Transmedia as experimental ethnography: The Exit Zero Project, deindustrialization, and the politics of nostalgia

Walley, Christine J.

doi:10.1111/amet.12160

Cited by 16 publications

(19 citation statements)

References 36 publications

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“…Moreover, it took cinema as a central vehicle and a site to explore the relationship between desire and difference across India and Africa. In this article, I have taken instances of our experimentation together in Pune and, taking up what Walley (2015, 624) has described as a transmedial approach to anthropology that extends the “ethnographic narrative and analysis across media forms,” offer a visceral glimpse of our process.…”

Section: Conclusion: Re‐staging and Multimodal Anthropologymentioning

confidence: 99%

“…In each experimentation with ethnography, performance, and theater listed above, “different ways of knowing and learning together” emerge (Dattatreyan and Marrero‐Guillamón 2019, 220). These experimentations, while different in scope and focus, harness what Dwight Conquergood (1985) calls co‐performative witnessing toward imagining shared pedagogical projects that have the power to creatively and collectively call into question normative assumptions about the world while “recovering past experience and creating a community that can listen and respond” (Walley 2015, 630; see also Madison 2007).…”

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confidence: 99%

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Desiring Bollywood: Re‐Staging Racism, Exploring Difference

Dattatreyan

2020

American Anthropologist

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In this article, I engage with the insights that emerged through the making of Desiring Bollywood, a collaborative ethno-fiction project I produced in 2018. The project recruited academics, amateur actors, novice filmmakers, and enthusiastic university students to narrate the story of Jason, an aspiring actor and filmmaker from Nigeria who I first met in 2013, soon after his release from Tihar Prison in Delhi, India. My goals are twofold: first, to share a few scenes from the film-embedded in this article as video clips-to broadly theorize the affordances and limits of what I call re-staging, the collaborative, performance-based multimodal method we devised and deployed to produce Desiring Bollywood. Second, and more central to the article, I aim to analyze these very same scenes to show how re-staging, as it offered participants involved in the project the opportunity to reflexively explore how Jason's experiences of discrimination in Delhi and the aspirations and desires that led him there in the first place, creates a rich site of analysis to engage with the nuances of anti-Black racism in India in a moment where "India-Africa" economic relationships are on the rise. [multimodality, collaboration, racism, migration, Africa, India, Nigeria] RESUMEN En este artículo examino el entendimiento que surgió a través de la producción de Desiring Bollywood, un proyecto colaborativo de etno-ficción que realicé en 2018. El proyecto reclutó académicos, actores amateurs, productores cinematográficos novicios y entusiastas estudiantes universitarios para narrar la historia de Jason, un aspirante a actor y productor cinematográfico, de Nigeria a quien conocí en 2013, poco después de su puesta en libertad de la Prisión Tihar en Delhi, India. Mi propósito es doble: primero, compartir algunas escenas del filmeembebidas en este artículo como video clips-para teorizar ampliamente las affordances y límites de lo que llamo remontaje, el colaborativo método multimodal basado en performance, que nosotros ideamos y utilizamos para producir Desiring Bollywood. Segundo, y más central al artículo, tengo como objetivo analizar estas mismas escenas para mostrar cómo el remontaje, en la medida que ofreció a los participantes involucrados en el proyecto la oportunidad de explorar reflexivamente cómo las experiencias de Jason de discriminación en Delhi y las aspiraciones y deseos que lo llevaron allí en primer lugar, crea un sitio profundo de análisis para abordar los matices del racismo anti-negro en India en un momento donde las relaciones económicas "India-África" están en aumento.

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Section: Conclusion: Re‐staging and Multimodal Anthropologymentioning

confidence: 99%

mentioning

confidence: 99%

Desiring Bollywood: Re‐Staging Racism, Exploring Difference

Dattatreyan

2020

American Anthropologist

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“…As people who live on top a ruined landscape, they do not aestheticize the mining ruins, nor do they romanticize the mining era (cf. Walley ). Yet, at some level, they understand that loss of stigma might sever their connections to the time when the town and the work done there were important.…”

Section: Instantiating Cobalters In the Mining Ruinsmentioning

confidence: 99%

The Ghosts of Mining Past: A Settler Colonial Story

Stern

2019

Anthropology and Humanism

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Summary Ethnographic reports of ghosts, spirits, and other nonhuman agents are portrayed as very different entities depending upon whether the people perceiving them are recognized as indigenous or nonindigenous. The nonhuman agents apprehended by indigenous peoples are nearly always described as ontological, while ethnographers tend to treat ghosts and other spirits among nonindigenous peoples as a form of protest. Using ethnographic data from the former silver mining settler community of Cobalt, Ontario Canada, I challenge this dichotomization. Instead, I argue ghostly encounters may arise from the social practices of emplacement, which may be indigenous or nonindigenous. In Cobalt, heritage work and nostalgia for an earlier time causes some residents to envision ghosts or spirits of long ended mining.

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“…Nada de esto es significativo, para los directamente involucrados así como para otros agentes de otros contextos sociales, políticos y culturales, si no hay una "reconstrucción racional" del proceso, a posteriori, donde se pierda lo menos posible de lo valioso de la experiencia sucitada en "el campo", ahora en "la mesa" (Velasco y Díaz de Rada, 1997). La experimentación continúa, cada vez en forma más "transmediacional" (Walley, 2015). En esto es, quizás en lo que más se insistió en las décadas pasadas (Russell, 1999), pasándose ahora a pensar más en lo primero, en "el campo".…”

Section: Conclusiones: La Madurez Del Trabajo Experimentalunclassified

Sentidos de lo experimental en la etnografía contemporánea. Un debate epistemológico

Pedrosian¹

2018

RAE

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En este ensayo nos proponemos problematizar la concepción de lo “experimental” en la etnografía contemporánea a partir de preguntarnos sobre los sentidos que pueden considerarse al respecto, en particular aquellos que evaluamos como los más fértiles para su desarrollo. Un primer haz de sentidos nos exige plantearnos el rol de la experiencia en la producción de conocimiento etnográfico en todas las etapas del proceso. En segundo lugar, llegamos al corazón de la problemática epistemológica recuperando los sentidos de lo experimental provenientes de las ciencias naturales, las artes y la filosofía más afines a la labor etnográfica. Concluimos por último, con una serie de consideraciones sobre la necesidad de superar la dicotomía entre tradición e innovación de una forma pos-vanguardista, encontrando en la revolución permanente la mejor dinámica que se ajusta a esta estrategia de investigación e intervención.

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Transmedia as experimental ethnography: The Exit Zero Project, deindustrialization, and the politics of nostalgia

Cited by 16 publications

References 36 publications

Desiring Bollywood: Re‐Staging Racism, Exploring Difference

Desiring Bollywood: Re‐Staging Racism, Exploring Difference

The Ghosts of Mining Past: A Settler Colonial Story

Sentidos de lo experimental en la etnografía contemporánea. Un debate epistemológico

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