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Visual Anthropology Photography As A Research Method

MORE than a hundred contributors, all from the America have undertaken the task of producing the volumes of this Handbook, of which the two under review are the first to appear; a volunic will be devoted to each of four cultural divisions into which South America and certain regions to the north have been divided: marginal and hunting tribes from Terra del Fuego up to northeastern Brazil; the Andean civilizations to the west; the tribes of tropical forests and savannah in the great central areas of the sub-continent and on the east coast; and the circum-Caribbean cultures to the north and up the Isthmus to Honduras and along the Antilles to Cuba. The fifth volume, designated the comparative anthropology of the South American Indians, will contain general summaries and comparisons of the various aspects of the cultures previously detailed. An arbitrary outline, arranged to a standard sequence, has been followed by the contributors of each article, to assure proportionate brevity and facility of reference. Handbook of South American Indians Edited by Julian H. Steward. (Smithsonian Institution: Bureau of American Ethnology, Bulletin 143.) Vol. 1: The Marginal Tribes. Pp. xix+624+112 plates. Vol. 2: The Andean Civilizations. Pp. xxxiii + 1035 + 192 plates. (Washington, D.C.: Government Printing Office, 1946.) Vol. 1, 2.75 dollars; Vol. 2, 4.25 dollars.

Handbook of South American Indians

Visual Anthropology: Photography as a Research Method

This doctoral research studies the anthropology of Dr. William Crocker and his recording enterprise, the Festival of Masks of the Canela groups of Maranhao state, Brazil.

Crocker began field research with the Canela in 1957 and continued to do so intermittently until 2011. Photography and film played a major part in his observation and his use of these media proved extremely innovative in ethnographic study. Until now, these recordings have been largely unexamined and academically undervalued, and the footage about the group’s ceremonial life was almost unknown to anthropological and general audiences. The PhD is a detailed consideration of these important ethnographic data (footage, fields notes and photographs). This thesis is an analysis of his visual enterprise, discussing its relative neglect, the circumstances under which the images were taken, the ideas which informed them, and the general methods employed in making them. Later chapters use the visual materials to analyse the ethnographic content of the Festival of Masks ceremony.
 
The Festival of Masks is a complex ceremony that takes place over several days, in which the participants (or at least those who dance) disguise themselves with Masks. Begging, shame and compassion are the most important picture-like qualities of the Masks. The focus of my work traces Crocker’s process of recording ‘raw’ photographs and footage about bodily-mask expressions and movements, in order to demonstrate that these images can be used as data to reassess Canela personhood. The thesis, firstly follows Crocker’s attention on the Festival, then turns to how the Festival achieves the task of helping to construct personal ‘selves’ as part of a nexus of social relations. I argue that the ceremony presents an important way by which the Canela conceptualise the nature of being a human: the central importance of sharing in the formation of Canela personhood. The Festival of Masks can be seen as a model for how to live.

A Study of William Crocker’s Photographic and Film Archive: Relating to the Canela Indians of Brazil

This article focuses on the global traffic in images relating to Kadiweu culture in South America, analysing the extent to which they are entangled in the group’s continuing sense of presence. It b...

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Skin, paper, tiles: A cross-cultural history of Kadiwéu art:

Dr. William Crocker began field research with the Canela (who live in Maranhao state, Brazil) in 1957 and continued to do so intermittently until 2011 — a total of more than fifty-five years. This time in the field exceeds that of any other long-term field research in Social Anthropology. As soon as he arrived among the Canela he began his intensive documentation of their life. Photography and film played a major part in his observation and his use of these media proved extremely innovative in ethnographic study. The material to be discussed in this paper can rightly be considered one of the most detailed and accurate sets of visual documents about Lowland South-American community life ever collected. Despite the importance of this collection and its potential to reveal material stories, it has remained largely unexamined and academically undervalued. My immediate aim in this paper is to re-examine Crocker’s visual project in two different but related ways. The first is to look closely at his use of photography in the sense of drawing him out of his relative obscurity, and secondly, to focus my analysis on the circumstances under which the photographs were made, the theoretical ideas that informed them, and the methods employed in taking them in a degree of detail and in a manner that is, to the best of my knowledge, unprecedented. An interview I conducted with Dr. Crocker, today 92 years old, enriches our understanding of the archive collection. For those in the field, these important efforts touching on the ‘archival impulse’ of Crocker’s research, illuminate various points of his work, his irrepressible desire to return to the original, a nostalgia for the recording of the place of absolute commencement.

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William crocker’s photographic collection among the canela of central brazil

The article aims to interweave the different views on the contemporary Indian art through the testimony of Benilda Vergilio, Kadiweu’s Indian, graduated in Design at Dom Bosco Catholic University. The analysis it takes as backdrop the controversies surrounding the anthropological symbolic approaches that over time have had full control and subjugation in the study of art in the anthropological perspective. In this study, conducted by interview with the artist, it was emphasized the cognitive action of art in native context, showing that it is necessary to discuss the essence and meaning of indigenous art, without leaving aside their own speech.

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fabiola iuvaro

Papers

William crocker’s photographic collection among the canela of central brazil

A criatividade artística kadiwéu: entrevista com benilda vergílio