Anette Rein - Academia.edu (original) (raw)

Papers by Anette Rein

Canberra Anthropology, 1998

The rejang dance of East Bali, a sacred dance performed by girls and women, expresses both the ge... more The rejang dance of East Bali, a sacred dance performed by girls and women, expresses both the gender specific roles of Balinese women and their significance in a ritual context. Although in Bali there are many situations in daily life and ritual praxis which express the principle of equality through the exchangeability of die male and female participants, male and female stand in an hierarchical relation to each other which is associated with geographical spaces and social qualities. Maleness is linked with the realm 'above', 'mountain', and 'power', and femaleness with 'under', 'earth', and 'beauty'. In ritual dances, intended to maintain and contribute to the fertility of the land and the community, male and female dance groups are given distinctive ritual tasks. Selected men in a village demonstrate above all defensibility and combativeness in their ritual dances (for example, baris gedé daratan, karé), whereas women perform predominantly 'graceful' offering dances (for example, péndét). The first part of Üiis paper presents ethnographic data about the sacred female dance, rejang, wimin the social and religious context of East Balinese villages. The second part discusses the influences of national culture on ritual practice in Bali, including the ritual role of women. 2 The word rejang denotes both a sacred girl's (woman's) dance and the costumed girl (woman) performer {rejang [from reja-beautiful girl; angdancing]). The verb merejang or ngerejang designates the execution of the ritual movements. The sole defining criterion for rejang which appears to be valid for the whole of Bali is the fact that rejang is danced by girls and (unmarried) women although the whole dance event is organized together by men and women of one religious community. 3 The villages of East Bali recognized different types of rejang, named after the group of participants (rejang anak-anak-rejang of the children; rejang daa-rejang of the virgins); after a type of crown (rejang kompol); after the time those performances take place (rejang lemah-morning rejang; rejang sanya-afternoon rejang; rejang mombongin-evening

Vom Gegenstand des Respekts zur Ruine, 2022

Since the late 1970s human remains in museum collections have been subject to claims and controve... more Since the late 1970s human remains in museum collections have been subject to claims and controversies, such as demands for repatriation by indigenous groups who suffered under colonization. These requests have been strongly contested by scientists who research the material and consider it unique evidence. This book charts the influences at play on the contestation over human remains and examines the construction of this problem from a cultural perspective. It shows that claims on dead bodies are not confined to once colonized groups. A group of British Pagans, Honouring the Ancient Dead, formed to make claims on skeletons from the British Isles. And ancient human remains, bog bodies and Egyptian mummies, which have not been requested by any group, have become the focus of campaigns initiated by members of the profession, at times removed from display in the name of respect. By drawing on empirical research including extensive interviews with the claims-making groups, ethnographic work, document, media, and policy analysis, Contesting Human Remains in Museum Collections demonstrates that strong internal influences do in fact exist. The only book to examine the construction of contestation over human remains from a sociological perspective, it advances an emerging area of academic research, setting the terms of debate, synthesizing disparate ideas, and making sense of a broader cultural focus on dead bodies in the contemporary period.

Canberra anthropology, 1998

Kulturgüter werden am besten und kostengünstigsten zu Hause geschützt. Insofern ist der Kulturgüt... more Kulturgüter werden am besten und kostengünstigsten zu Hause geschützt. Insofern ist der Kulturgüterschutz primär eine Sache der Nationalstaaten. Es gibt keine internationale Gemeinschaft, die einen solchen Kulturgüterschutz wirksam er-und durchsetzen kann. Internationale Übereinkommen und supranationales Recht der EU können bei der internationalen Durchsetzung nationaler Regeln behilflich sein. Das UNESCO-Übereinkommen von 1970 versuchte zum ersten Mal,Kulturgüter in Friedenszeiten und im internationalen Kunsthandel zu schützen. Das Übereinkommen bedarf der Umsetzung in nationale Gesetze der Vertragsstaaten. Das haben die USA und die Schweiz bereits getan. Deutschland ist dabei, ein solches Umsetzungsgesetz zu erlassen. Der Entwurf für ein deutsches Umsetzungsgesetz ist noch verbesserungsbedürftig. Das Unidroit-Übereinkommen von 1995 ist ein gutes Übereinkommen. Es wird noch eine Weile dauern, bis es als Minimalstandard in Quellenund Marktstaaten ratifiziert und in Kraft gesetzt wird. Aber ihm gehört die Zukunft. 1. Leicht gekürzter und etwas überarbeiteter Vortrag, gehalten anlässlich des Symposiums "Schutz von Kulturgütern. Internationale Erfahrungen und Perspektiven" am 23. Mai 2006 in Hamburg. 2. Deutschland hat die Richtlinie im Kulturgüterrückgabegesetz von 1998 umgesetzt: Gesetz vom 15.5.1998 zur Umsetzung der Richtlinie 93/7/EWG des Rates über die Rückgabe von unrechtmäßig aus dem Hoheitsgebiet eines Mitgliedsstaats verbrachten Kulturgütern (Kulturgüterrückgabegesetz-KultGü

Angewandte Ethnologie, 2019

„Trotz Ethnologie-Studium erfolgreich in der nicht-akademischen Arbeitswelt“. Liest man / frau An... more „Trotz Ethnologie-Studium erfolgreich in der nicht-akademischen Arbeitswelt“. Liest man / frau Angaben zu den Kompetenzen, die Studierende der Ethnologie erwerben, so erscheint die Vielzahl des Konnens und der nach dem Studium offenstehenden Moglichkeiten schier unbegrenzt. Gleichzeitig wird betont, dass das Studium nicht fur einen Beruf ausbildet, sondern im Denken in beweglichen Kultur-Horizonten schulen soll. Was sich genau in dieser Lucke zwischen Studienplan und Moglichkeiten auf dem Arbeitsmarkt befindet, soll in dem Artikel beschrieben werden – inklusive der Vorschlage, wie ein Ethnologie-Studium sich zu einer Berufsausbildung wandeln konnte.

L'A. propose quelques reflexions a propos du changement de nom du musee ethnographique de Fra... more L'A. propose quelques reflexions a propos du changement de nom du musee ethnographique de Francfort, dont elle assure la direction depuis le 1 er avril 2000. A son initiative, la renomination de l'ancien Museum fur Volkerkunde en Museum der Weltkulturen (Musee des cultures du monde) s'inscrit dans le projet de renovation et reconstitution du musee. Selon l'A., le concept de Volkerkunde, pour l'etude des cultures etrangeres, s'est dissout dans l'actualite theorique de l'ethnologie contemporaine. La renomination du musee trouve ses fondements conceptuels dans une approche d'ouverture culturelle ou le Musee des cultures du monde devient un lieu d'experience et d'apprentissage interculturels. Il s'agit notamment d'inviter le public a entrer dans un processus reflexif critique du meme et de l'alterite.

Um evento especial no Dia Internacional dos Museus deste ano, organizado pelo Conselho Internacio... more Um evento especial no Dia Internacional dos Museus deste ano, organizado pelo Conselho Internacional de Museus ICOM, foi o primeiro Tweetup no qual participaram 22 museus da Alemanha. O texto a seguir analisa as vantagens e desvantagens oferecidas pela Midia Social dos Museus em sua colecao e pedido de mediacao aplicada. Com base em estudos recentes que demonstram a carga cognitiva do Multi-Tasking enquanto navega na World Wide Web, e imperativo para os museus refletir sobre sua missao educativa e proporcionar uma educacao apropriada oferecidas com o uso da Internet em tempo habil e atraves das geracoes. A enfase e posta pela necessidade de criar um museu de experiencias educativas (Bildungserlebnisse) por meio das quais, eles proprios se distinguem como “outros lugares” ou (heterotopias no sentido de Michel Foucault).

The article begins with the central issue of exhibiting ethnographic artifacts. Either museums re... more The article begins with the central issue of exhibiting ethnographic artifacts. Either museums reduce objects to art objects according to the Western concept, or the context of artifacts is shown, as analyzed by curators. The description of the three stages of muzealization demonstrates the fragmentation of any museum object. Through the history of ethnographic museums and several examples of exhibitions it is shown how the perspective of the other(s) turned from a relational approach into one of the OtherS. The text ends with an appeal to ethnographic museums to embrace their political responsibility.

In autumn 1999, the members of the Indonesian Society for the Performing Arts met for a five-day ... more In autumn 1999, the members of the Indonesian Society for the Performing Arts met for a five-day international conference on the occasion of their organization's tenth anniversary. The facilities of the former princely spa Tirta Gangga in East Bali provided a splendid backdrop. During the day there were theoretical discussions concerning the performing arts of Indonesia and their relationship to tradition, on the one hand, and the processes of modernization and globalization on the other. In the evening there were performances from Bali, Java, Sulawesi and kian Jaya, which sometimes lasted well into the night. On the final day an excursion was organized to two neighboring villages, Bungaya and Asak. These villages were chosen because they belong to the bali aga (the so called old or original Balinese) villages. According to the official image, the hali aga cultivate an original Balinese tradition, which still contains a trace of a Pre-Hinduistic tradition. Corresponding to the subject of the conference: "Milleniart: The Celebration of the Origins" the visitors were supposed to gain insight into authentic Balinese tradition. Wisata Budaya (Cultural Heritage) was the title of the event, and in three oversized touristbuses the 90 participants drove to the villages. As a conference participanto I was very anxious to see what would happen in these villages. Fourteen years ago I started my research on the temple dance rejang during the big annual village rituals in Bungaya and Asak (see Rein 1994). Now I would have the opportunity to participate in an indigenous presentation by the villagers-while being a member of a group composed of mainly Indonesian conference-tourists. It was also announced that rejang would be danced. This was decisive for my participation in the tourand I could hardly wait to see what would happen. The three big buses, which nearly blocked the small village streets, stopped first in front of the pura balö agung (the village temple) of Bungaya.

Different concepts of reality are presented together with possibilities for their performative in... more Different concepts of reality are presented together with possibilities for their performative interpretation. One example is in the picture entitled Faces or Vases?. The A. shows that changing persepective while viewing the picture results in two different forms: one of white faces and the other of black vases. This graphic, seems to the A., to exemplify the Balinese concept of reality, which is characterised by a continuing change between a material, ordinary dimension of reality (sekala) and the spiritual, other reality (niskala). Within the Bali-Hinduistic religion, the Balinese have created a variety of performative means in order to manage these two dimensions of reality. For example an elaborate iconographic sign system prescribes the use of masks, movements and rites of passage which mark the crossing of the border between both dimensions of reality within a performance.

Dass "grun" nicht gleich "grun" und mit dem Konzept von Lebenskraft und Gluck... more Dass "grun" nicht gleich "grun" und mit dem Konzept von Lebenskraft und Gluck uberall gleichgesetzt wird, zeigte sich in Israel, als die offentlichen Busse in diese Farbe umgespritzt wurden. Judische Fahrgaste weigerten sich, die grunen Verkehrsmittel zu besteigen – da sie diese mit "Islam" gleichsetzten und politisches oder auch spirituelles Unheil witterten. Im folgenden Text geht es um das prozesshafte von Kultur, um plurale Identitaten und um die daraus folgenden Wahlmoglichkeiten von Menschen zu entscheiden, aus welchem Blickwinkel sie jeweils die Welt sehen und danach handeln wollen. Es geht um die gemeinsamen menschlichen Voraussetzungen die Welt zu erkennen, was eine Basis fur Dialoge zum gegenseitigen Respekt und zur Vermeidung von Missverstandnissen bilden kann.

Emerging Bodies: The Performance of Worldmaking in …, 2011