Hotel Kalahari: “You can Check Out Any Time you Like, But you can Never Leave”

McLennan-Dodd, Vanessa

doi:10.1177/1532708603253575

Cited by 14 publications

(10 citation statements)

References 3 publications

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“…The Bushmen might have become rowdy and drunk, because the last time I was here I remember Lena pestering us no end and drunkenly claiming to be Winnie Mandela. 12 Vanessa had brought her photos from a previous visit, but she was so inebriated she did not understand why our group had sought her out, in particular (McLennan-Dodd 2003). Her husband, Jacob Malgas, was also inebriated, and he lingered nearby begging.…”

Section: The Silikat Brand and Marketing Techniquesmentioning

confidence: 87%

“…The two men were prepared to help with so-called women's work around the house, unlike many other men in the community who shunned housework in preference for the veld. McLennan-Dodd's informant, Belinda Kruiper, argued then that 'men who support their wives in this way are those who uphold the traditional value of respect' (McLennan-Dodd 2003).…”

Section: Am Not With Elsie Nowmentioning

confidence: 99%

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A performative encounter with artist Silikat van Wyk in the Kalahari

Mhiripiri¹

2012

Critical Arts

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Cultural tourism involving people who claim to be Bushman or San has seen some 'Bushman' performers becoming iconic through using performative visual and oral archetypes. The late Silikat van Wyk, to some extent, became the visual image of the Bushman of the Kalahari Desert. Alone or in a team, he performed at tourist resorts and in the Kalahari. I use a performative style of writing where my presence and identity as a researcher are declared and my unique ethnographic encounter with Silikat van Wyk and his small cast in the Kalahari are enunciated and theorised. The contradictions in the observed-observer/researcherresearched relations, and how these are nearly subverted/ inverted in this particular research encounter, are outlined. Performative writing here is a synthetic style of writing that borrows from imaginative literary writing, (auto)ethnography and critical academic writing.

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Section: The Silikat Brand and Marketing Techniquesmentioning

confidence: 87%

Section: Am Not With Elsie Nowmentioning

confidence: 99%

A performative encounter with artist Silikat van Wyk in the Kalahari

Mhiripiri¹

2012

Critical Arts

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“…Ook word die navorsers en studente onvermydelik direk binne die gemeenskap en die verhoudingstelsel wat hulle bestudeer, geplaas (McLennan-Dodd, 2003;Lange, 2003;Jeursen & Tomaselli, 2002;vgl. ook Brown, 2001).…”

Section: Om Werklik Teenwoordig Te Wees -Vóór Die Teks Geskryf Wordunclassified

“…byvoorbeeld Boloka, 2001;Simoes, 2001a;2001b;McLennan-Dodd, 2003). Sommige van hulle kon aanvanklik vanweë die bome nie die bos sien nie.…”

Section: Pogings Om Die Afstand Tussen Waarnemer En Waargeneemde Te Vunclassified

“…Om hierdie tipe situasie te vermy en die gaping tussen ons en ons San-medewerkers te oorbrug, sluit ons eie metodes, soos reeds genoem, outo-etnografie, besprekings, interaksie om kampvure en sintuiglike etnografieë in (Stoller, 1998;Lange, 2003, Tomaselli, 2003, McLennan-Dodd, 2003. Hiermee gee ons aan ons Saninformante 'n wyse om geskrewe weergawes te ontwikkel en om 'n breër persepsie en beleid by hulle eie geskrifte-in-wording te voeg.…”

Section: Pogings Om Die Gaping Te Oorbrugunclassified

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Weerstand teen teksgebonde navorsing: ’n bydrae tot ’n omgekeerde benadering tot kultuurstudie

Tomaselli

Oets

2004

Literator

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Resisting text-bound research: Towards a reversed approach to cultural studies 2 is, is reeds 'n refleksiewe 3 pleidooi gelewer vir 'n omgekeerde benadering tot kultuurstudie deur te let op probleme ten opsigte van veldwerk, akademiese toeganklikheid en 'n navorser se verantwoordelikheid. In hierdie artikel word daarop voortgebou deur die verhouding tussen die waarnemer en die waargeneemde onder die loep te neem. Die oogmerk met hierdie artikel is onder andere om die rol van menslike bemiddeling in die analise van gegewens te betrek, te beskryf en die resultate daarvan in berekening te bring. Ook word beoog om die "stemme" uit die ondersoekveld (die mense uit die San-gemeenskap wat deur die navorsers waargeneem word) as gelykes in die ondersoekproses te betrek. Sodoende word hierdie "stemme uit die veld" beskou as menswaardig en as medeprodusente van die kennis wat sodoende byeengebring word. Dit was dus vir die groep navorsers nodig om 'n geskikte metode te vind waarmee die lede van die San-gemeenskap -die "objekte" van die navorsing -en hulle belange in 'n teoretiese raamwerk opgeneem en beskryf kon word. In this article an argument is developed for a reversed approach of cultural studies in discussing problems regarding fieldwork, academic access and accountability. We also argue for an empirical space in cultural studies, for a greater acknowledgement of fieldwork done by Third-World scholars vis-á-vis seminal theory development in the Western world. The article discusses relationships between observers and the observed in terms of dependency, inclusions/exclusions, and borders and othering. We reflexively analyse tensions and contradictions set in motion by the writing of articles on observer-observed relationships within both the San communities themselves and among researchers and development and other agencies working in one of these areas. Issues addressed relate to the ownership of information,Voorts word gekyk na die noodsaak om tekste in terme van hulle kontekste te benader (vgl. Tomaselli 2001(vgl. Tomaselli , 2003, aangesien akademiese, teksgebonde navorsing, wat dikwels goed geskrewe, voortreflike analises lewer, geneig is om die alledaagse, empiriese betekenis op die agtergrond te skuif. Die beskrywing van detail, die direktheid van navorsingsveldwerk en 'n (self-)refleksiewe benadering is egter net so belangrik soos 'n tekstuele teorie waarin menslike bemiddeling erken en beskryf word en waarin navorsers die "stemme uit die veld" as hulle gelykes betrek. Die waarde van teorieë wat gekonstrueer word sonder dat genoegsaam verwys word na empiriese toestande en die mense (die belewende subjekte) wat deel is daarvan, word dus in dié artikel bevraagteken. Sulke teorieë word dikwels die einddoel van kultuurstudie, in plaas van 'n voorlopige middel waarmee die empiriese toestande, wat ondersoekers in die veld teëkom, verduidelik kan word.3 In antropologie is "refleksiwiteit" 'n term wat verwys na 'n metode waar navorsers sowel persoonlike aspekte (wie hulle is, waar hulle vandaan kom en wat hul...

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Three women and an object(ive) – experiences and insights from an encounter with the !Xoo in the Kalahari Desert

Balkian¹,

Copley²,

Finlay³

2012

Critical Arts

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This article is narrated by three voices -an American senior exchange student, and two South African Master's students. They tell the story of their first-ever journey to Botswana to visit the Bushmen in Ngwatle. They were faced with numerous questions, not only about the 'Bushmen' but also about themselves. The three students uncover their respective objectives, narrate their experiences, and expose their innermost thoughts through the recollection of various exchanges with the !Xoo community. The dialogue is a patchwork of thought concerning different trips. In moving from 'here' (Durban) to 'there' (Kalahari Desert), they followed in the footsteps of previous researchers and students who were also encouraged to rethink their research assumptions, identities and even their understanding of cultural studies (Tomaselli 2005: 9). The students also considered and reflected on their own identities and the nature of 'Othering' in relation to this remote community of impoverished people, the general group whom the media have romanticised as an original people frozen in time. Naivety is admitted. As the article progresses, analysis and self-reflexivity explain this position. Dialogue, the absurd and self-interrogation are amongst the methods applied as the students attempt to analyse their own methods, insecurities and sometimes liminal research states (see Lange 2003).

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Hotel Kalahari: “You can Check Out Any Time you Like, But you can Never Leave”

Cited by 14 publications

References 3 publications

A performative encounter with artist Silikat van Wyk in the Kalahari

A performative encounter with artist Silikat van Wyk in the Kalahari

Weerstand teen teksgebonde navorsing: ’n bydrae tot ’n omgekeerde benadering tot kultuurstudie

Three women and an object(ive) – experiences and insights from an encounter with the !Xoo in the Kalahari Desert

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