visualisingCover.Qrk 25/10/04 2:41 pm Page 1 VISUALIZING Questions of vision and knowledge are central G r to debates about the world in which we live. i m Developing new analytical approaches toward s ways of seeing is a key challenge facing those h ANTHROPOLOGY a working across a wide range of disciplines. w How can visuality be understood on its own & terms rather than by means of established R textual frameworks? Visualizing Anthropology a v takes up this challenge. Bringing together a e range of perspectives anchored in practice, AAnnnnaa GGrriimmsshhaaww(above right) studied tz Anthropology at Cambridge. She published a EDITED BY the book maps experiments in the forms and personal memoir of her doctoral fieldwork, techniques of visual enquiry. Servants of the Buddha(1992); and recently ANNA GRIMSHAW completed a book about anthropology and cinema, The Ethnographer's Eye(2001). She is Associate Professor of Visual Culture, Emory V AND AMANDA RAVETZ The origins of this collection lie in visual I University, USA. S anthropology. Although the field has greatly U AAmmaannddaa RRaavveettzz(above left) trained as a painter A expanded and diversified, many of the key at the Central School of Art and Design and later L debates continue to be focused around the completed a doctorate in Social Anthropology IZ with Visual Media at the University of I textual concerns of the mainstream discipline. Manchester, where she also lectured. She is N currently an AHRB Research Fellow at MIRIAD, G In seeking to establish a more genuinely Manchester Metropolitan University. A visual anthropology, the editors have sought to N T forge links with other kinds of image-based H projects. Ethnography is the shared space of R O practice. Understood not as a specialized P method but as cultural critique, the book O L explores new collaborative possibilities linked O G to image-based work. Y ‘This volume will serve to stimulate the idea of a new and vital synthesis for the future of this discipline.' Roger Crittenden National Film and Television School ‘A spectacular achievement, rife with significance for scholars ISBN 1-84150-112-3 i n and practitioners across intellect t the humanities, human e NEW PO Box 862 l sciences, and the arts.’ Bristol BS99 1DE l MEDIA e United Kingdom c intellect www.intellectbooks.com t 9 781841 501123 ‘This important and wide-ranging volume of essays is the first to explore the synchronicity of the ethnographic turn in the art world and the visual turn in anthropology. Resituating observational cinema in an array of contemporary forms of cultural production and performance, the authors probe in incisive and often unanticipated ways both the creative misunderstandings and the overt cross- pollinization that is occurring between anthropology and art. A spectacular achievement, rife with significance for scholars and practitioners across the humanities, human sciences, and the arts.’ Lucien Taylor, Harvard University, USA. 'This book of essays is a very welcome addition to the literature of visual anthropology. It is a valuable record of some 'projects that bridged discreet areas of specialisation' as stated in the introduction. The conclusion 'that working with artists, writers, photographers and film-makers functions not to dull anthropological sensibilities but to sharpen them', is very apposite. As a field of study visual anthropology can only be enriched by embracing the full variety of evidence available. Anna Grimshaw and Amanda Ravetz have demonstrated the courage of their convictions and this volume will serve to stimulate the idea of a new and vital synthesis for the future of this discipline.' Roger Crittenden, National Film and Television School, UK. First Published in the UK in 2005 by Intellect Books, PO Box 862, Bristol BS99 1DE, UK First Published in the USA in 2005 by Intellect Books, ISBS, 920 NE 58th Ave. Suite 300, Portland, Oregon 97213-3786, USA Copyright ©2005 Intellect Ltd All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission. A catalogue record for this book is available from the British Library Electronic ISBN 1-84150-909-4 / ISBN 1-84150-112-3 Cover Design: Gabriel Solomons Copy Editor: Holly Spradling Printed and bound in Great Britain by Antony Rowe Ltd. Visualizing Anthropology Edited by Anna Grimshaw and Amanda Ravetz Table of Contents 1 Introduction: Visualizing Anthropology Anna Grimshaw and Amanda Ravetz 17 Eyeing the Field: New Horizons for Visual Anthropology Anna Grimshaw 31 Reflections of a Neophyte: A University Versus a Broadcast Context Julie Moggan 42 Seeing is Believing: An Ethnographer’s Encounter with Television Documentary Rachel Robertson 55 Cameras at the Addy: Speaking in Pictures with City Kids Margeret Loescher 69 News from Home: Reflections on Fine Art and Anthropology Amanda Ravetz 81 Give Me a Call Elspeth Owen 90 The Experience and the Object: Making a Documentary Video Installation Inga Burrows 100 Setting Up Roots, or the Anthropologist on the Set: Observations on the Shooting of a Cinema Movie in a Mapuche Reservation, Argentina Arnd Schneider 121 The Filmed Return of the Natives – To a Colonizing Territory of Terror Judith Okely 133 Becoming an Artist-Ethnographer Ta b Roanna Heller le o f C o n te n ts v 143 Creation and I, Me and My Work: A Personal Account of Relations Between Film, Film-maker and Teaching Erik Knudsen 152 Making Nothing Happen: Notes for a Seminar Pavel Büchler y g o ol p o hr nt A g n zi ali u s Vi vi Introduction Anna Grimshaw and Amanda Ravetz Visualizing Anthropologyhas its origins in a convergence of interests and series of collaborations that developed at the Granada Centre for Visual Anthropology, University of Manchester. As lecturers at the Centre we had become concerned about the types of visual practice that constituted the contemporary field. We were aware from our own experience of ethnographic research that the visual forms at our disposal (documentary film and, to a lesser degree, stills photography), had begun to feel limiting to the kind of anthropology we wanted to pursue. The recent opening up of a shared ethnographic space, notably between anthropology and art, sharpened our sense that ways of working relevant to us as anthropologists existed beyond our own disciplinary boundaries. We felt that these should not be ignored by a discipline committed to the study of visuality and visual practice. The Granada Centre was critical in the development of our work. Located between the academy and the much larger world of media production, it offered an unusual space in which to pursue a more radical visual anthropology. Since its foundation in the late 1980s, the Centre has emerged as one of the leading sites for anthropological film-making. Its students have produced an impressive range of documentary films that have established the Centre’s distinctive profile. In significant ways, this body of work reflects both the strengths and weaknesses of visual anthropology as it currently stands. It suggests new ways of exploring and representing contemporary ethnographic realities, at the same time, it reveals that work continues to be inhibited by the conventions of textuality. For, although ethnographic film has long been critical to conceptions of the field, those working with moving images have found it difficult to shake off the discursive pressures of the mainstream discipline that have served to limit the emergence of a genuinely visual anthropology. Over the last decade the field of visual anthropology has greatly expanded and diversified, such that ethnographic film is now only a small part of an eclectic range of interests. Nevertheless, there remains a continuing division between, on the one hand, anthropologies of the visual and, on the other, visual practice itself. The challenge, it seemed to us, was to bring these two clusters of interest together so that theory and practice could be more effectively – and creatively – linked. Experimental collaboration has been at the heart of our project in visual anthropology. This initiative began as a series of ad hoc arrangements, occasionally In supplementing core teaching in ethnographic cinema. Increasingly, however, tro collaborations across existing boundaries of practice emerged as critical to our du c intellectual agenda as visual anthropologists. The challenge was to find ways of tio n integrating this work into the Granada Centre’s existing Masters programme, 1 given its exclusive focus on ethnographic film-making. Changes in the context of the Centre’s operation (increased student numbers, a transformation in the culture of broadcasting, the rise of new technologies) made a reassessment of purpose inevitable. Specifically, we were forced to acknowledge the kind of documentary that was the hallmark of the Centre limited both staff and students. The thirty-minute graduation film, with its origins in a pedagogical approach linked to observational cinema, began to look constraining and formulaic. Although we continued to be committed to observational cinema as instrumental in the shift of ethnographic perspective from a literary to filmic approach, we wanted to work with it in different ways. Understood not as a form of “visualism” (Fabian 1983), but as a certain kind of mimetic practice yielding knowledge through contact (Taussig 1993), we sought to use observational cinema as the basis for an investigation of what Laura Marks (2000) calls “tactile epistemologies”. “Visualizing anthropology”, as we characterized our project, was about going beyond the narrow concerns of ocularity to investigate ways of knowing located in the body and in the senses. Our purpose was twofold. First of all, we were interested in extending the scope of ethnographic enquiry such that areas of human experience inadequately rendered through discursive forms might be approached. Secondly, we wanted to interrogate the assumptions of a discursive anthropology from a different epistemological position. The development of projects that bridged discrete areas of specialization was at the heart of our project. Beginning as a special issue of the Journal of Media Practice, this book is a report on this work.1TheJournalenabled us to provisionally map our interests, providing a space in which we could present examples of collaboration between anthropologists and a range of visual practitioners. The ground of shared practice was ethnography, conceptualised as “ a willingness to look at common sense everyday practices – with extended, critical and self-critical attention, with a curiosity about particularity and a willingness to be decentred in acts of translation” (Clifford 2000: 56). To propose working across established boundaries of practice is always a risky enterprise. Developing projects across the academic–non-academic divide is even more fraught, since it raises issues of intellectual legitimation. “How can the objects that result from shared work be properly evaluated?” is usually one of the first questions to be asked. How does one decide whether an ethnographic work is art or anthropology – or something else? Although occasionally confusing of disciplinary certainties, these kinds of questions are important and interesting. It is our experience of exploring other fields of enquiry that overlap with academic y g anthropology as traditionally constituted, does not bring about intellectual collapse o ol – the opening up of a sort of conceptual black hole. Quite the opposite. We have p o hr found that working with artists, writers, photographers and film-makers functions Ant not to dull anthropological sensibilities but to sharpen them. g n zi ali u s Vi 2 Visual Anthropology Both editors came to the Granada Centre with experience of working in a range of contexts, including television, the art/public gallery, participatory arts, political and cultural activism. From the outset, we sought to creatively link our earlier practices with established techniques and forms of academic anthropology. Visual anthropology became the field in which we sought to work more expansively with ethnography. In particular, we wanted to approach ethnography not as the exclusive and specialised method of a professional discipline but instead as technique or set of techniques linked to a critical stance toward questions of contemporary culture and society (Marcus and Myers 1995). Visual anthropology developed as a sub-discipline during the 1970s. It was part of the more general expansion and fragmentation of post-war anthropology as it became established within the universities. The publication of Paul Hockings’s book, Principles of Visual Anthropology in 1975, marked a significant moment in the consolidation of the field. This edited volume brought together a range of interests and activities that had been taking place at the edges of the academic discipline. From the outset, what constituted the visual in visual anthropology was quite limited. Documentary film was central. The anthropology of art, however, existed as a sub-discipline in its own right, concerning itself with “primitive”, tribal or non-western art. Both sub-disciplines were somewhat marginal to the textual preoccupations of mainstream anthropology, at the same time as they internalized its conceptual frameworks. Until recently, those working in the field of visual anthropology oriented themselves more toward the anthropological part of the equation than the visual. Their intellectual agenda was shaped by the discursive concerns of the academic discipline that served to inhibit the investigation of other kinds of ethnographic experience yielded more effectively through visual techniques and forms. Ironically, what Lucien Taylor has identified as anthropology’s “iconophobia” (1996) reverberated through the sub-discipline itself. In particular, ethnographic film- makers were often reluctant to depart from a narrow range of realist conventions in their pursuit of a visual anthropology. The work of Robert Gardner has always been an important exception to the prevailing trend; but the intense controversy that his cinema provokes is a sharp reminder of the disciplinary resistance to the aesthetic possibilities of image-based forms.2 According to David MacDougall (1998), this situation has led to the production of what he calls, following Ruby, films about anthropology rather than anthropological films. By this he means that visual approaches are placed in the service of textual preoccupations. Drawing a distinction between a film that “merely reports on existing knowledge”, and one that seeks to “cover new ground through an integral exploration of the data”, MacDougall argues for a genuinely visual anthropology that is not about the “pictorial representation” of anthropology. Instead it is a process of inquiry in In which knowledge is not prior but emerges and takes distinctive shape, as he puts tro it, “through the very grain of the filmmaking” (1998:76). du c tio n The emergence of anthropology as pre-eminently “a kind of writing” (Spencer 3