ANTHROPOLOGY AND CLIMATE CHANGE: Replies to Eriksen AT36(1) (original) (raw)

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This paper addresses the urgent need for anthropological engagement in public debates concerning climate change, responding to a call by Thomas Hylland Eriksen. It argues for leveraging anthropological and historical insights into resistance and social movements to influence political discourse on global warming. The conversation underscores the importance of storytelling in anthropology for effective engagement and advocates for active participation in shaping climate discourse.

Anthropology and Photography: A long history of knowledge and affect

This paper addresses the long history of photographic relationships in anthropology. It argues that the current concerns with multiple, relational and affective meanings in anthropological photographs are not simply the result of new approaches to photographic analysis, but were embedded in the relationships of the production of anthropological evidence in the late nineteenth and early twentieth centuries. Drawing on examples from the British field anthropology it examines, first, the relational histories of production of those photographs, and, second, argues that those relationships have enabled the new ethnographies of photographic engagement that mark late twentieth and twenty-first century anthropological concerns. It argues that photographic ‘affect’ , as a mode of history, memory and identity becomes the focus of anthropological analysis.

‘It’s that reflection: photography as recuperative practice, a Ngarrindjeri perspective.’ In Jane Lydon (ed) Calling the Shots: Aboriginal Photographies, Aboriginal Studies Press, Canberra pp 175-206

A thick winter mist floats above the Coorong waters at the end of the road, spreading through the mallee scrub to Camp Coorong, the Ngarrindjeri Culture and Education Centre, near Meningie, South Australia. 1 The Ngarrindjeri are a South Australian Aboriginal nation, comprising several peoples with a common language, whose land and waters (ruwe) take in the River Murray, lakes Alexandrina and Albert, the vast Coorong wetlands and the Southern Ocean coast, all part of Ngarrindjeri traditional land and sea country (yarluwar-ruwe).

The photograph as archive: Crafting contemporary Koorie culture

Journal of Material Culture, 2018

In 2008, an Aboriginal Australian artist based in Melbourne, Australia, created a kangaroo-teeth necklace, revivifying an art/cultural practice for the first time in over a century. She was inspired to do so after viewing an 1880 photograph of an ancestor wearing such adornment. In this article, I bring the necklace and the photograph into the same analytical frame, arguing for the photograph as an archive itself. I consider the trajectories through which the 19th-century image has been replicated and circulated in various productions of knowledge about Aboriginal people, and how a 21st-century artist is mobilizing it not just as a repository of visual information, but also as an impetus to creative production. She produces objects of value and is making culture anew, in a context in which Aboriginality has long/often been presumed absent, extinct or elsewhere.

The Ancestral Image in the Present Tense: Researching Australian Aboriginal Photography

2015

[see link above to download copy of paper from publisher's website] When photographs in museum collections are involved in community research, our understanding of them as representations is radically altered. Drawing on archival research and fieldwork in West and South Australia, this paper presents a number of examples of the metonymic ‘presence in absence’ (Runia 2006: 6) of the past through photography that indigenous people experience when connecting with archival imagery.

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