeios