Suchergebnisse

Introduction : environmentalism, globality and anthropology in the common world -- Proposing an imaginary : fields of forces, vectors and direction of attention -- Field methods, emplacement and scale : where is Friends of the Earth International? -- Chronological history and organic time : being Introduced to FoEI -- Striving for an exemplary life : becoming an environmentalist -- Rhythms of globality : developing a sense of belonging to FoEI -- Communication technologies and presence : being in touch in FoEI -- The effectiveness of structure : vectors at work in a transnational federation -- Experiments with political form and process -- Epilogue : an experiment.

Due to the simultaneous linguistic and musical quality of voicing, voiced breath poses theoretical challenges to notions of 'embodiment', especially as they are used in theatre practice/studies. In this article, I make two intertwining arguments to address questions of the place of semantic meaning and conscious thought in performance practice/theories as they arose in my anthropological engagement with laboratory theatre. Firstly, theatre and performance practice/theories keen to embrace 'embodiment' often leave out things like explicit analysis, reflexivity, referential or semantic meaning and so on because, as my ethnography shows, they are judged as secondary, and thus belonging implicitly more closely to disembodied 'mind'. I engage in anthropological comparison to show how other ways of being/knowing complicate any sense in which practices labelled 'embodied' can be seen as primary in contrast to conscious, linguistic or explicit knowing. Instead I outline an onto/epistemology of emergence that offers an alternative imaginary in which no binaries exist a priori. Rather all is a matter of ongoing mutual constitution. Secondly, while the discourses of embodiment in performance practice/theory that I critique may continue to reproduce dualist assumptions, theatre approaches influenced by Grotowski's anti-method, focusing on continual revision of practice, offer insights for scholarship concerned with the ontological indistinguishability of social, psychological and physical phenomena. Laboratory theatre practices offer a prospective way of knowing, enabling an exploration of the ontological equality of breath, in this case in song, and the sorts of meaningfulness associated with language and analysis. In 2011, my Nanna (grandmother in Maltese) passed away in circumstances that remain traumatic to me. I turned with to my daily practices to find ways to scream, to grieve: to anthropology and to a particular practice of song in laboratory theatre, where encounter is actively sought. Arising from ethnographic and analytic engagement with such practices, in this article, I offer an anthropologically inflected critique of notions of embodiment in performance studies and performance philosophy. I present the alternative imaginary of emergence onto/epistemologies and the prospective investigative practices of laboratory theatre. I do this by weaving autobiographical, ethnographic and anthropological threads to explore my own practice relating to the work of my collaborator Gey Pin Ang, a Singaporean director, actor and pedagogue.

I am investigating performance training as an exploratory mode of inquiry. In conjunction with this I ask how may performative enquiry together with anthropological ways of working lead to sustainable forms of academic knowledge production. The underlying aim of my project is to find ways to decolonise academic scholarship that transcend the apparent complacency that cultural critique has proffered (Escobar and Restrepo 2005). An anthropology otherwise, in resonance with Escobar and Restrepo's manifesto, in which I am exploring a recrafting of what anthropologists make. This needs to include who they make it for, in other words who anthropologists are accountable to, as well as the expected 'products' of their scholarly endeavours. This paper is an afterthought on the Walking Threads and how the event can further our understanding in collaborative work.

Who do "we" anthropologists think "we" are? And how do forms and notions of collective disciplinary identity shape the way we think, write, and do anthropology? This volume explores how the anthropological "we" has been construed, transformed, and deployed across history and the global anthropological landscape. Drawing together both reflections and ethnographic case studies, it interrogates the critical-yet poorly studied-roles played by myriad anthropological "we" ss in generating and influencing anthropological theory, method, and analysis. In the process, new spaces are opened for reimagining who "we" are - and what "we," and indeed anthropology, could become